When it was finished, he painted in an altar-piece, which was placed in the Pieve of Prato, Our Lady presenting the Girdle to S. Thomas, who is with the other Apostles. For Ognissanti, at the commission of Monsignor de' Bonafe, Director of the Hospital of S. Maria Nuova, and Bishop of Cortona, he executed an altar-piece with Our Lady, S. John the Baptist, and S. Romualdo; and for the same patron, having served him well, he painted some other works, of which there is no need to make mention. He then copied the three Labours of Hercules (which Antonio del Pollaiuolo had formerly painted in the Palace of the Medici), for Giovan Battista della Palla, who sent them to France. [Illustration: RIDOLFO GHIRLANDAJO: PORTRAIT OF A LADY (_Florence: Pitti, 224. Panel_)] After he had executed these and many other pictures, Ridolfo, happening to have in his house all the appliances for working in mosaic which had belonged to his uncle David and his father Domenico, and having also learned something of that work from the uncle, determined that he would try to do some work in mosaic with his own hand. Which having done, and finding that he was successful, he undertook to decorate the arch that is over the door of the Nunziata, wherein he made the Angel bringing the Annunciation to Our Lady. But, since he had not the patience for putting together all those little pieces, he never again did any work in that field of art. For a little church of the Company of Wool-carders at the head of the Campaccio, he painted in an altar-piece the Assumption of the Madonna, with a choir of Angels, and the Apostles about the Sepulchre. But by misadventure, the room in which the picture was having been filled in the year of the siege with green broom for making fascines, the damp so softened the gesso that it all peeled away; wherefore Ridolfo had to repaint it, and made in it his own portrait. At the Pieve of Giogoli, in a tabernacle that is on the high road, he painted Our Lady with two Angels; and in another tabernacle opposite to a mill of the Eremite Fathers of Camaldoli, which is on the Ema, beyond the Certosa, he painted many figures in fresco. By reason of all which works, Ridolfo, finding himself sufficiently employed, and living comfortably with a good income, would by no means rack his brains to do all that he could have done in painting, but rather became disposed to live like a gentleman and take life as it came.