at age
had not as yet much facility in the method of representing the emotions
of the soul with the brush. On the same wall there was a good figure in
a S. Ivo of Brittany, who had many widows and orphans at his feet, and
two angels in the sky, who were crowning him, were made with the
sweetest manner. This edifice and the pictures together were thrown to
the ground in the year of the war of 1529.

In Cortona, also, for Messer Aldobrandino, Bishop of that city,
Buonamico painted many works in the Vescovado, and in particular the
chapel and panel of the high-altar; but seeing that everything was
thrown to the ground in renovating the palace and the church, there is
no need to make further mention of them. In S. Francesco, however, and
in S. Margherita, in the same city, there are still some pictures by the
hand of Buonamico. From Cortona going once more to Assisi, Buonamico
painted in fresco, in the lower Church of S. Francesco, the whole Chapel
of Cardinal Egidio Alvaro, a Spaniard; and because he acquitted himself
very well, he was therefore liberally rewarded by that Cardinal.
Finally, Buonamico having wrought many pictures throughout the whole
March, in returning to Florence he stopped at Perugia, and painted there
in fresco the Chapel of the Buontempi in the Church of S. Domenico,
making therein stories of the life of S. Catherine, virgin and martyr.
And in the Church of S. Domenico Vecchio, on one wall, he painted in
fresco the scene when the same Catherine, daughter of King Costa, making
disputation, is convincing and converting certain philosophers to the
faith of Christ; and seeing that this scene is more beautiful than any
other that Buonamico ever made, it can be said with truth that in this
work he surpassed himself. The people of Perugia, moved by this,
according to what Franco Sacchetti writes, commanded that he should
paint S. Ercolano, Bishop and Protector of that city, in the square;
wherefore, having agreed about the price, on the spot where the painting
was to be done there was made a screen of planks and matting, to the end
that the master might not be seen painting; and this made, he put his
hand to the work. But before ten days had passed, every passer-by asking
when this picture would be finished, as though such works were cast in
moulds,[15] the matter disgusted Buonamico; wherefore, having come to
the end of the work and being distracted with such importunity, he
determined within himself to take