planks fastened to a star of iron which radiated round the curve of the said half-globe, and these planks narrowed towards the point of equilibrium in the centre, where there was a great ring of iron round which there radiated the iron star that secured the planks of the half-globe. The whole mass was upheld by a stout beam of pine-wood, well shod with iron, which lay across the timbers of the roof; and to this beam was fastened the ring that sustained and balanced the half-globe, which from the ground truly appeared like a Heaven. At the foot of the inner edge it had certain wooden brackets, large enough for one person to stand on and no more, and at the height of one braccio there was also an iron fastening, likewise on the inner edge; on each of these brackets there was placed a boy about twelve years old, who was girt round with the iron fastening one braccio and a half high, in such wise that he could not have fallen down even if he had wanted to. These boys, who were twelve in all, were placed on the brackets, as it has been said, and dressed like angels, with gilded wings and hair made of gold thread; and when it was time they took one another by the hand and waved their arms, so that they appeared to be dancing, and the rather as the half-globe was ever moving and turning round. Within it, above the heads of the angels, were three circles or garlands of lights, contained in certain little lamps that could not be overturned. From the ground these lights appeared like stars, and the brackets, being covered with cotton-wool, appeared like clouds. From the aforesaid ring there issued a very stout bar of iron, which had at the end another ring, to which there was fastened a thin rope reaching to the ground, as it will be told later. The said stout bar of iron had eight arms, spreading out in an arc large enough to fill the space within the hollow half-globe, and at the end of each arm there was a stand about the size of a trencher; on each stand was a boy about nine years old, well secured by an iron soldered on to the upper part of the arm, but loosely enough to allow him to turn in every direction. These eight angels, supported by the said iron, were lowered from the space within the half-globe by means of a small windlass that was unwound little by little, to a depth of eight braccia below the level of the square beams that support the roof, in such a manner that they were seen without concealing the view of the angels who were round the inner edge of the half-globe. In the midst of this cluster of eight angels—for so was it rightly called—was a mandorla of copper, hollow within, wherein were many holes showing certain little lamps fixed on iron bars in the form of tubes; which lamps, on the touching of a spring which could be pressed down, were all hidden within the mandorla of copper, whereas, when the spring was not pressed down, all the lamps could be seen alight through some holes therein. When the cluster of angels had reached its place, this mandorla, which was fastened to the aforesaid little rope, was lowered very gradually by the unwinding of the rope with another little windlass, and arrived at the platform where the Representation took place; and on this platform, precisely on the spot where the mandorla was to rest, there was a raised place in the shape of a throne with four steps, in the centre of which there was a hole wherein the iron point of the mandorla stood upright. Below the said throne was a man who, when the mandorla had reached its place, made it fast with a bolt without being seen, so that it stood firmly on its base. Within the mandorla was a youth about fifteen years of age in the guise of an angel, girt round the middle with an iron, and secured by a bolt to the foot of the mandorla in a manner that he could not fall; and to the end that he might be able to kneel, the said iron was divided into three parts, whereof one part entered readily into another as he knelt. Thus, when the cluster of angels had descended and the mandorla was resting on the throne, the man who fixed the mandorla with the bolt also unbolted the iron that supported the angel; whereupon he issued forth and walked across the platform, and, having come to where the Virgin was, saluted her and made the Annunciation. He then returned into the mandorla, and the lights, which had gone out on his issuing forth, being rekindled, the iron that supported him was once more bolted by the man who was concealed below, the bolt that held the mandorla firm was removed, and it was drawn up again; while the singing of the angels in the cluster, and of those in the Heaven, who kept circling round, made it appear truly a Paradise, and the rather because, in addition to the said choir of angels and to the cluster, there was a God the Father on the outer edge of the globe, surrounded by angels similar to those named above and supported by irons, in such wise that the Heaven, the God the Father, the cluster, and the mandorla, with innumerable lights and very sweet music, truly represented Paradise. In addition to this, in order to be able to open and close that Heaven, Filippo had made two great doors, each five braccia both in length and breadth, which had rollers of iron, or rather, of copper, in certain grooves running horizontally; and these grooves were oiled in a manner that when a thin rope, which was on either side, was pulled by means of a little windlass, any one could open or close the Heaven at his pleasure, the two parts of the door coming together or drawing apart horizontally along the grooves. And these two doors, made thus, served for two purposes: when they were moved, being heavy, they made a noise like thunder; and when they were closed, they formed a platform for the apparelling of the angels and for the making of the other preparations which it was necessary to carry out within. These engines, made thus, together with many others, were invented by Filippo, although others maintain that they had been invented long before. However this may be, it was well to speak of them, seeing that they have gone completely out of use.
But to return to Filippo himself; his renown and his name had grown so great that he was sent for from far distant places by all who wished to erect buildings, in their desire to have designs and models by the hand of so great a man; and to this end the most powerful means and friendships were employed. Wherefore the Marquis of Mantua, among others, desiring to have him, wrote with great insistence to the Signoria of Florence, by whom he was sent to that city, where he gave designs for dykes on the Po and certain other works according to the pleasure of that Prince, who treated him very lovingly, being wont to say that Florence was as worthy to have Filippo as a citizen as he was to have so noble and beautiful a city for his birthplace. In Pisa, likewise, Count Francesco Sforza and Niccolò da Pisa, being surpassed by him in the making of certain fortifications, commended him in his presence, saying that if every State possessed a man like Filippo it would be possible to live in security without arms. In Florence, also, Filippo gave the design for the house of the Barbadori, near the tower of the Rossi in the Borgo San Jacopo, but it was not put into execution; and he also made the design for the house of the Giuntini on the Piazza d'Ognissanti, on the Arno. Afterwards, the Captains of the Guelph party in Florence, wishing to build an edifice containing a hall and an audience-chamber for that body, gave the commission to Francesco della Luna, who began the work, and he had already raised it to the height of ten braccia above the ground, making many errors therein, when it was put into the hands of Filippo, who brought the said palace to that magnificent form which we see. In this work he had to compete with the said Francesco, who was favoured by many. Even so did he spend his whole life, competing now with one man and now with another; for many were ever making war against him and harassing him, and very often seeking to gain honour for themselves with his designs, so that he was reduced in the end to showing nothing and trusting no one. The hall of this palace is no longer used by the said Captains of the Guelphs, because the flood of the year 1557 did so great damage to the papers of the Monte, that the Lord Duke Cosimo, for the greater security of the said papers, which are of the greatest importance, removed them to the said hall together with the institution itself. And to the end that the old staircase of this palace might serve for the said body of Captains—who gave up that hall in favour of the Monte and retired to another part of that palace—Giorgio Vasari was commissioned by his Excellency to make the very commodious staircase that now ascends to the said hall of the Monte. In like manner, from a design by the same man there was made a coffer-work ceiling which was placed, after the plans of Filippo, on certain fluted pillars of grey-stone.
One year the Lenten sermons in S. Spirito had been preached by Maestro Francesco Zoppo, who was then very dear to the people of Florence, and he had strongly recommended the claims of that convent, of the school for youths, and particularly of the church, which had been burnt down about that time. Whereupon the chief men of that quarter, Lorenzo Ridolfi, Bartolommeo Corbinelli, Neri di Gino Capponi, and Goro di Stagio Dati, with very many other citizens, obtained an order from the Signoria for the rebuilding of the Church of S. Spirito, and made Stoldo Frescobaldi provveditore. This man, by reason of the interest that he had in the old church, the principal chapel and the high-altar of which belonged to his house, took very great pains therewith; nay, at the beginning, before the money
