e from the bottom of
the basin, and gave it back to him when he thought the time had come,
saying: "Father, this is yours; learn to trust honest men, who never
cheat those who trust them, although, if they wished, they could cheat
such distrustful persons as yourself."

By reason of these works, then, and many others, Pietro came into
such repute that he was almost forced to go to Siena, where he
painted a large panel, which was held very beautiful, in S.
Francesco; and he painted another in S. Agostino, containing a
Crucifix with some saints. A little time after this, for the Church
of S. Gallo in Florence, he painted a panel-picture of S. Jerome in
Penitence, which is now in S. Jacopo tra Fossi, where the aforesaid
friars live, near the Canto degli Alberti. He was commissioned to
paint a Dead Christ, with the Madonna and S. John, above the steps
of the side-door of S. Pietro Maggiore; and this he wrought in such
a manner, that it has been preserved, although exposed to rain and
wind, as fresh as if it had only just been finished by Pietro's
hand. Truly intelligent was Pietro's understanding of colour, both
in fresco and in oil; wherefore all experienced craftsmen are
indebted to him, for it is through him that they have knowledge of
the lights that are seen throughout his works.

[Illustration: CHRIST GIVING THE KEYS TO S. PETER

(_After the fresco by =Pietro Perugino=. Rome: Sistine Chapel_)

_Alinari_]

In S. Croce, in the same city, he made a Pieta--that is, Our Lady
with the Dead Christ in her arms--and two figures, which are
marvellous to behold, not so much for their excellence, as for the
fact that they have remained so fresh and vivid in colouring,
painted as they are in fresco. He was commissioned by Bernardino de'
Rossi, a citizen of Florence, to paint a S. Sebastian to be
sent into France, the price agreed on being one hundred gold crowns;
but this work was sold by Bernardino to the King of France for four
hundred gold ducats. At Vallombrosa he painted a panel for the
high-altar; and in the Certosa of Pavia, likewise, he executed a
panel for the friars of that place. At the command of Cardinal
Caraffa of Naples he painted an Assumption of Our Lady, with the
Apostles marvelling round the tomb, for the high-altar of the
Piscopio; and for Abbot Simone de' Graziani of Borgo a San Sepolcro
he executed a large panel, which was painted in Florence, and then
borne to S. Gilio in the Borgo on the shoulders of