returned, our artist erected several Arches of Triumph in different parts of the city, on the occasion of Pope Leo’s arrival.
But as Baccio nevertheless very seldom quitted his workshop, there might often be seen gathered around him there many of the citizens, as well as the best and most eminent artists of 'our vocation, when the most admirable discourses were there to be heard, more particularly in the winter, and discussions of great importance were constantly held. The first among those who thus assembled in this place was Raffaello da Urbino, then young; and next came Andrea Sansovino, Filippino, Maiano, Cronaca, Antonio, and Giuliano Sangalli, Granaccio, and sometimes, but rarely, Michelagnolo, with many young men, both Florentines and strangers. When Baccio had in this manner devoted his attention to architecture, and, having gathered experience, had given proof of his ability, he began to obtain no small credit in Florence, insomuch that the most magnificent buildings erected in his day were confided to his care, and he was made director of the same. When Piero Soderini was Gonfaloniere, Baccio d’Agnolo took part, as we have said before, with Cronaca and others in the deliberations which were made with regard to the Great Hall of the Palace, and he carved with his own hand the ornamental framework of the large picture which was sketched by Fra Bartolommeo, but had been designed by Filippino.
In company with the same artists, Baccio d’Agnolo erected the steps which ascend to the above-mentioned Hall, with a decoration of stone-work, which is very beautiful, as he also did the columns of variegated marble, and the marble doors of the Hall, which is now called that of the Dugento. On the Piazza di Santa Trinita this master constructed a Palace for Giovanni Bartolini, the interior decorations of which are very magnificent. He also gave designs for the garden which the same Giovanni had in Gualfonda; but as this was the first palace in Florence which had been erected with square windows and with a portal the columns of which supported an architrave, frieze, and cornice, these things were much censured in that city. Sonnets were made in ridicule thereof, and festoons of foliage were scoffingly hung on the building, as is done at the churches during a festival, since it was said
