. And in the Chapel of S.
Niccolo, in the said church, he painted a panel for Messer Benedetto
Calera.

After this, returning to Florence, he painted a S. Bernard on a
panel for the Monks of Cestello, and in the chapter-house a
Crucifix, the Madonna, S. Benedict, S. Bernard, and S. John. And in
S. Domenico da Fiesole, in the second chapel on the right hand, he
painted a panel containing Our Lady and three figures, among which
is a S. Sebastian worthy of the highest praise. Now Pietro had done
so much work, and he always had so many works in hand, that he would
very often use the same subjects; and he had reduced the theory of
his art to a manner so fixed, that he made all his figures with the
same expression. By that time Michelagnolo Buonarroti had already
come to the front, and Pietro greatly desired to see his figures, by
reason of the praise bestowed on him by craftsmen; and seeing the
greatness of his own name, which he had acquired in every place
through so grand a beginning, being obscured, he was ever seeking to
wound his fellow-workers with biting words. For this reason, besides
certain insults aimed at him by the craftsmen, he had only himself
to blame when Michelagnolo told him in public that he was a clumsy
fool at his art. But Pietro being unable to swallow such an affront,
they both appeared before the Tribunal of Eight, where Pietro came
off with little honour. Meanwhile the Servite Friars of Florence,
wishing to have the altar-piece of their high-altar painted by some
famous master, had handed it over, by reason of the departure of
Leonardo da Vinci, who had gone off to France, to Filippino; but he,
when he had finished half of one of two panels that were to adorn
the altar, passed from this life to the next; wherefore the friars,
by reason of the faith that they had in Pietro, entrusted him with
the whole work. In that panel, wherein he was painting the
Deposition of Christ from the Cross, Filippino had finished the
figures of Nicodemus that are taking Him down; and Pietro continued
the lower part with the Swooning of the Madonna, and certain other
figures. Now this work was to be composed of two panels, one facing
towards the choir of the friars, and the other towards the body of
the church, and the Deposition from the Cross was to be placed
behind, facing the choir, with the Assumption of Our Lady in front;
but Pietro made the latter so commonplace, that the Deposition of
Christ was placed in front,