n these arts in our own centuries, from Cimabue to
the present day. Thus Giotto could be recognized there by a little
panel on which was seen the portrait of Dante as a young man, in the
manner in which he may be seen in S. Croce, painted by Giotto himself;
Masaccio by his portrait from life, Donatello likewise by his
portrait, and also by his Zuccone from the Campanile, which was by his
side, and Filippo Brunelleschi by the representation of his Cupola of
S. Maria del Fiore; and there were portrayed from life, without other
signs, Fra Filippo, Taddeo Gaddi, Paolo Uccello, Fra Giovanni Agnolo,
Jacopo da Pontormo, Francesco Salviati, and others. All these were
about him with the same expressions of welcome as the ancients, full
of love and admiration, in the same manner as Virgil was received by
the other poets on his return, according to the fable of the divine
poet Dante, from whom, in addition to the invention, there was taken
also the verse that could be read in a scroll both above and in the
hand of the River Arno, which lay at the feet of Michelagnolo, most
beautiful in features and in attitude:

TUTTI L'AMMIRAN, TUTTI ONOR GLI FANNO.

This picture, by the hand of Alessandro Allori, the pupil of Bronzino,
an excellent painter and a not unworthy disciple and pupil of so great
a master, was consummately extolled by all those who saw it. In the
space of the Chapel of the most holy Sacrament, at the head of the
transept, there was in a picture, five braccia in length and four in
breadth, Michelagnolo with all the school of the arts about him,
little children, boys, and young men of every age up to twenty-four,
who were offering to him, as to a being sacred and divine, the
firstfruits of their labours, such as pictures, sculptures, and
models; and he was receiving them courteously, and was instructing
them in the matters of art, while they were listening most intently
and gazing upon him with expressions and attitudes truly full of
beauty and grace. And, to tell the truth, the whole composition of
this picture could not have been, in a certain sense, better done, nor
could anything more beautiful have been desired in any of the figures,
wherefore Battista, the pupil of Pontormo, who had done the work,
received infinite praise for it; and the verses that were to be read
at the foot of the scene, ran thus:

TU PATER, TU RERUM INVENTOR, TU PATRIA NOBIS
SUPPEDITAS PRAECEPTA TUIS EX, INCLYTE, CHARTIS.

Going, then