in the same proportion with all the other parts of the work, becoming gradually smaller in exact measure, and ultimately closing with a small temple having round columns, which stand in pairs, as do those below; they have pilasters behind them, and rest on a socle, so that one can pass around from pilaster to pilaster, looking down upon the windows, the the interior of the cupola, and the church. An architrave with frieze and cornice surrounds the whole, and projects over the two columns, immediately above which are spiral shafts and niches, rising together to the summit of the coping, which begins to contract at about one third of their height in the manner of a circular pyramid, until it reaches to where the ball and cross are to form the completion of the structure. I might here add numerous details, such as the precautions taken against earthquakes, the conduits for water, the various lights and other commodious arrangements, but I refrain, since the work is not yet finished, and it shall suffice me to have touched on the principal parts. All the details, moreover, are within reach of the reader’s eyes, and can be seen; this slight sketch will therefore be sufiScient to inform such as know nothing of the building.[1]
The completion of this model was a great satisfaction, not only to the friends of Michelagnolo but to all Rome; he continued to direct the works until the death of Pope Paul IV.; and when Pius IV. was chosen in his place, that Pontiff, although employing Piero Ligorio, who was architect of the Vatican, to construct the little Palace in the wood of the Belvedere, yet made many offers of service and showed much kindness to Michelagnolo. The Motu-proprio of Paul III., Julius III., and Paul IV., in respect to the fabric of San Pietro, was confirmed by His Holiness, who likewise restored a portion of those allowances which our artist had lost during the Pontificate of Paul IV. He employed him in many of his own buildings, and during his reign the works of San Pietro likewise proceeded busily. Among other things Michelagnolo was required to prepare the design for a monument to the memory of the Pope’s brother, the Marquis of Marignano, which the Cavaliere Lione Lioni of Arezzo, an excellent sulptor and the friend of Michelagnolo, was commissioned
- ↑ For minute details our readers may consult Ferrabosco, Libro dell'Architettura di San Pietro del Vaticano finito col disegno di Michael Angelo Buonarroti, Rome, 1620.
