These confidential relations between the Medici and the artists did not prevent them from carefully settling minor details when giving an order, such as the use of ultramarine and gold, and still smaller matters. Even with regard to the actual composition remarks were not spared, not merely concerning the saints to be placed in the Madonna pictures and other votive tablets, but also as to other figures and accessories. Piero de’ Medici was not satisfied with some angels that Benozzo had introduced in the chapel; the painter defended them, but added that he could put a cloud to cover them. Needless to say that all matters of business—prices, instalments of payment and work, &c.—were settled with scrupulous exactness. This belonged to the character of the time, and to the Florentine love of order and mercantile habits; a characteristic which never fails, and remained in the Medici nature even in Cosimo’s magnificent grandson. Strict supervision was indeed necessary in the case of these colossal undertakings. It was more especially needful with a disorderly man like Filippo Lippi, who passed his whole life in want of his own making; witness his letters to Piero and Giovanni de’ Medici: ‘If there is a wretched monk in Florence, it is I!’ His protectors pitied him and judged his sins leniently, if we rightly understand the remark in one of Giovanni’s letters, to the effect that they had a laugh over Fra Filippo’s error. It refers presumably to the well-known story of the elopement of Spinetta Buti from the convent at Prato, where she was being educated; a story the details of which, as in other instances, are inaccurately given by Vasari.[160] The interest taken by the Medici in this painter descended to Lorenzo. On his return from Rome he wanted to have Fra Filippo’s mortal remains brought from Spoleto to Florence, and when this was refused, he assisted Filippo’s son in erecting a monument in Spoleto Cathedral.