They then went from Arezzo to Florence together, and Cristofano went to kiss the hands of the Duke, who received him readily and was struck with amazement, for the reason that, whereas he had thought to see some great bravo, he saw the best little man in the world. Cristofano was likewise made much of by Messer Sforza, who conceived a very great affection for him; and he then set his hand to the above-mentioned façade. In that work, Giorgio, because it was not yet possible to work in the Palace, assisted him, at his own request, to execute some designs for the scenes in the façade, also designing at times during the progress of the work, on the plaster, some of the figures that are there. But, although there are in it many things retouched by Vasari, nevertheless the whole façade, with the greater part of the figures and all the ornaments, festoons, and large ovals, is by the hand of Cristofano, who in truth, as may be seen, was so able in handling colours in fresco, that it may be said--and Vasari confesses it--that he knew more about it than Giorgio himself. And if Cristofano, when he was a lad, had exercised himself continuously in the studies of art--for he never did a drawing save when he had afterwards to carry it into execution--and had pursued the practice of art with spirit, he would have had no equal, seeing that his facility, judgment and memory enabled him to execute his works in such a way, without any further study, that he used to surpass many who in fact knew more than he. Nor could anyone believe with what facility and resolution he executed his labours, for, when he set himself to work, no matter how long a time it might take, he so delighted in it that he would never lift his eyes off his painting; wherefore his friends might well expect the greatest things from him. Besides this, he was so gracious in his conversation and his jesting as he worked, that Vasari would at times stay working in his company from morning till night, without ever growing weary.