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Updated: September 6, 2025
In a chapel in S. Trinita he made in fresco a very beautiful Annunciation; and in the Church of S. Apostolo, on the panel of the high-altar, he made in distemper the Holy Spirit being sent down on the Apostles in tongues of fire. In S. Lucia de' Bardi, likewise, he painted a little panel, and another in S. Croce, larger, for the Chapel of S. Giovanni Battista, which was painted by Giotto.
At the side of the high-altar towards the sacristy Bishop Andrea was buried, and here are also the remains of Coloman, brought in 1117 from Zara Vecchia, where he died. Cicca died in 1096. Just within the door to the right is a Christ crowned with thorns, and the Virgin lamenting a good picture of the school of Titian, if not by the master. There is also a SS. Peter and Paul by Palma Vecchio.
At Chiusuri in the district of Siena, the principal seat of the Monks of Monte Oliveto, he painted eleven scenes of the life and acts of S. Benedict on one side of the cloister. And from Cortona he sent some of his works to Montepulciano; to Foiano the panel which is on the high-altar of the Pieve; and other works to other places in Valdichiana.
The church and convent were afterwards pulled down on account of the siege, and the picture was carried into the city and placed in the Priests' Hospital in the Via di S. Gallo, and then from there into the Convent of S. Marco, and finally into S. Jacopo tra Fossi on the Canto degli Alberti, where it stands at the present day on the high-altar.
For the Church of S. Gismondo, without the city, he painted in oils the altar-piece of the high-altar, which was very beautiful on account of the diversity and multitude of the figures that he executed in it, in competition with the many painters who had worked in that place before him.
A chronogram over the church door gives the date 1730, but it was founded in 1453 by one of the Frangipani counts on the site once occupied by the Nazareth House now at Loreto, the tradition being that this rested here for three years and seven months, from 1291 to 1294; and in a dark passage behind the high-altar a room is still shown said to be a part of it.
In carving, he executed the ornaments of that same chapel, those of the high-altar in the Nunziata, the decorations of the organ in S. Maria Novella, and a vast number of other works, both public and private, in his native city of Florence.
The high-altar was under a baldacchino; there was a throne for the abbot, and seats in the choir for the monks. The windows were small and round-headed, filled with pierced slabs. The ancient door of entrance is between Nos. 27 and 33, Via Abbazia a round arch simply moulded, with a dentil round the tympanum and a lintel below.
He also designed one for the Bishop of Troia, who had it built in the Via di S. Gallo at Florence. For the Black Friars of S. Sisto in Piacenza, he painted the picture for their high-altar, containing the Madonna with S. Sisto and S. Barbara, a truly rare and extraordinary work.
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.
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