in works of that kind.

FOOTNOTE:

[14] Luca di Leyden.

[15] Lambert Zutmann.

[16] Jean Cousin.

[17] Nicolas Beautrizet.

[18] Rene Boyvin.

[19] Michael Coxie.

[20] Albrecht Aldegrever.

[21] Georg Pencz.

[22] Hans Beham.

[23] Cristofano Coriolano.

ANTONIO DA SAN GALLO (THE YOUNGER)

LIFE OF ANTONIO DA SAN GALLO (THE YOUNGER)

ARCHITECT OF FLORENCE

How many great and illustrious Princes, abounding with infinite wealth,
would leave behind them a name renowned and glorious, if they possessed,
together with their store of the goods of Fortune, a mind filled with
grandeur and inclined to those things that not only embellish the world,
but also confer vast benefit and advantage on the whole race of men! And
what works can or should Princes and great persons undertake more
readily than noble and magnificent buildings and edifices, both on
account of the many kinds of men that are employed upon them in the
making, and because, when made, they endure almost to eternity? For of
all the costly enterprises that the ancient Romans executed at the time
when they were at the supreme height of their greatness, what else is
there left to us save those remains of buildings, the everlasting glory
of the Roman name, which we revere as sacred things and strive to
imitate as the sole patterns of the highest beauty? And how much these
considerations occupied the minds of certain Princes who lived in the
time of the Florentine architect, Antonio da San Gallo, will now be seen
clearly in the Life of him that we are about to write.

Antonio, then, was the son of Bartolommeo Picconi of Mugello, a maker of
casks; and after having learned the joiner's craft in his boyhood,
hearing that his uncle, Giuliano da San Gallo, was working at Rome in
company with his brother Antonio, he set out from Florence for that
city. And there, having devoted himself to the matters of the art of
architecture with the greatest possible zeal, and pursuing that art, he
gave promise of those achievements that we see in such abundance
throughout all Italy, in the vast number of works executed by him at a
more mature age. Now it happened that Giuliano was forced by the torment
that he suffered from the stone to return to Florence; and Antonio,
having become known to the architect Bramante of Castel Durante, began
to give assistance to that master, who, being old and crippled in the
hands by palsy, was not able to work as befor