error as to attempt constructing all those three sections with one centre for the arches; a mistake which has compelled the removal of many stones, which we have still the shame and expense of taking down. The entire vaulting, with its various sections and ornaments, are, like the lowermost part of the Chapel, wholly of travertine, a thing not customary in Rome.”
The Duke Cosimo, perceiving all these hindrances, no longer pressed Michelagnolo to return to Florence, declaring that the satisfaction of the master, and the continuation of San Pietro, were matters of greater interest to him than any other consideration, and begging that Michelagnolo would give himself no further anxiety. Whereupon, the latter wrote to Vasari, telling him that he thanked the Duke with all his heart for that great kindness, and adding, “God give me grace to serve him with this my poor person, for my memory and understanding are gone to await him elsewhere.” The date of this letter was August, of the year 1557. Thus Michelagnolo perceived that the Duke esteemed his life and honour more than his presence, which was nevertheless so highly acceptable to him: all these things, with many others which it is not necessary to repeat, we learned from letters written by his own hand.
Our artist was now much pressed to make his final arrangements known, and as he saw that little was done at the building (although he had partly advanced the internal frieze of the windows, and the double columns outside, Mdiich form the circle above the round Cornice[1] whereon the Cupola is to be placed, as will be related hereafter), he was encouraged by his best friends, as the Cardinal di Carpi, Messer Donato Giannotti, Francesco Bandini, Tommaso de’ Cavalieri, and Lottino;[2] nay, he was even constrained by them, to make at least a model of the Cupola; since, as he might perceive, the erection of the same was suffering delay.
Several months elapsed nevertheless, before he could resolve on anything; at length he made a beginning, and by degrees produced a small model in clay, to the end that after this,
