des which, he was not much used to
making journeys, for the reason that, having built himself a little
house in Siena, and having also a vineyard a mile beyond the Porta a
Camollia, which he cultivated with his own hand as a recreation, going
there often, it was a long time since he had gone far from Siena. Having
then arrived in Genoa, he painted a scene there, beside that of
Pordenone, in which he succeeded very well, and yet not in such a manner
that it could be counted among his best works. But, since the ways of
the Court did not please him, being used to a life of freedom, he did
not stay very willingly in that place, and, indeed, appeared as if he
were stupefied. Wherefore, having come to the end of that work, he
sought leave of the Prince and set out to return home; and passing by
Pisa, in order to see that city, he met with Battista del Cervelliera
and was shown all the most noteworthy things in the city, and in
particular the altar-pieces of Sogliani and the pictures that are in the
recess behind the high-altar of the Duomo.

Meanwhile Sebastiano della Seta, the Warden of Works of the Duomo,
having heard from Cervelliera of the qualities and abilities of
Domenico, and being desirous to finish the work so long delayed by
Giovanni Antonio Sogliani, allotted two of the pictures for that recess
to Domenico, to the end that he might execute them at Siena and send
them finished to Pisa; and so it was done. In one is Moses, who, having
found that the people had sacrificed to the Golden Calf, is breaking the
Tables; and in this Domenico painted some nudes that are figures of
great beauty. In the other is the same Moses, with the earth opening and
swallowing up a part of the people; and in this, also, are some nudes
killed by flaming thunderbolts, which are marvellous. These pictures,
when taken to Pisa, led to Domenico painting four pictures for the front
of that recess--namely, two on each side--of the four Evangelists, which
were four very beautiful figures. Whereupon Sebastiano della Seta, who
saw that he had been served quickly and well, commissioned Domenico,
after these pictures, to paint the altar-piece of one of the chapels in
the Duomo, Sogliani having by that time painted four. Settling in Pisa,
therefore, Domenico painted in that altar-piece Our Lady in the sky with
the Child in her arms, upon some clouds supported by some little Angels,
with many Saints both male and female below, all executed passing well,