paired to Bologna accordingly, and having set hand to the work, he completed the same within the space of twentyeight months; constructing the above-named altar, which occupies the entire space between pillar and pillar, and enclosing the whole choir of the monks, which is all of marble, both on the inner and outer side. In the centre he placed a nude figure of Our Saviour Christ, two braccia and a half high, with other statues at the sides.[1]
The architecture of this work is of a truly beautiful character, every part being well arranged, and all so carefully conjoined, that no better workmanship could be executed. The pavement also, beneath which is the sepulchre of Bovio, is formed in well fancied compartments, and there are chandeliers in marble of much beauty, with small figures and minute stories in relief, which are also of considerable merit; the whole fabric is rich in carvings, but the figures—to say nothing of their being small, which arises from the difficulty experienced in the transport of large masses of marble to Bologna—are not equal to the architecture, nor do they deserve very high commendation.[2]
While Fra Giovann’ Agnolo was occupied at Bologna with this undertaking, he gave much consideration to the question as to where, among the dwellings belonging to his Order, he might most commodiously pass the remainder of his days; a matter on which he had come to no definite resolution, when his most intimate friend Maestro Zaccheria, who was then Prior of the Nunziata at Florence, desiring much to attract him to that place and to fix him there, spoke of his friend to the Duke Cosimo, recalling to the memory of his Excellency the great merits of the monk, and entreating him to command, his services. To this the Duke replied with much favour, and added, that he would find occupation for Giovann’ Agnolo, so soon as he should have returned from Bologna: when Maestro Zaccheria wrote him an account of all that had passed, sending him also, shortly after-
- ↑ These are the figures of St, Peter and St. Paul standing upright, with those of Adam and Moses, seated at the sides of the altar. The local writers speak highly of their beauty and excellence. See Giordani.
- ↑ Many authors affirm these statues to be exceedingly beautiful. Certain compatriots of our author, defending him from the charge sometimes brought against him by cavillers, of partiality to the Florentines, point out the opinion here given as one among many proofs of his strict impartiality.
