On the completion of this work Buffalmacco painted in the abbey of Settimo some scenes from the life of St James in the chapel dedicated to that saint which is in the cloister, on the vault of which he did the four Patriarchs and the four Evangelists, among whom the attitude of Luke is noteworthy for the natural way in which he is blowing his pen to make the ink flow. In the subjects for the walls, which are five, the figures are represented in fine attitudes and everything is carried out with originality and judgment. In order to make his flesh colouring easier to paint Buonamico used a ground of _pavonazzo di sale_, as is seen in this work, which in the course of time has caused a saltness by which the white and other colours are corroded and consumed so that it is no marvel that the work is damaged and destroyed, while many that were made long before have been excellently preserved. I formerly considered that the injury was caused by the damp, but afterwards by an examination of his other works I have proved by experience that it is not the damp, but this peculiar practice of Buffalmacco which has caused them to be so damaged that it is not possible to see the design or anything else, and where the flesh colour should be there remains nothing but the _pavonazzo_. This method of working should not be practised by anyone who desires a long life for his paintings. After the two pictures mentioned above, Buonamico did two others in tempera for the monks of the Certosa at Florence, one of which is in the place where the singing books for the choir rest, and the other is below in the old chapels. In the Badia at Florence he painted in fresco the chapel of the Gondi and Bastari, beside the principal chapel, which was afterwards granted to the family of the Boscoli, and still retains these paintings of Buffalmacco. Here he did the Passion of Christ, with fine and original expressions, showing in Christ, when He washes the disciples' feet, the greatest humility and benignity, and cruelty and fierceness in the Jews who lead Him to Herod. But he displayed especial originality and facility in a Pilate whom he painted in prison and in Judas, hung to a tree, from which we may readily believe what is related of this pleasant painter, that when he wished to be diligent and take pains, which rarely happened, he was not inferior to any other artist of his time. That this is true is proved by his works in fresco in Ognissanti, where the cemetery now is, produced with such diligence and with such precautions that the water which has rained upon them for many years has not injured them or caused any harm except by preventing a recognition of their excellence. They are so well preserved because they were done simply upon fresh lime. On the walls are the Nativity of Jesus Christ and the Adoration of the Magi, that is to say, over the tomb of the Aliotti. After these works Buonamico went to Bologna, where he painted in fresco on the vaults of the chapel of the