words, Coegit dura necessitas, with a globe of the world, out of which was growing a Lily bearing three blossoms, but the stalk of which was broken, the ingenious invention of the above-named Alessandro Allori. Other figures of Death were represented with various peculiarities, but one among these was more especially commended. This was extended on the Earth, and a figure of Eternity holding a palm in the liand, stood over it with one foot planted on the neck and looking disdainfully at Death, appeared to say, that whether acting by force or his own will, he had effected nothing, since, despite of him, Michelagnolo must live to all eternity. The motto was Vicit inclyta virtus. This was the invention of Vasari.
Nor will I omit to mention, that between these figures of Death was mingled the device of Michelagnolo, which was three coronals or circlets, interwoven in such sort that the circumference of one crossed alternately through the centres of the other two. This Michelagnolo used either because he meant to signify that the three arts of Sculpture, Painting, and Architecture were so bound and united that each received benefit and ornament from the other, and neither can nor ought to be divided; or perhaps (he being a man of so high a genius), because he had some more subtle meaning in view. But the Academicians, considering the perfection to which he had attained in all three, one having aided and embellished the other, changed these three circlets into three crowns interwoven, with the motto, Tergeminis tollit honorihus, to signify that the crown of perfection had been merited by him in all these arts.
On the pulpit whence Varchi pronounced the funeral oration, which was afterwards printed, there was no ornament placed, since, being that in bronze and marble, which had been executed in mezzo and basso-rilievo by the excellent Donatello, whatever decoration had been attempted must have proved infinitely less beautiful than itself. But on the pulpit opposite to this, and which had not then been raised on its columns,[1] there was placed a picture four braccia high, and somewhat more than two wide, on which a figure of admirable design and execution was painted by the Perugian sculptor, Vincenzio Danti, of whom we have
- ↑ This also was designed by Donatello, but was completed by his disciple, Bertoldo, as related in the first volume of the present work, p. 485.
