finally, of Duke Cosimo. There were portraits of these personages, moreover, with those of their sons, and of many among the renowned of old times, whether distinguished for statesmanship, in arms, or for their learning, and being almost all portraits taken from the life. A Dialogue written by Vasari, in which the whole of these paintings were explained, and the connexion of the fables in the upper rooms, with the histories in the lower apartments set forth, was read by Annibale Caro to Michelagnolo, who was much pleased with the same. This Dialogue, Vasari proposes to publish, when he shall find time to do so.[1]
These things caused a discussion to arise respecting the Great Hall, which Vasari had desired to alter, because the ceiling thereof was too low, giving it a stunted appearance, and it had besides too little light. For these causes Vasari wished to raise it, but the Duke had not yet given him leave to do so: it was not that his Excellency feared the cost, but he dreaded the danger that there might be in lifting a roof thirteen braccia, yet, judicious as he was, he now agreed to have the opinion of Michelagnolo on the subject. The model of the Hall in its early condition was then laid before the master, as was also that of its improved state, with all the Stories designed as they were to be painted therein. Having examined all this, Michelagnolo was so much pleased that he became rather the partizan than the judge of the work, the rather as all the precautions taken for the security and promptitude of its execution were also apparent to his perceptions; and when Vasari returned to Florence, Michelagnolo wrote by him to the Duke, declaring that his Excellency ought to execute that undertaking, which he af&rmed to be worthy of his greatness.
Now Duke Cosimo himself also repaired that same year to Eome with his consort, the Duchess Leonora, when Michelagnolo went to see his Excellency, who received him with much favour, causing him, from respect to his great genius, to be seated near himself, and conversing with him very familiarly of all the works in painting and sculpture which he had commanded to be performed, and still proposed to execute in Florence, more especially of the Hall above-mentioned. Michelagnolo then encouraged Cosimo anew to that
- ↑ It was published at Florence in 1588, by Giorgio Vasari, the nephew of OUT author.
