corners of the gradino or predella, and on a level with the platform whereon rested the feet of the Almighty Father. This gradino was more than a braccio high, and on it were numerous representations, delineating the Passion of Our Lord Jesus Christ, all of which were to be executed in bronze.
At the angles of the predella, then, were the two Angels, both kneeling, as we have said, and each holding a chandelier in his hand. There were besides eight other great chandeliers, three braccia and a half high, and which were placed between the Angels, for the increased decoration of that altar, the figure of the Almighty Father being in the midst of all; and behind that figure was left a space of about half a braccio, to the end that he whose office it was to kindle the lights might ascend to the altar for that purpose.
Beneath the arch which stood opposite to the principal entrance of the choir, and in the centre of the projecting basement, encircling the exterior walls, Baccio had erected a Tree of the Fall, around the trunk of which was entwined the form of the Old Serpent, bearing a human countenance; while beneath the Tree were two nude figures, the one representing Adam, the other Eve.
On the exterior wall of the choir, towards which those figures turned their faces, was a space in the basement of about three braccia in length, and destined to receive a representation, either in marble or bronze, of the Creation of Man; the same to be followed by other delineations, to the number of twenty-one, occupying the entire surface of the basement, and all to be taken from the Old Testament.[1] For the further enrichment of this basement, moreover, it was intended to place a statue, either nude or draped, and representing some one of the prophets, on the socles whereon the columns and pilasters reposed; and the figures of these prophets Bandinelli had prepared, jwoposing to execute them afterwards in marble:f[2]
- ↑ These works were never executed, and the spaces were afterwards covered with plain marble.— Ed. Flor., 1832-8.
- ↑ Cicognara speaks very highly of these figures, which were executed in low relief, and of which two plates will be found in the Storia della Scultura Moderna. They are also engraved in outline by Lasinio in La Metropolitana Fiorentina illustrata. They were engraved at Naples likewise in the last century by Filippo Morghen and his scholars, six of them being executed by the celebrated son of Filippo, Raphael Morghen, then a child of eleven years old. See Niccolò Palmerini, Catalogo delle Opere
