of saints on one side
diminishing in perspective, round the depth of a great recess, who
are distributed with such fine design that they seem to be real; and
the same may be seen on the other side. And in truth, in this manner
of colouring, he imitated to a great extent the works of Leonardo;
particularly in the darks, for which he used printer's smoke-black
and the black of burnt ivory. This panel has now become much darker
than it was when he painted it, on account of those blacks, which
have kept growing heavier and darker. In the foreground, among the
principal figures, he made a S. George in armour, who has a standard
in his hand, a bold, spirited, and vivacious figure, in a beautiful
attitude. There is also a S. Bartholomew, standing, a figure that
deserves the highest praise; with two children who are playing, one
on a lute, and the other on a lyre, one of whom he made with a leg
drawn up and his instrument resting upon it, and with the hands
touching the strings in the act of running over them, an ear intent
on the harmony, the head upraised, and the mouth slightly open, in
such a way that whoever beholds him cannot persuade himself that he
should not also hear the voice. No less lifelike is the other, who,
leaning on one side, and bending over with one ear to the lyre,
appears to be listening to learn how far it is in accord with the
sound of the lute and the voice, while, with his eyes fixed on the
ground, and his ear turned intently towards his companion, who is
playing and singing, he seeks to follow in harmony with the air.
These conceptions and expressions are truly ingenious; the children,
who are seated, and clothed in veiling, are marvellous and executed
with great industry by the practised hand of Fra Bartolommeo; and
the whole work is brought out into strong relief by a fine gradation
of dark shadows.

A little time afterwards he painted another panel, to stand opposite
to the former, and containing a Madonna surrounded by some saints,
which is held to be a good work. He won extraordinary praise for
having introduced a method of blending the colouring of his figures
in such a way as to add a marvellous degree of harmony to art,
making them appear to be in relief and alive, and executing them
with supreme perfection of manner.

Hearing much of the noble works made in Rome by Michelagnolo, and
likewise those of the gracious Raffaello, and being roused by the
fame, which was continually reaching him,