and by the aid of the plans and sections which he had likewise prepared, there might eventually be made a much larger one in wood. Such a model was accordingly constructed in somewhat less than a year, and under Michelagnolo’s guidance, by Maestro Giovanni Franzese, who worked at the same with much zeal and care. The dimensions and minute proportions of this smaller structure, measured by the ancient Foman palm, corresponded in every particular with those of the great Cupola, all the parts being executed with extreme nicety; the members of the columns, the bases, capitals, doors, windows, cornices, ressaults, and every other minutia, being represented in such sort that no better work of the kind could be effected. It may indeed be affirmed that, not in all Christendom, nor indeed through the whole world, is there a grander or more richly decorated structure than will be that now in question.
And since we have taken the time to notify objects of so much less importance, I think it will be our duty as well as profitable to our readers, to describe the design according to which Michelagnolo proposed to construct this Church and Cupola; wherefore, with such brevity as we may, we will give a simple narration thereof, to the intent that if, which may God not permit, this undertaking should continue to be impeded in the lifetime of the master, as it has hitherto been, and should have a similar fate after his death, so shall my writings, such as they may be, avail to assist the faithful executors of his designs, and restrain the malignity of those presuming persons who may desire to alter them,[1] they may also enlighten and give pleasure as well as aid to those who love and delight in these vocations.
To commence then, I say that, according to the model made under the directions of Michelagnolo, the internal diameter will be a hundred and eighty-six palms from wall to wall, reckoning above the great circular cornice in travertine, which passes around the inside and rests on the four double piers, or pilasters; these rise from the floor with their carved capitals of the Corinthian Order, being with their architrave, frieze, and cornice, also in travertine. This cornice turning around the great recesses, reposes on the
- ↑ It has indeed been changed, nevertheless,” remarks Bottari. “The Cross which Michael Angelo made Greek is now Latin; and if it be thus with the essential form, judge ye of the details!”
