some little Angels, S. Ansano, S. Vittorio, S.
Augustine, and S. James; and above this, in a triangular lunette, he
painted a God the Father with some Angels about Him. From this work it
is evident that when he executed it he was beginning, as it were, to
have no more love for art, having lost that certain quality of
excellence that he used to have in his better days, by means of which
he gave a certain air of beauty to his heads, which made them graceful
and lovely. And this is manifestly true, for some works that he
executed long before this one have quite another grace and another
manner, as may be seen above the Postierla, from a wall in fresco over
the door of the Captain Lorenzo Mariscotti, where there is a Dead
Christ in the lap of His Mother, who has a marvellous divinity and
grace. In like manner, a picture in oils of Our Lady, which he painted
for Messer Enea Savini della Costerella, is much extolled, and also a
canvas that he executed for Assuero Rettori of S. Martino, in which is
the Roman Lucrece stabbing herself, while she is held by her father
and her husband, all painted with much beauty of attitude and
marvellous grace in the heads.

Finally, perceiving that the devotion of the people of Siena was all
turned to the talents and excellent works of Domenico Beccafumi, and
possessing neither house nor revenues in Siena, and having by that
time consumed almost all his property and become old and poor,
Giovanni Antonio departed from Siena almost in despair and went off to
Volterra. And there, as his good fortune would have it, chancing upon
Messer Lorenzo di Galeotto de' Medici, a rich and honoured nobleman,
he proceeded to live under his protection, with the intention of
staying there a long time. And so, dwelling in the house of that
nobleman, he painted for him on a canvas the Chariot of the Sun,
which, having been badly guided by Phaethon, is falling into the Po;
but it is easy to see that he did that work to pass the time, and
hurried through it by rule of thumb, without giving any thought to it,
so entirely commonplace is it and so ill-considered. Then, having
grown weary of living at Volterra and in the house of that nobleman,
as one who was accustomed to being free, he departed and went off to
Pisa, where, at the instance of Battista del Cervelliera, he executed
two pictures for Messer Bastiano della Seta, the Warden of Works of
the Duomo, which were placed in the recess behind the high-altar of
tha