The original plan by Brunelleschi having been lost, the famous architect Ammannati was called in. He made considerable changes in the interior, in the windows of the first floor, and, according to an old manuscript, “finished the façade up to the roof.” He also built the magnificent courtyard, but did not change the length or the height of the palace, as is proved by a ground plan drawn twenty-four years after his death, which shows the front with Brunelleschi’s original seven windows. “In June, 1566,” writes Agostino Lapi in his Diary, “was begun the splendid and imperial building of the magnificent Palazzo Pitti of the city of Florence; that is to say, the new part in the courtyard which is opposite the convent and the monastery of Sta. Felicita--the façade and all the part facing the street and S. Spirito being ancient, while the right and left sides of the courtyard are modern and were begun in this century. Nearly all the stone, at least all that is of good quality, used for the ‘bozzi’ and the pilasters and suchlike, was quarried in the courtyard of the palace, the rest came from the Belvedere and other parts of the garden; so that the stone which adorns and beautifies the palace was quarried in the courtyard or in various places in the garden, a thing most convenient for the building. In the courtyard the old building on the side towards the Porta a S. Pier Gattolini was demolished. There were many fine rooms in the said courtyard, and a deep drain more than two feet wide which received all the rain water and that which came from the kitchens and other places, and passing under the said palace it carried off all filth.... Maestro Bartolommeo Ammannati, the principal architect of the new palace, told me that he had found the date of the commencement of the old building, 1466, carved on a stone.” In July, 1558, the marriage of Lucrezia de’ Medici, Cosimo’s daughter, was solemnized in the chapel of the palace. One hundred and ten ladies, resplendent in brocade dresses and many jewels, were assembled to see the masquerade in five parts acted by young Florentine nobles. First came twelve Indians, alarming, but very gorgeous; then twelve Florentines habited as in ancient times; twelve Greeks in fine armour followed; then twelve emperors blazing with jewels; finally came twelve pilgrims with long mantles of cloth of gold, on which were emblazoned cockle shells of silver, and music proper to the different character of each masquerade was played by hidden musicians.