d then in Padua for Messer Marco da Mantova, a
most excellent doctor of medicine, in whose house he made an immense
giant from more than one piece of stone for his court, and his tomb,
with many statues. Afterwards, Ammanati having gone to Rome in the
year 1550, there were allotted to him by Giorgio Vasari four statues
of marble, each of four braccia, for the tomb of the old Cardinal di
Monte, which Pope Julius III had allotted to Giorgio himself in the
Church of S. Pietro a Montorio, as will be related; which statues were
held to be very beautiful. Wherefore Vasari, having conceived an
affection for him, made him known to the said Julius III, who, having
ordained what he wanted done, caused him to be set to work; and so
both of them, Vasari and Ammanati, worked together for a time at the
Vigna. But not long afterwards, when Vasari had gone to serve Duke
Cosimo in Florence, the above-named Pope being dead, Ammanati, who
found himself without work and badly recompensed by that Pontiff for
his labours in Rome, wrote to Vasari, praying him that, even as he had
assisted him in Rome, so he should assist him in Florence with the
Duke. Whereupon Vasari, occupying himself with fervour in this matter,
introduced him into the service of the Duke, for whom he has executed
many statues in marble and in bronze that are not yet in position. For
the garden of Castello he has made two figures in bronze larger than
life--namely, a Hercules who is crushing Antaeus, from which Antaeus, in
place of his spirit, there issues from the mouth water in great
abundance. Finally, Ammanati has executed in marble the colossal
figure of Neptune that is in the Piazza, ten braccia and a half in
height; but since the work of the fountain, in the centre of which the
said Neptune is to stand, is not finished, I shall say nothing more of
it. The same Ammanati, as architect, is giving his attention with much
honour and praise to the fabric of the Pitti, in which work he has a
great opportunity to show the worth and grandeur of his mind, and the
magnificence and great spirit of Duke Cosimo. I could tell many
particulars of this sculptor, but since he is my friend, and another,
so I hear, is writing his history, I shall say no more, in order not
to set my hand to things that may be related by another better than I
perhaps might be able.

It remains for us to make mention, as the last of Sansovino's
disciples, of Danese Cattaneo, the sculptor of Carrara, who w