p. 397.

[33] This ancestral palace of the Medici passed in 1659 to the Marchese
Gabriele Riccardi, from the Duke Francesco II.

[34] Von Reumont, _Lorenzo de' Medici_, vol. ii. pp. 187-191, may be
consulted for an interesting account of the building of this Casa Grande
by Filippo Strozzi. The preparations were made with great caution, lest
it should seem that a work too magnificent for a simple citizen was being
undertaken; in particular, Filippo so contrived that the costly _opus
rusticum_ employed in the construction of the basement should appear to
have been forced upon him. This is characteristic of Florence in the days
of Cosimo. The foundation stone was laid in the morning of August 16,
1489, at the moment when the sun arose above the summits of the
Casentino. The hour, prescribed by astrologers as propitious, had been
settled by the horoscope; masses meanwhile were said in several churches,
and alms distributed.

[35] Antonio Filarete, or Averulino, architect and sculptor, was author
of a treatise on the building of the ideal city, one of the most curious
specimens of Renaissance fancy, to judge from the account rendered of the
manuscript by Rio, vol. iii. pp. 321-328.

[36] Matteo Civitale, Benedetto da Majano, Mino da Fiesole, Luca della
Robbia, Donatello, Jacopo della Quercia, Lo Scalza, Omodeo, and the
Sansovini, not to mention less illustrious sculptors, filled the churches
of Italy with this elaborate stone-work. Among the bronze-founders it is
enough to name Ghiberti, Antonio Filarete, Antonio Pollajuolo, Donatello
and his pupil Bertoldo, Andrea Riccio, the master of the candelabrum in
S. Antonio at Padua, Jacopo Sansovino, the master of the door of the
sacristy in S. Mark's at Venice, Alessandro Leopardi, the master of the
standard-pedestals of the Piazza of S. Mark's. I do not mean these lists
to be in any sense exhaustive, but simply to remind the reader of the
rare and many-sided men of genius who devoted their abilities to this
kind of work. Some of their masterpieces will be noticed in detail in the
chapter on Sculpture.

[37] Especially his work at Monte Oliveto, near Siena, and in the church
of Monte Oliveto at Naples. The Sala del Cambio at Perugia may also be
cited as rich in tarsia-work designed by Perugino, while the church of S.
Pietro de' Cassinensi outside the city is a museum of masterpieces
executed by Fra Damiano da Bergamo and Stefano da Bergamo from designs of
Raphael. Not less b