Lives of the Most Excellent Painters, Sculptors, and Architects/Il Cronaca

by Giorgio Vasari

 

THE FLORENTINE ARCHITECT SIMONE, CALLED IL CRONACA.

[born 1455—died 1509.]

Many are the men of genius by whom rare and excellent works would undoubtedly be produced, if, at their entrance into life, they had been thrown into contact with such as were both able and willing to direct their activity towards the mode of exertion best suited to their powers and endowments. But it too frequently happens, that those great or rich men who have the ability to do this, have neither the knowledge nor the requisite will. Many of these persons, for example, desiring to erect some great and important edifice, will not give themseh'es the trouble to seek an architect of adequate endoTvments and of highly elevated mind, but on the contrary, place their glory and reputation in the hands of ignoble and dishonest persons, by whom their name is discredited and their memory disgraced in the very works which should have contributed to their lasting honour. Nay, not unfrequently, for the mere sake of bringing forward those who are willing to depend wholly on their patronage, (such is the force of an ill-understood ambition,) men will often reject the meritorious designs which may be presented to them, while they cause the most worthless to be put in execution; whence it follows, that their own fame is diminished by the poverty and insufficiency of the work; for all who have judgment in such matters, consider the artist and his employer to be of one mind, since they are conjoined in one and the same work. But, on the other hand, how many have been the princes, who, however little they know themselves, have yet, from the circumstance of having met with masters of judgment and excellence, obtained no less glory after their death for the buildings erected by them, than they enjoyed during their lives, from the dominion which they exercised over the nations.

Now in this respect Cronaca Avas in his time most fortunate, seeing that he possessed much knowledge, and also found those who gave him opportunities for showing what he could do, and that in works which were all of a grand and magnificent character. Of this artist we find it related, that at the time when Antonio Pollaiuolo was in Rome, and much occupied with the monuments of bronze which he was constructing in St. Peter’s, there came to his house a youth of his kinsmen, called Simone,^[1] who had fled from Florence on account of certain quarrels. This young man, who had been placed with a master in wood-work, had a gre^at inclination to the study of architecture, and began to examine the beautiful antiquities of Rome,^[2] wherein he found a perpetual delight; he therefore employed himself with infinite assiduity in the admeasurement of the same. Continuing this occupation, he had been no long time in Rome before he began to give evidence of the progress he had made, not only in that study of the proportions, which we have just indicated, but also in the the proper methods of executing such works as might be proposed for erection.

Having proceeded thus far, Simone resolved to return to Florence. He left Rome accordingly, and when he arrived in his native place, having that facility of speech which goes far towards the making of an effective narrator, he would often describe the wonders of Rome, or such remarkable objects as he had seen in other places; but this he did with so much exactitude, that he was ever afterwards called Il Cronaca, or the Chronicler, and that because it did truly appear to all who heard his relations, as though he were himself a chronicle of events, so minute and accurate were his descriptions.

In course of time this artist rendered himself so good a master, that he was reputed to be the best among the modern architects of Florence; he showed a particular discernment in his choice of sites, and gave manifest proof also of a more elevated mind than was displayed by many of those who were attached to the same profession. The fact that he was an excellent imitator of the works of antiquity, was rendered obvious in all the buildings erected by him; and which also clearly proved the closeness wherewith he observed the rules of Vitruvius, and the careful study which he gave to the works of Filippo Brunelleschi.

There was at that time living in Florence, that Filippo Strozzi, who is now called the elder, to distinguish him from his son,^[3] and who, possessing great riches, desired to leave to his country and his children, one memorial among many others, in the form of a handsome palace. Benedetto da Maiano was accordingly summoned by him for that purpose, when this master prepared him a model, which was entirely isolated from every neighbouring fabric, the design was placed in execution accordingly, but not in all its extent, seeing that certain of Filippo’s neighbours refused to make space for it and accommodate him by yielding up their houses, as will be related hereafter. Benedetto, therefore, had to commence the palace in the best manner he could; but he brought the external works of the building almost to their completion before the death of Filippo. This outer shell is in the rustic manner, but with certain gradations, as is clearly seen, since the lower part, that beneath the first range of windows, namely, has its blocks of a much more elevated form, and of a more decidedly rustic character, than has that above it, as may be said of the doors; the portion between the first range of windows and the second, is indeed of a character much less decided.

Now it happened, that just at the time when Benedetto was leaving Florence, II Cronaca had returned to that city from Rome, when he was proposed as an assistant to Filippo, whom he pleased greatly by the model which he made for the court yard, and for the large cornice which he also designed and which goes entirely around the Palace on the outer side. Instantly perceiving, therefore, that Cronaca was a man of extraordinary gifts, Filippo determined that the whole work should thenceforward pass through his hands, and be conducted by him alone: indeed Brunellesco availed himself ever afterwards of the services of Cronaca. Continuing the building in the Tuscan manner therefore, the latter not only gave to it the exceeding beauty which all admire in the whole of the exterior, but also added a magnificent Corinthian cornice to the summit of the walls and immediately beneath the roof, to which it serves as the completion. Of this cornice the half is now seen in its finished state, and this exhibits such remarkable grace, that nothing could possibly be added to its beanty, nor could anything more admirable be desired.^[4] The cornice here referred to was copied by Cronaca from an antique example which may be found at Spogliacristo, and which the architect had copied with its exact measurements, while he was in Rome, where it is esteemed to be among the most beautiful of the many preserved in that city. It is true that he enlarged this work to the proportions required for the palace that he was constructing, to the end that it might form a suitable finish, and with its ressaults might complete the roof of the building. Thus did the genius of Cronaca enable him to avail himself of the works of others, and even to make them become almost as his own, a thing which few succeed in accomplishing; for the difficulty does not consist in merely becoming possessed of drawings and copies from fine works, but in knowing how to use them in such sort that they shall be in harmony with that to which they are applied, and shall conduce to the beauty, grace, and convenience of the whole, in due measure and proportion.

But just as much as the cornice of Cronaca has been and ever will be commended, has that which Baccio Agnolo constructed for the Palace of the Bartolini, in the same city, been censured and vituperated: for to the end that he might imitate II Cronaca, Baccio D‘Agnolo added to the fa9ade of a small building of slight construction, a large and heavy antique cornice with the exact proportions of that on the front of Monte Cavallo:^[5] but this succeeded so ill, from the fact that it had not been judiciously suited to the edifice, that the effect could not well be worse, and the building reminds the spectator of a small head half buried beneath a huge cap.^[6]

It is not sufficient that an artist, when he has completed his work, shall remark, as many do, in excuse for its defects, “it has the exact proportions of the antique and has been copied from good masters,” seeing that a sound judgment and correct eye avail more in all cases than does the mere admeasurement with the compass. But the cornice executed by Cronaca was adapted, as we have said, with infinite art to that palace; he carried it entirely around the one half of the building, adding the denticulated and oviform ornaments, which are exceedingly beautiful, and completing the whole on two of the sides; he gave so well-considered a counterpoise moreover, to the stones of which it was constructed, balancing and securing all with so much ability, that it is not possible to see masonry more judiciously executed, or to find any building carried to perfection with more care. In like manner all the other stones of this palace have been so carefully finished, and are conjoined with such admirable skill, that they have not so much the appearance of having been added one to another as that of being all in one piece. And furthermore, that every thing might be in harmony, the architect caused exceedingly beautiful ornaments of ironwork to be constructed for all parts of the palace, all which, together with the frames or lanterns for holding torches, which are placed at the angles of the edifice, were executed with the utmost ability and diligence by Niccold Grosso Caparra, a smith of Florence.

With ’respect to these admirable lanterns, in each one of them are to be seen cornices, columns, capitals, &c., all constructed in iron with the most surprising and masterly skill, nor has any modern artificer executed works in iron so large and so difficult, with knowledge and ability equal to those herein displayed by Caparra.

Now this Niccolo Grosso was a somewhat fanciful personage, and not a little obstinate, a just man in bis way and very exact in his dealings, whether as regarded his own interest or that which belonged to another, nor ever desiring more than his due; but he would never give credit to any one, and from all for whom he executed works of any kind he demanded earnest-money.” For this cause Lorenzo de’ Medici always called him Caparra,^[7] by which name he soon became known to many others also. To his shop this Caparra or Niccolo Grosso, had a sign affixed, on which he had caused books burning to be represented, and to any one who requested time for his payments, Niccolb would reply, “I cannot give it, for my books are burning, as you see, so that no more debtors can be inscribed therein.”

Niccolo Grosso had received orders to make a pair of andirons for the captains of the Parte Guelfa, and these being duly finished, were more than once sent for, but Niccolo constantly replied, “here do I labour and toil on this anvil, and hereon it is that I will have my money paid me.” Whereupon the captains again sent to demand the work ordered, causing Niccolo to be told at the same time that he might go to fetch his money and should be paid immediately, but he obstinately replied that they should first bring him the the money. The Froveditore thereupon fell into a rage, for the captains desired to see the work, and he sent a message to Niccolo, reminding him that he had already received one half of the money, and bidding him once more send the andirons, when he should be paid the remainder. Hearing this, Caparra acknowledged it to be true, and gave one of the audirons to the messenger, saying, here, carry them this one, for that belongs to them, and if it please them, bring me back the rest of the money, then I will send the other andiron, but not before, for that other belongs to me.” The officials having seen the admirable work he had made for them, despatched his money to the shop forthwith, whereupon he sent them the remaining andiron.

I find it further related, that Lorenzo de’ Medici desired to have various kinds of iron work prepared, intending to send them to different places as presents, and to the end that the excellence of Caparra might be made known. He consequently went in person to the work-shop and there chanced to find the master busily occupied with various works for certain poor people from whom he had received a part of the payment as earnest money. When Lorenzo therefore requested him to prepare the objects desired, the utmost that he could obtain from Caparra was the remark that he could promise nothing, until he had first satisfied the persons above mentioned. They had come first to his shop, he said, and must be first served, their money being quite as acceptable to him as that of Lorenzo.

Some young men of the city one day brought a drawing to this artificer, begging him to make them an iron instrument after that design, the object required being one wherewith other instruments or fastenings of iron might be forced or sprung by means of a screw; but Caparra would have nothing to do with the matter; on the contrary, he reproved those gentlemen roundly, declaring that the thing they demanded was fit for nothing but to be the tool of thieves, or to aid them in the abduction or disgrace of maidens. “I tell you,” quoth Niccolo Grosso, that works of this kind are not fit for me to construct, or for you, who seem to be honest men, to use.” Finding that they could make nothing of Caparra, the young men desired him to tell them who there was in Florence that would be likely to prepare them what they wanted, but the smith fell into a violent rage at this request, and drove them out of his workshop with violent abuse.

Niccolo Grosso would never work for Jews, declaring that their money was dirty and had an evil odour; he was an upright and religious man, but very whimsical and obstinate; he could never be prevailed on to leave Florence, though very great offers were made to him; so there he lived and died. I have thought it well to make this memorial of Caparra, because he was certainly quite unique in his calling; he never has had, nor do I think that he ever will have an equal: many proofs of his skill may still be seen in Florence, but more particularly in the iron works of the Strozzi Palace, above all in the lanterns, which are most beautiful.^[8]

This building was completed with great ability by Cronaca, who adorned it with a magnificent court in the Corinthian and Doric orders, and with the rich ornaments of columns, capitals, cornices, &c., as well as the doors and windows, which are all finished to the utmost perfection. And if it should appear to any one that the inside of this palace does not correspond with the exterior, be it known to him that the fault of this is not to be attributed to Cronaca, since he was compelled to accommodate his work to the external shell, which had been commenced by others, and was forced to permit himself to be guided in a great measure by what had previously been arranged by those who had preceded him, nor is it a small matter that he has been able to give it so great a degree of beauty as we now see it to possess. The .same answer may be rendered to all who shall remark, that the ascent of the stairs is not sufiiciently gentle and does not rise by just degrees, but is much too steep and sudden; and a similar reply must in like manner be given to him who may observe, that the chambers and other apartments do not accord as we have said, with the splendour and magnificence of the exterior: this palace can nevertheless by no means be considered as other than a truly handsome fabric, since it is equal to any private building erected in Italy during our times: wherefore Cronaca has obtained and will ever merit infinite commendation for that work.

The same master constructed the Sacristy of Santo Spirito in the city of Florence; this is in the form of an octangular temple, the proportions are very fine, and it is very elegantly designed: among other particulars to be remembered in this edifice are certain capitals executed by the fortunate and skilful hand of Andrea dal Monte San Sovino, and which are finished with extraordinary delicacy and perfection. The ante-room of that Sacristy is also admired and considered a very fine work, although the distribution of the parts above the columns cannot as I propose to remark hereafter,^[9] be called a very judicious one.^[10] Our architect also built the church of San Francesco dell Osservanza which is situate on the declivity of San Miniato, outside tlie gates of Florence,^[11] as he likewise did the whole of the convent belonging to the Servite monks, which has been highly commended.^[12]

Now about this time the great hall of the Council in the palace of the Signoria at Florence was on the point of being constructed, by the advice of Fra Girolamo Savonarola, who was then a very celebrated preacher; opinions on the subject were therefore demanded from Leonardo da Vinci, Michelagnolo Buonarroti, who was at that time still a young man, Giuliano da San Gallo, Baccio D’Agnolo, and Simone del Pollaiuolo, called II Cronaca, who was a devoted friend and follower of Savonarola. After much discussion, therefore, and many disputes, these masters at length became of one accord, and decided that the hall should be constructed after the manner which it retained down to our own time, when it was almost entirely rebuilt, as I have already mentioned and as will be related more at large in another place. Of all this work the entire execution was confided to Cronaca, not only because he was considered an able artist, but also as being the friend of the above-named Fra Girolamo, and he conducted it to completion with great promptitude and assiduity, giving evidence of his remarkable ability, more particularly in the construction of the roof. The building is one of great extent in every direction, and the wood work supporting the rafters extending to a length of thirty-eight braccia from wall to wall, was formed of several beams well bound and dovetailed together, seeing that it was not possible to find any single beam of sufficient size for the purpose. Cronaca therefore constructed his tie-beams, of several pieces carefully scarfed and joined together; and whereas there is usually but a single king-post to each pair of principals, those of this hall have three, one king and two queen-posts namely, the braces and spurs also were of proportionate dimensions, and the spurs of the queen-posts crossing those of the king-post, abutted against the centre of the latter.

I have desired to describe the method in which these timbers have been placed, because they were managed very judiciously, and with much care and forethought. I have indeed frequently seen the plan copied by different artists, for the purpose of being sent into distant parts.

When raised, the principals were placed at the distance of six braccia apart, and the roof being covered in with unusual expedition, Cronaca then fixed the joists, which were made of single timbers. The ceiling was at that time simply of wood divided into square compartments, of which each was four braccia square, and was surrounded by a cornice of very simple character; but there was a plane surface reserved, the width whereof was equal to the thickness of the beams, and this, enclosing the square compartments, went entirely around the whole building; the intersections being decorated with pendants, as were also the angles of the ceiling. The two ends of the Hall were out of square to the extent of eight braccia, but, instead of resolving, as they might have done, to thicken the walls in such a manner as to render the interior square, which could have been effected very easily, they constructed them of equal thickness throughout, up to the roof. They then formed three large windows at either end. But when the work was concluded, the great size of the Hall caused it to appear too dark; it had, moreover, a stunted and dwarfed effect, notwithstanding the vastness of its extent, seeing that the height was not commensurate to the great length and width of the building. The fabric was, in short, altogether ill-proportioned, and an attempt was made, but not with any great success, to improve it by adding two windows in the centre of the eastern side, and four on that of the west. Finally, and for the ultimate completion of the work, they erected on the floor, which was of brick, a Tribune of wood, three braccia high and of similar width, and this, at the solicitation of the citizens, was constructed with great rapidity. On this Tribune, which was furnished with seats in the manner of a theatre, and had a balustrade in front, all the magistrates of the city were to take their places; but in the centre of the side which is turned towards the east, was a more important erection, intended for the Gonfaloniere of Justice and the Signori. On each side of this elevated place was a door, and one of these two doors conducted to the Chamber of Council, the other to the Office of Registers. Opposite to this, and on the side towards the west, was an Altar, whereon Mass was read, with a picture from the hand of Fra Bartolommeo, as we have before said,^[13] and beside the Altar was the Oratory for Prayer. In the centre of the Flail were benches for the citizens; these were placed along the length and across the width of the building, and in the centre of the Tribune, as well as at the angles, were passages, each having six steps, for the use of the ushers and others, who were required by their offices to bring forward the different parties appearing before the magistrates.

This Hall was at the time much commended, as having been erected with great promptitude, and, in some respects, with much judgment also; but time has since revealed its defects more clearly, and has shown it to be, as it is, low, dark, melancholy, and out of square. There are, nevertheless, many excuses to be made for II Cronaca and the rest, seeing that the citizens had hurried forward the work unduly, intending to have the Hall adorned with pictures, and the ceiling covered with gold: and also because there had at that time been no Hall so large erected in Italy, although there were some of great extent in that country; as, for example, the Flail of the Palace of San Marco in Rome, that of the Vatican, built by the Popes Pius H. and Innocent VIIL, with those of the Gastello in Naples, and the Palace in Milan, to say nothing of others existing in Urbino, Venice, and Padua.^[14]

At a later period, and aided by the counsels of the same masters, R Cronaca constructed a grand staircase, six braccia wide, to serve as the ascent into this Hall; these stairs he divided into two winding flights, each richly decorated in macigno stone, with Corinthian columns and capitals, double cornices and arches, all in the same stone. The vaultings were coved, the windows ornamented with columns of vein-coloured marble, and the capitals were also of marble, finely sculptured. This work was likewise much commended, but it would have been still more highly extolled, had the ascent not been rendered incommodious by its too great steepness, since it is certain that the steps might have been made to rise more gradually, even in the same amount of space, because that has been done for the Duke Cosimo, by Giorgio Vasari, opposite to those erected by Cronaca, and with no greater extent of room to work in: this last-mentioned staircase being of so gentle an ascent and so commodious, that the mounting them is but very little more fatiguing than going over level ground; and this has been done • by order of the Duke Cosimo, who, in all things, as well as in the government of his people, gives evidence of a most happy genius and the most profound judgment. No expense nor other obstacle is suffered to impede his plans; for which cause all the fortifications and other edifices, public or private, when he has taken them in hand, afford proof of the greatness of his mind; being rendered no less beautiful than useful, and no less useful than beautiful.

His Excellency, therefore, considering that the body of this Hall is the largest, the most magnificent, and the handsomest in all Europe, has resolved that it shall be improved in all those parts which are defective, and that in all other parts it shall be richly decorated after the designs and by the labours of the Aretine, Giorgio Vasari, whom he has commanded to enrich it with ornaments that shall surpass those of all the other edifices in Italy.

The wallshaving been raised therefore, twelve braccia higher than they originally were, so that the height of the building from the ground to the ceiling is now thirty braccia, the rafters wherewith II Cronaca supported the roof have been restored and re-erected after a new arrangement; the old ceiling has also been altered and remodelled, seeing that it was too ordinary, too simple, and altogether unworthy of such a Hall: it has been embellished by a richer variety in the compartments, with more beautiful cornices, adorned with carved work and covered with gold; there have, moreover, been added thirty-nine pictures in oil, of round and octangular forms, the greater part of which are nine braccia in extent, and some of them even larger; these pictures exhibit historical delineations, the larger figures of which are from seven to eight braccia high.

In these paintings are depicted events from the history of Florence, commencing with the earliest period; they represent the extension and improvement of the city, the honours, the victories, and all other great events or illustrious deeds by which the glory of the state and town have been increased; more particularly those respecting the war with Pisa and Sienna, with an infinite variety of other circumstances, the relation of which would lead me too far. A convenient space of sixty braccia in extent has also been left in both of the side-walls, for the purpose of executing three pictures in each,^[15] to correspond with the ceiling and to include the space of seven compartments on each side, the subjects whereof are also taken from the wars of Pisa and Siena. These mural-paintings are so large, that no space of greater extent has yet been seen filled with historical pictures, either among the ancients or the moderns. The compartments are furthermore adorned by exceedingly massive stones which meet at the end of the Plall, where on one side, the north that is to say, the Signor Duke has caused an apartment to be be completed, which was commenced and carried forward to a considerable extent by Baccio Bandinelli; this is richly decorated with columns, -pilasters, and niches filled with marble statues, and is intended to serve as a public audiencechamber, as will be related in its proper place.

On the other side, and opposite to this, there is to be another and similar apartment, which is now in course of construction by the sculptor and architect Ammanato, with a fountain in the Hall, which is to throw up water, and to be surrounded by a rich and beautiful decoration of columns and statues in marble and bronze. Nor will I affect to conceal, that by thus raising the roof of the Hall these twelve braccia, the structure has not only acquired freedom, but a most ample quantity of light also, seeing, that in addition to the windows of the upper part, there are three very large ones about to be constructed at each end; these will look upon a corridor, which forms a loggia within the Hall, and on one side extends over the apartment erected by Bandinelli; from this erection there will be a very fine view across the whole of the Piazza.

But of this Hall, and of other improvements, which have been or are to be made in this Palace,^[16] I propose to speak at more length in another place;^[17] for the present I will merely remark, that if II Cronaca and the other ingenious artists, who gave the design of this Hall, would return to life, it is my belief, that they would not recognize either the Palace, the Hall, or anything else that is there.^[18] The Hall, that part of it namely which is in square, has a length of ninety braccia, and is thirty-eight braccia wide, omitting all mention of the additions made by Bandinelli and Ammanato, as above described.

But to return to Il Cronaca. In the last years of his life he became possessed with such a frenzy for the discourses of Fra Girolamo Savonarola, and his head was so filled with them, that he would speak of nothing else. This master died in 1509,^[19] after an illness of some duration, in the fiftyfifth year of his age. He received honourable sepulture in the Church of Sant' Ambruogio, in the city of Florence and no long time after his decease the following epitaph was written for him by Messer Giovanni Battista Strozzi:—

Vivo e mille e mille anni e mille ancora,
  Mercè de' vivi miei palazzi e tempi,
Bella Roma, vivrà l'alma mia Fiora.^[20]

Il Cronaca had a brother called Matteo, who gave his attention to sculpture, and was a disciple of Antonio Rossellino; but although he possessed much talent and ability, drew well, and had great practice in working in marble, he yet left no completed work, death having taken him from the world in his nineteenth year; wherefore he had no opportunity for the fulfilment of those hopes which had been conceived of his further progress by all who knew him.

---

1. In the life of Andrea Cantucci di Monte San Savino, which follows, Vasari calls this master Simone del Pollaiuolo. In his will, cited by Gaye, Carterjgioy &c., he is described as Simon Masi, Archiiectus et Sculptor excellentissimus de Florentia.
2. At that time there were great numbers of these remains in excellent preservation, whereas now we have but few, and those few spoiled or disfigured, a loss which we owe to the depraved taste of ignorance, and to the ruin entailed by presumption. —Bottari. Roman Edition of Vasari, 1759.
3. This “son” was that Filippo Strozzi who, being imprisoned dnring the reign of Cosmo I., destroyed himself with his own hand, and who, according to some historians, wrote the following verse from Virgil with his blood, while dying:—

   Exoriare aliquis nostris ex ossibus ultor.

   whence he has been called the Tuscan Cato. From a MS, by this younger Filippo, Gaye has furnished us with the history of the building in question. See the Kunstblatt, No. 67, (1837.) See also the Carteggio inedito, &c., of the same author, where a more circumstantial relation will be found.

4. The remaining half of this work has never been completed.— Ed. Flor. 1832-8.
5. This front was that which looked on the Gardens of the Contestabile; it has now been demolished. —Bottari.
6. Notwithstanding this defect, the design of this palace was afterwards copied, to the end that a similar one might be constructed for the Duke de Retz, in the Hue Montmartre, at Paris.—Ed. Flor. 1832-8.
7. Caparra,—earnest-money.
8. The lanterns here mentioned, with certain large hells, and the branches, with their sockets for holding torches, are still remaining.—Ed. Flor. 1832-8.
9. In the life of Andrea Contucci, of Monte San Savino, namely,
10. From this sacristry, with its ante-chamber, Ventura Vitoni, the disciple of ’Bramante, took his model for the beautiful church of the Madorna deir Umilta, in Pistoja. Ed. Flor. 1832 -8.
11. This is an exquisitely beautiful church, and it is said that Michael Angelo was accustomed to call it his “fair country maiden.” — Bottari, Roman Edition of Vasari, 1759.
12. Little beside the first cloister of this convent, that called Del Pozzo namely, now remains of the building erected by Cronaca,—Bottari, loc. cit.
13. See Life of Fra Bartolommeo, vol. ii. p. 461.
14. Milizia, in the life of Pietro Cozzo, calls the Hall of Padua the largest in the world, but in his life of Simone Pollaiuolo, he agrees with Vasari in declaring that of Florence to be the largest of which Italy can boast.— Ed. Flor. 1832 -8.
15. Painted by Giorgio Vasari, with the assistance of Giovanni Stradano.
16. That of the Signoria.
17. Vasari has already mentioned certain of the facts here mentioned, in the life of Michelozzo, (see vol. i.); these repetitions have caused Bottari to believe that Vasari wrote his Lives in fragments and detached morsels, forgetting at one time what he had said at another, and consequently repeating facts already stated, almost in the same words. See Roman Edition of Vasari. The further mention here promised is given by Vasari with considerable detail in his own life, which follows.
18. Vasari has said nearly the same thing respecting Michelozzo in the life of that master. See vol. i.
19. Doctor Gaye, Carteggio, vol. ii. p. 481, gives the date of his death 1500. This is most probably an error of the press, since from documents given in the Carteggio itself we find that II Cronaca died in Sept., 1508. In the same work we have a proof of this master's disinterestedness, in a document relating the fact, that being chosen architect for the cathedral, he would accept no more than twelve gold ducats per annum, in place of the twenty-five which formed the usual salary, assigning as a reason, that the amount of building formerly required was no longer demanded for the cathedral.

20. Thousands of years I live, and thousands more,

    And still more thousands do I live, in you.

    My living temples and my palaces. Rome lives,

    Fair Rome! and thou, mine own loved. Florence

    Thou too shalt live.