Volterra, who was
the titular Saint of that church; S. Zanobi, Bishop of Florence; an
Angel Raphael; a S. Michael, clad in most beautiful armour; and other
saints. For this work Domenico truly deserves praise, for he was the
first who began to counterfeit with colours certain trimmings and
ornaments of gold, which had not been done up to that time; and he swept
away in great measure those borders of gilding that were made with
mordant or with bole, which were more suitable for church-hangings than
for the work of good masters. More beautiful than all the other figures
is the Madonna, who has the Child in her arms and four little angels
round her. This panel, which is wrought as well as any work in distemper
could be, was then placed in the church of those friars without the
Porta a Pinti; but since that building, as will be told elsewhere, was
destroyed, it is now in the Church of S. Giovannino, within the Porta S.
Piero Gattolini, where there is the Convent of the aforesaid Ingesuati.

In the Church of Cestello he painted a panel--afterwards finished by his
brothers David and Benedetto--containing the Visitation of Our Lady,
with certain most charming and beautiful heads of women. In the Church
of the Innocenti he painted the Story of the Magi on a panel in
distemper, which is much extolled. In this are heads most beautiful in
expression and varied in features, both young and old; and in the head
of Our Lady, in particular, are seen all the dignity, beauty, and grace
that art can give to the Mother of the Son of God. On the tramezzo[24]
of the Church of S. Marco there is another panel, with a Last Supper in
the guest-room, both executed with diligence; and in the house of
Giovanni Tornabuoni there is a round picture with the Story of the Magi,
wrought with diligence. In the Little Hospital, for the elder Lorenzo
de' Medici, he painted the story of Vulcan, in which many nude figures
are at work with hammers making thunderbolts for Jove. And in the Church
of Ognissanti in Florence, in competition with Sandro di Botticello, he
painted a S. Jerome in fresco (which is now beside the door that leads
to the choir), surrounding him with an infinite number of instruments
and books, such as are used by the learned. The friars having occasion
to remove the choir from the place where it stood, this picture,
together with that of Sandro di Botticello, has been bound round with
irons and transported without injury into the middle of