was left unfinished. Its completion was afterwards entrusted to
his brother Aristotile, who, as will be told, had returned to Florence
many and many a year before, after having amassed a large sum of money
under the above-named Giuliano Leno, in the business that his brother
had left him in Rome; with a part of which money Aristotile bought, at
the persuasion of Luigi Alamanni and Zanobi Buondelmonte, who were much
his friends, a site for a house behind the Convent of the Servites, near
Andrea del Sarto, where, with the intention of taking a wife and living
at leisure, he afterwards built a very commodious little house.

After returning to Florence, then, Aristotile, being much inclined to
perspective, to which he had given his attention under Bramante in Rome,
appeared to delight in scarcely any other thing; but nevertheless,
besides executing a portrait or two from the life, he painted in oils,
on two large canvases, the Eating of the Fruit by Adam and Eve and their
Expulsion from Paradise, which he did after copies that he had made from
the works painted by Michelagnolo on the vaulting of the Chapel in Rome.
These two canvases of Aristotile's, because of his having taken them
bodily from that place, were little extolled; but, on the other hand, he
was well praised for all that he did in Florence for the entry of Pope
Leo, making, in company with Francesco Granacci, a triumphal arch
opposite to the door of the Badia, with many scenes, which was very
beautiful. In like manner, at the nuptials of Duke Lorenzo de' Medici,
he was of great assistance in all the festive preparations, and
particularly in some prospect-views for comedies, to Franciabigio and
Ridolfo Ghirlandajo, who had charge of everything.

He afterwards executed many pictures of Our Lady in oils, partly from
his own fancy, and partly copied from the works of others; and among
them he painted one similar to that which Raffaello executed for S.
Maria del Popolo in Rome, with the Madonna covering the Child with a
veil, which now belongs to Filippo dell'Antella. And another is in the
possession of the heirs of Messer Ottaviano de' Medici, together with
the portrait of the above-named Lorenzo, which Aristotile copied from
that which Raffaello had executed. Many other pictures he painted about
the same time, which were sent to England. But, recognizing that he had
no invention, and how much study and good grounding in design painting
required, and that for lack