Ridolfi, from a cornelian of the highest antiquity belonging to Messer Griuliano Cesarino; a beautiful thing it is, and this he now desired that Tiberio should finish.[1] He could, indeed, no longer execute the more delicate parts of his architectural designs, and therefore employed Tiberio, who was a modest and well-conducted youth, to complete them under his direction. For this church, therefore, he now required him to take the ground-plan of the original foundation which he brought to Michelagnolo; the latter instantly caused him to inform the Commissioners, who did not expect to find anything yet accomplished, that he had fulfilled their wishes, showing them at the same time five plans of beautiful churches, which surprised them greatly. He then bade them choose one; but they refused, preferring to abide by his own decision. Yet, the master insisting that they should make a selection, they all with one accord declared for the richest; whereupon Michelagnolo is reported to have told them, that if they brought that design to completion they would do more than either Romans or Greeks had ever done in their best of times[2] words which certainly never proceeded from his mouth, neither at that time nor at any other, seeing that he was always most reserved and modest.
It was finally determined that Michelagnolo should direct the work, while Tiberio should execute it, and the Commissioners, to whom our artist promised his best services for the church, were entirely satisfied with that arrangement. The plan was then given to Tiberio, that he might copy it in all parts, with due order; and the master commanded that a model in clay should be prepared, which he showed Tiberio how to fix up firmly. This, which was of eight palms, Tiberio completed in ten days, and it pleased all the Florentine community; wherefore they caused him afterwards to make one in wood, which is now in their Consolate,[3] and a beautiful church it is as ever man beheld, grand, rich, and varied. The building was commenced accordingly; but when five thousand crowns had been expended thereon, the works ceased for lack of funds to Michelagnolo’s infinite
