rence, and wished one day to see the
figures on the Medicean tombs in the sacristy of San Lorenzo carved by
Michael Angelo, and having therefore gone thither with his two attendant
monks, the prior of the church asked Tasso, who was then working at the
floor of the library together with his son-in-law Crocini Antonio di
Romolo, under the direction of Michael Angelo, to show the abbot the
sacristy and the said library. Which abbot, after having seen the
figures in the sacristy, and thought very little of them, set off to see
the library, and while he was gently ascending a stair which conducted
to it, talking with Tasso, happened to turn his eyes on the cupola of
Brunellesco, and stopping to look at it commenced to say that, although
it was considered by all the world as a marvel, he had heard a person
worthy of credence say that the dome of Norcia was much more beautiful,
and made with greater art. Which words so much exasperated Tasso that,
pulling the abbot backwards with force, he made him tumble down the
staircase, and he took care to let himself fall on him (!) and calling
out that the frater was mad, he got two cords, with which he bound his
arms, his legs, and all his person, so that he could not move, and then
taking him, hanging over his shoulders, carried him to a room near,
and, stretching him on the ground, left him there in the dark, locking
the door and taking away the key." What happened to the unfortunate
abbot after, and whether he was much damaged or not one does not know,
for the anecdote stops here. Another instance of a family which devoted
itself for many years to the production of tarsia and wood-work,
displaying hereditary aptitude in the craft and gaining great repute, is
given by the Canozii of Lendinara. The first member who took up tarsia,
abandoning his craft of painting for that purpose, was Lorenzo Genesino
da Lendinara, surnamed Canozio, to give him his full description. From
him descended many excellent workers in wood. He studied in Padua, where
he had Mantegna as fellow-student, and worked in company with his
brother, his son, and a relation called Pier Antonio dell' Abate di
Modena, who did the intarsia in the choir of S. Francesco at Treviso in
1486. He died in 1477, and is buried in the first cloister of S. Antonio
at Padua, for which he made the stalls, as his epitaph states. They were
commenced in 1462, were worked at continuously for three years, and
after an interval finished in 1