But, since pictures that are executed in that way have always a certain hard and laboured quality, the work is wanting in the grace and facility that give most pleasure to the eye. Wherefore Daniello, himself confessing the fatigue that he had endured in the work, and fearing the fate that did come upon him (namely, that he would be censured), made below the feet of those two Saints, to please himself, and as it were in his own defence, two little scenes of stucco in low-relief, in which he sought to show that, although he worked slowly and with effort, nevertheless, since Michelagnolo Buonarroti and Fra Sebastiano del Piombo were his friends, and he was always imitating their works and observing their precepts, his imitation of those two men should be enough to defend him from the biting words of envious and malignant persons, whose evil nature must perforce be revealed, although they may not think it. In one of these scenes, then, he made many figures of Satyrs that are weighing legs, arms, and other members of figures with a steelyard, in order to put on one side those that are correct in weight and satisfactory, and to give those that are bad to Michelagnolo and Fra Sebastiano, who are holding conference over them; and in the other is Michelagnolo looking at himself in a mirror, the significance of which is clear enough. At two angles of the arch, likewise, on the outer side, he painted two nudes in chiaroscuro, which are of the same excellence as the other figures in that work. When it was all uncovered, which was after a very long time, it was much extolled, and held to be a very beautiful work and a triumph over difficulties, and the painter a most excellent master.