this basement, and between the two pilasters, which from the decoration of the angles, the architect formed a large recess or niche, with the purpose of placing a seated figure therein, and over each of these is another and smaller niche, which last reaching to the collarino of the capitals crowning the pilasters, left a frieze of height equal to that of the capitals; on these the master then placed the architrave with the frieze and richly-carved cornice, continuing the latter, which projected over the four angles, entirely around all the four sides of the holy house. In the centre of each of the larger or principal sides (for the length of that edifice is somewhat greater than the 'width) are left two spaces, in the midst of which there is a ressault similar to those of the angles, the larger niche below and the smaller one above, of which we have just made mention, having a space to the extent of five braccia on each side of them. In this space were two doors, one on each side namely, by which entrance was obtained to the chapel, and over the doors was a space between one niche and another, of five braccia in extent, in each of which historical representations in marble were to be executed. The fagade was of similar character, but had not the niches in the centre, and the height of the basement with the ressault, formed an altar enclosed on each side by the projecting edges of the pilasters and the niches of the angles. On this front there was besides a space for the reception of historical subjects in relief, of the same extent with those on the other walls, that below being of similar height with those on the side walls. But on this side, and commencing immediately above the altar, was a grating in bronze, exactly opposite to the internal altar; through this the mass could be heard, and the inside of the holy house itself could be seen, together with the altar of the Madonna. The spaces and compartments thus left for the stories were in all seven, one on the front namely and over the grating, two on each of the principal or longer sides, and two above, that is to say behind the altar of the Madonna.[1] There were moreover eight large niches and
- ↑ Vasari has forgotten here to name two small compartments, to which he alludes at a later period, and which are in the fagade, on each side of the grating namely. These also are adorned with sculptures in relief — Schorn.
