ornate, and on the side towards S. Piero Scheraggio he arranged a series of apartments for the Signori, who had previously slept all together in one and the same room. These apartments consisted of eight for the Signori and a larger one for the Gonfalonier, and they all opened on a corridor which had windows overlooking the courtyard. Above this he made another series of commodious rooms for the household of the Palace, in one of which, used to-day as the Treasury, there is a portrait by the hand of Giotto of Charles, Duke of Calabria, son of King Robert, kneeling before a Madonna. There, also, he made apartments for the bailiffs, ushers, trumpeters, musicians, pipers, mace-bearers, court-servants, and heralds, with all the other apartments that are required in such a palace. On the upper part of the gallery, moreover, he made a stone cornice that went right round the courtyard, and beside it a water-cistern that was filled by the rains, to make some artificial fountains play at certain times. Michelozzo also directed the restoration of the chapel wherein Mass is heard, and beside it many rooms, with very rich ceilings painted with golden lilies on a ground of blue. He had other ceilings made both for the upper and the lower rooms of the Palace, covering up all the old ceilings that had been made before in the ancient manner. In short, he gave it all the perfection that was demanded by so great a building; and he contrived to convey the water from the wells right up to the highest floor, to which it could be drawn up by means of a wheel more easily than was usual. One thing alone the genius of Michelozzo could not remedy, namely, the public staircase, because it was badly conceived from the beginning, badly situated, awkwardly built, steep, and without lights, while from the first floor upwards the steps were of wood. He laboured to such purpose, however, that he made a flight of round steps at the entrance of the courtyard, and a door with pilasters of hard-stone and most beautiful capitals carved by his hand, besides a well-designed cornice with a double architrave, in the frieze of which he placed all the arms of the Commune. And what is more, he made the whole staircase of hard-stone up to the floor where the Signori lived, fortifying it at the top and half-way up with a portcullis at each point, in case of tumults; and at the head of the staircase he made a door which was called the "catena,"[23] beside which there was ever standing an usher, who opened or closed it according as he was commanded by those in authority. He strengthened the tower of the campanile, which had cracked by reason of the weight of that part which stands out over space on corbels on the side towards the Piazza, with very stout bands of iron. Finally, he improved and restored that Palace so greatly, that he was therefore commended by the whole city and made, besides other rewards, a member of the College, which is one of the most honourable magistracies in Florence. And if it should appear to anyone that I have perchance spoken at greater length about this building than was needful, I deserve to be excused, because—after having shown in the Life of Arnolfo, in connection with its original erection, which was in the year 1298, that it was built out of the square and wholly wanting in reasonable proportion, with unequal columns in the courtyard, arches both large and small, inconvenient stairs, and rooms awry and badly proportioned—it was necessary for me to show also to what condition it was brought by the intellect and judgment of Michelozzo; although even he did not arrange it in such a manner that it could be inhabited comfortably, without very great inconvenience and discomfort. Finally, when the Lord Duke Cosimo came to occupy it in the year 1538, his Excellency began to bring it into better form; but since those architects who served the Duke for many years in that work were never able to grasp or to carry out his conception, he determined to see whether he could effect the restoration without spoiling the old part, in which there was no little of the good; giving better order, convenience, and proportion, according to the plan that he had in mind, to the awkward and inconvenient stairs and apartments.
Sending to Rome, therefore, for Giorgio Vasari, painter and architect of Arezzo, who was working for Pope Julius III, he commissioned him not only to put in order the rooms that he had caused to be begun in the upper part of the side opposite to the Corn Market, which were out of the straight with regard to the ground-plan, but also to consider whether the interior of the Palace could not, without spoiling the work already done, be brought to such a form that it might be possible to go all over it, from one part to another and from one apartment to another, by means of staircases both secret and public, with an ascent as easy as possible. Thereupon, while the said rooms, already begun, were being adorned with gilded ceilings and scenes painted in oil, and with pictures in fresco on the walls, and others were being wrought in stucco, Giorgio took a tracing of the ground-plan right round the whole of the Palace, both the new part and the old; and then, having arranged with no small labour and study for the execution of all that he intended to do, he began to bring it little by little into a good form, and to unite, almost without spoiling any of the work already done, the disconnected rooms, which previously varied in height even on the same floor, some being high and others low. But in order that the Duke might see the design of the whole, in the space of six months he had made a well-proportioned wooden model of the whole of that pile, which has the form and extent rather of a fortress than of a palace. According to this model, which gained the approval of the Duke, the building was united and many commodious rooms were made, as well as convenient staircases, both public and secret, which give access to all the floors; and in this manner a burden was removed from the halls, which were formerly like public streets, for it had been impossible to ascend to the upper floors without passing through them. The whole was magnificently adorned with varied and diverse pictures, and finally the roof of the Great Hall was raised twelve braccia above its former height; insomuch that if Arnolfo, Michelozzo, and the others who laboured on the building from its first foundation onwards, were to return to life, they would not recognize it—nay, they would believe that it was not theirs but a new erection and a different edifice.
But let us now return to Michelozzo; the Church of S. Giorgio had just been given to the Friars of S. Domenico da Fiesole, but they only remained there from about the middle of July to the end of January, for Cosimo de' Medici and his brother Lorenzo obtained for them from Pope Eugenius the Church and Convent of S. Marco, which was previously the seat of Silvestrine Monks, to whom the said S. Giorgio was given in exchange. And Cosimo and Lorenzo, being very devoted to religion and to divine service and worship, ordained that the said Convent of S. Marco should be rebuilt entirely anew after the design and model of Michelozzo, and should be made very vast and magnificent, with all the conveniences that the said friars could possibly desire. This work was begun in the year 1437, and the first part to be built was that opening out above the old refectory, opposite to the ducal stables, which Duke Lorenzo de' Medici formerly caused to be built. In this place twenty cells were built, the roof was put on, and the wooden furniture was made for the refectory, the whole being finished in the manner wherein it still stands to-day. But for some time the work was carried no further, for they had to wait to see what would be the end of a law-suit that one Maestro Stefano, General of the said Silvestrines, had brought against the Friars of S. Marco with regard to that convent. This suit having concluded in favour of the said Friars of S. Marco, the building was once more continued. But since the principal chapel, which had been built by Ser Pino Bonaccorsi, had afterwards come into the hands of a lady of the Caponsacchi family, and from her to Mariotto Banchi, some law-suit was fought out over this, and Mariotto, having upheld his rights and having taken the said chapel from Agnolo della Casa, to whom the said Silvestrines had given or sold it, presented it to Cosimo de' Medici, who gave Mariotto 500 crowns in return for it. Later, after Cosimo had likewise bought from the Company of the Spirito Santo the site where the choir now stands, the chapel, the tribune, and the choir were built under the direction of Michelozzo, and completely furnished in the year 1439. Afterwards the library was made, eighty braccia in length and eighteen in breadth, and vaulted both above and below, with sixty-four shelves of cypress wood filled with most beautiful books. After this the dormitory was finished, being brought to a square shape; and finally the cloister was completed, together with all the truly commodious apartments of that convent, which is believed to be the best designed, the most beautiful, and the most commodious that there is in Italy, thanks to the talent and industry of Michelozzo, who delivered it completely finished in the year 1452. It is said that Cosimo spent 36,000 ducats on this fabric,
