design and form into
the art of painting, whereas they had only been accustomed to see
things executed on the Byzantine style, so the mosaics of Andrea
Tafi, who was a contemporary, were much admired and even considered
divine, for the people of that day, who had not been used to see
anything different did not think that it was possible to produce
better works in that art. But in truth, as he was not the most
capable man in the world, and having reflected that working in mosaic
was more valued on account of its greater durability, be left
Florence for Venice, where some Greek painters were working in mosaic
at S. Marco. There he formed a close intimacy with them, and by dint
of persuasion, money, and promises he at length contrived to bring to
Florence Master Apollonio, a Greek painter, who taught him how to
bake the glass of the mosaic, and how to make the cement in which to
fix it. With him Andrea worked at the tribune of S. Giovanni, doing
the upper part which contains the Dominions, Principalities, and
Powers. Afterwards when he had gained more experience, he did the
Christ which is in the same church above the principal chapel as will
be related below. But as I have mentioned S. Giovanni, I will take
this opportunity of saying that that ancient sanctuary is incrusted
both within and without with marbles of the Corinthian order, and not
only is it perfectly proportioned and finished in all its parts, but
most beautifully adorned with doors and windows. Each face is
supplied with two columns of granite, 11 braccia high, forming three
compartments, above which are the architraves, which rest on the
columns, to carry the whole weight of the double roof, which is
praised by modern architects as a remarkable thing, and justly,
because this church helped to demonstrate to Filippo di Ser
Brunellesco, Donatello, and the other masters of their time what
possibilities there were in that art. They all studied architecture
from this building and from the church of S. Apostolo at Florence, a
work of such a good style that it approaches the true antique, since,
as I have said before, all the columns are measured and arranged with
such care that much may be learned from a careful examination of the
entire structure. But I will refrain from saying more about the good
architecture of this church, though much might be added to what
precedes, and I will content myself by saying that those who rebuilt
the marble facade of the churc