ng man of ability and fine spirit, and deserves the
name of a very judicious and diligent sculptor. Opposite to this, on
the side towards the old sacristy, was another similar figure made
with much judgment to represent Minerva, or rather, Art; for the
reason that it may be said with truth that after excellence of
character and life, which must always hold the first place among the
good, it was Art that gave to this man not only honour and profit, but
also so much glory, that he may be said to have enjoyed in his
lifetime such fruits as able and illustrious men have great difficulty
in wresting even after death from the grasp of Fame, by means of their
finest works; and, what is more, that he so vanquished envy, that by
common consent, without any contradiction, he has obtained the rank
and fame of the best and highest excellence. And for this reason this
figure had beneath her feet Envy, who was an old woman lean and
withered, with the eyes of a viper; in short, with features that all
breathed out venom and poison, besides which she was girt with
serpents, and had a viper in her hand. These two statues were by the
hand of a boy of very tender years, called Lazzaro Calamech of
Carrara, who at the present day, although still a mere lad, has given
in some works of painting and sculpture convincing proofs of a
beautiful and most lively genius. By the hand of Andrea Calamech, the
uncle of the above-mentioned Lazzaro, and pupil of Ammanati, were the
two statues placed upon the fourth pedestal, which was opposite to the
organ and looked towards the principal doors of the church. The first
of these was made to represent Study, for the reason that those who
exert themselves little and sluggishly can never acquire repute, as
Michelagnolo did, who from his early boyhood, from fifteen to ninety
years of age, as has been seen above, never ceased to labour. This
statue of Study, which was well in keeping with that great man, was a
bold and vigorous youth, who had at the end of the arms, just above
the joint of the hands, two little wings signifying rapidity and
frequency of working; and he had prostrate beneath him, as a prisoner,
Idleness or Indolence, who was a sluggish and weary woman, heavy and
somnolent in her whole attitude.

These four figures, disposed in the manner that has been described,
made a very handsome and magnificent composition, and had all the
appearance of marble, because a coat of white had been laid over the