After that, Francesco painted for his Excellency the ceiling of the hall where he dines in winter, with many devices and little figures in distemper; and a most beautiful study which opens out over the Green Chamber. He made portraits, likewise, of some of the Duke's children; and one year, for the Carnival, he executed in the Great Hall the scenery and prospect-view for a comedy that was performed, and that with such beauty and in a manner so different from those that had been done in Florence up to that time, that they were judged to be superior to them all. Nor is this to be marvelled at, since it is very certain that Francesco was always in all his works full of judgment, and well-varied and fertile in invention, and, what is more, he had a perfect knowledge of design, and had a more beautiful manner than any other painter in Florence at that time, and handled colours with great skill and delicacy. He also made a head, or rather, a portrait, of Signor Giovanni de' Medici, the father of Duke Cosimo, which was very beautiful; and it is now in the guardaroba of the same Lord Duke. For Cristofano Rinieri, who was much his friend, he painted a most beautiful picture of Our Lady, which is now in the Udienza della Decima. For Ridolfo Landi he executed a picture of Charity, which could not be more lovely than it is; and for Simone Corsi, likewise, he painted a picture of Our Lady, which was much extolled. For M. Donato Acciaiuoli, a knight of Rhodes, with whom he always maintained a particular intimacy, he executed certain little pictures that are very beautiful. And he also painted in an altar-piece Christ showing to S. Thomas, who would not believe that He had newly risen from the dead, the marks of the blows and wounds that He had received from the Jews; which altar-piece was taken by Tommaso Guadagni into France, and placed in the Chapel of the Florentines in a church at Lyons.