scholar, to come from Rome, determining that all which was then wanting to the altar, and was not finished in marble, should be executed in terra, and employing Yincenzio to assist him in the completion of the two Angels which bear the chandeliers at the corners, as well as in the execution of the greater part of the stories on the predella and in the basement.[1]
The decorations were in this manner all arranged in their respective places, to the end that the effect which the whole was to have when finished might be seen, and Bandinelli took much pains to prevail on the Duke to go and look at the work, before it should be given to public view. But his Excellency could never be persuaded to go, nay, even though the Duchess, who desired to favour Baccio in this matter, requested him to do so, he would not comply; nor did he ever go to see the work, being displeased that, of so many labours Baccio had never completed any one, although he, the Duke, had enriched that artist and conferred various honours on him as well as done him many favours, to the infinite displeasure of the Florentine citizens. His Excellency was nevertheless disposed to assist and bring forward Clemente, the natural son of Baccio, a youth of considerable promise, and who had made very commendable acquisitions in drawing, the Duke believing that it would eventually rest with him to complete the undertakings of his father.
About this time, which was in the year 1554, the Aretine Giorgio Vasari arrived from Rome, where he had been in the service of Pope Julius III., and having thus returned to Florence, was employed for many works which his Excellency had a wish to see done, more particularly in the restoration of certain edifices, the decoration of the palace on the Piazza, and the construction of the G-reat Hall, as was seen at a later period. In the following year, moreover, Giorgio Vasari caused the sculptor Bartolommeo to coine from Rome, and engaged him in the service of the Duke, to the end that he might execute the other façade, that opposite to the audience-chamber, commenced by Bandinelli namely, with the fountain which was to be constructed in the centre
- ↑ The Angels and other works in terra no longer remain. — Ed. Flor., 1832-8.
