ses in those who are made to die a violent death;
wherefore I do not marvel that many able men have contrived to avail
themselves of certain things that are seen in this picture. After these
he made many other figures in the same church, and particularly in two
chapels in the tramezzo.[6] And about the same time he painted the
shrine of the Canto alla Cuculia, and that which is on the house-front
in the Via de' Martelli; and, over the Martello door in S. Spirito, a S.
Augustine in fresco presenting the Rule to his friars. In S. Trinita, in
the Chapel of Neri Compagni, he painted in fresco the life of S.
Giovanni Gualberto; and, in the principal chapel of S. Lucia in the Via
de' Bardi, some scenes in fresco of the life of that Saint, for Niccolo
da Uzzano, who was portrayed by him there from the life, together with
some other citizens.

[Footnote 6: See note on p. 57, Vol. I.]

This Niccolo, with the direction and model of Lorenzo, built a palace
for himself near the said church, and a magnificent beginning for a
university, or rather, a school, between the Convent of the Servi and
that of S. Marco--namely, where there are now the Lions. This work,
truly most praiseworthy and rather that of a magnanimous prince than of
a private citizen, was never finished, for the very large sums of money
that Niccolo left at the Monte[7] in Florence for the building and
maintenance of this school, were spent by the Florentines in certain
wars or for other necessities of the city. And although Fortune will
never be able to obscure the memory and the greatness of soul of Niccolo
da Uzzano, it is none the less true that the public interest suffered
very great harm from the fact that this work was not finished.
Wherefore, if a man desires to benefit the world in similar ways, and to
leave an honourable memorial of himself, let him do it by himself while
he has life, and let him not put his trust in the good faith of
posterity and of his heirs, since anything that has been left to be done
by successors is rarely seen brought to perfect completion.

[Footnote 7: Treasury of public funds.]

But returning to Lorenzo: he painted, besides what has been said, a
Madonna and certain saints in fresco, passing good, in a shrine on the
Ponte Rubaconte. And no long time after, Ser Michele di Fruosino, being
Director of the Hospital of S. Maria Nuova in Florence--which hospital
was founded by Folco Portinari, citizen of Florence--determined that,
ev