with the fame
derived from their studies. For Florence treats her craftsmen as time
treats its own works, which when perfected, it destroys and consumes
little by little.

Moved by these counsels, therefore, and by the persuasions of many
others, Pietro came to Florence, minded to become excellent; and
well did he succeed, for the reason that in those times works in his
manner were held in very great price. He studied under the
discipline of Andrea Verrocchio, and his first figures were painted
without the Porta a Prato, in the Nunnery of S. Martino, now in
ruins by reason of the wars. In Camaldoli he made a S. Jerome on a
wall, which was then much esteemed by the Florentines and celebrated
with great praise, for the reason that he made that Saint old, lean,
and emaciated, with his eyes fixed on the Crucifix, and so wasted
away, that he seems like an anatomical model, as may be seen from a
copy of that picture which is in the hands of the aforesaid
Bartolommeo Gondi. In a few years, then, he came into such credit,
that his works filled not only Florence and all Italy, but also
France, Spain, and many other countries to which they were sent.
Wherefore, his paintings being held in very great price and repute,
merchants began to buy them up wholesale and to send them abroad to
various countries, to their own great gain and profit.

For the Nuns of S. Chiara he painted a Dead Christ on a panel, with
such lovely and novel colouring, that he made the craftsmen believe
that he would become excellent and marvellous. In this work there
are seen some most beautiful heads of old men, and likewise certain
figures of the Maries, who, having ceased to weep, are contemplating
the Dead Jesus with extraordinary awe and love; not to mention that
he made therein a landscape that was then held most beautiful,
because the true method of making them, such as it appeared later,
had not yet been seen. It is said that Francesco del Pugliese
offered to give to the aforesaid nuns three times as much money as
they had paid to Pietro, and to have a similar one made for them by
the same man's hand, but that they would not consent, because Pietro
said that he did not believe he could equal it.

There were also many things by the hand of Pietro in the Convent of
the Frati Gesuati, without the Porta a Pinti; and since the said
church and convent are now in ruins, I do not wish, with this
occasion, and before I proceed further with this Life, to gr