clay, which resulted in a very beautiful effect. From this level, upon
which the above-named figures rested, there rose another base,
likewise rectangular and about four braccia high, but smaller in
length and breadth than that below by the extent of the projection and
cornice-work upon which those figures rested; and on every side this
had a painted compartment six braccia and a half in length and three
in height. Above this rose a platform in the same manner as that
below, but smaller; and upon every corner, on the projection of a
socle, sat a figure of the size of life, or rather more. These were
four women, who, from the instruments that they had, were easily
recognized as Painting, Sculpture, Architecture, and Poetry; placed
there for reasons that have been perceived in the narration of
Michelagnolo's Life.

Now, going from the principal door of the church towards the
high-altar, in the first picture of the second range of the
catafalque--namely, above the scene in which, as has been related,
Lorenzo de' Medici is receiving Michelagnolo into his garden--there
was painted in a most beautiful manner, to suggest Architecture,
Michelagnolo in the presence of Pope Pius IV, with a model in his hand
of the stupendous pile of the Cupola of S. Pietro in Rome. This scene,
which was much extolled, was painted by Piero Francia, a Florentine
painter, with beautiful manner and invention; and the statue, or
rather, image of Architecture, which was on the left hand of this
scene, was by the hand of Giovanni di Benedetto of Castello, who with
so much credit to himself, as has been related, executed also the
Tiber, one of the two Rivers that were on the front part of the
catafalque. In the second picture, continuing to go forward on the
right hand towards the lateral door that leads out of the church, was
seen (to suggest Painting) Michelagnolo painting that so much but
never sufficiently extolled Judgment: that Judgment, I mean, which is
an exemplar in foreshortenings and all the other difficulties of art.
This picture, which was executed by Michele di Ridolfo's young men
with much diligence and grace, had likewise, on the left hand (namely,
at the corner looking towards the new sacristy), its appropriate
image, a statue of Painting, wrought by Battista del Cavaliere, a
young man no less excellent in sculpture than remarkable for his
goodness, modesty, and character. In the third picture, facing towards
the high-altar (in that, na