It appeared a strange thing to Francesco that Giorgio should not have confided the matter to him; but he was persuaded that he had done it for the best and with a good intention. When the above-named Jacopone, therefore, had given Giorgio some rooms behind S. Spirito, near Francesco, the two devoted themselves in company all that winter to the study of art, with much profit, leaving no noteworthy work, either in the Palace or in any other part of Rome, that they did not draw. And since, when the Pope was in the Palace, they were not able to stay there drawing at their ease, as soon as his Holiness had ridden forth to the Magliana, as he often did, they would gain admittance by means of friends into those apartments to draw, and would stay there from morning till night without eating anything but a little bread, and almost freezing with cold. Cardinal Salviati having then commanded Francesco that he should paint in fresco in the chapel of his Palace, where he heard Mass every morning, some stories of the life of S. John the Baptist, Francesco set himself to study nudes from life, and Giorgio with him, in a bath-house near there; and afterwards they made some anatomical studies in the Campo Santo. The spring having then come, Cardinal Ippolito, being sent by the Pope to Hungary, ordained that Giorgio should be sent to Florence, and should there execute some pictures and portraits that he had to despatch to Rome. But in the July following, what with the fatigues of the past winter and the heat of summer, Giorgio fell ill and was carried by litter to Arezzo, to the great sorrow of Francesco, who also fell sick and was like to die. However, being restored to health, Francesco was commissioned by Maestro Filippo da Siena, at the instance of Antonio L'Abacco, a master-worker in wood, to paint in fresco in a niche over the door at the back of S. Maria della Pace, a Christ speaking with S. Filippo, and in two angles the Virgin and the Angel of the Annunciation; which pictures, much pleasing Maestro Filippo, were the reason that he caused him to paint the Assumption of Our Lady in the same place, in a large square space that was not yet painted in one of the eight sides of that temple. Whereupon Francesco, reflecting that he had to execute that work not merely in a public place, but in a place where there were pictures by the rarest masters--Raffaello da Urbino, Rosso, Baldassarre da Siena, and others--put all possible study and diligence into executing it in oils on the wall, so that it proved to be a beautiful picture, and was much extolled; and excellent among other figures is held to be the portrait that he painted there of the above-named Maestro Filippo with the hands clasped. And since Francesco lived, as has been told, with Cardinal Salviati, and was known as his protege, he began to be called and known by no other name but Cecchino Salviati, and he kept that name to the day of his death.