If Vasari is to be believed, Toto was the chief architect of this building; in any case, it may be taken for granted that he was one of the leading Italians employed there. In the royal accounts he is always spoken of as “paynter,” but the term included the makers of works in coloured plaster, with which the exterior of Nonsuch was covered. “Toto’s earliest education,” says Mr. Digby Wyatt, “had specially fitted him for dealing with such an infinity of allegorical and quasi-pictorial sculpture as that with which we shall find Nonsuch to have been adorned; since his father, in whose ‘bottega’ he was first brought up, obtained his nickname of ‘Nunziata’ from his annually furnishing all the quantity of imagery with which the feast of the Annunciation was wont to be set forth in a tangible shape at Florence.”[602] [Sidenote: TOTO AND PENNI] “Antony Toto and Barthilmewe Penne” first appear in the Household Accounts in 1530, “upon several warrantes being dated the iiijth day of June, anno xxij, for their wages, after the rate of xxv _li_ a year to every of them, to be paid unto them quarterly, & during the Kinges pleasure.”[603] Thus each received £25 a year, the payment for the two being always entered in one account, £12, 10_s._ each quarter, and 22_s._ 6_d._ each annually for their livery coats. On one occasion the scribe has confused them, and has entered them as “Anthony Pene and Bartilmew Tate.”[604] There are some interesting items concerning Toto in the Hampton Court Accounts,[605] from which we learn that in addition to his work as an architect and decorator he was employed as a painter of pictures. Thus, in 1530, there is an entry: “To Antonye Tote, painter, for the painting of five tables standing in the King’s library—First, one table of Joachim and St. Anne. Item, another table, how Adam delved in the ground. Item, the third table, how Adam was droven out of Paradise. Item, the fourth table, of the burying of our Lord. Item, the fifth table, being the last table, of the burying of our blessed Lady. The said Antonye taking for the said five tables, by a bargain in great, £6, 13_s._ 4_d._” Toto was also a restorer of old pictures, for on the same page is the following: “Item, to the said Antonye for sundry colours by him employed and spent upon the old painted tables in the King’s privy closet, 13_s._ 4_d._”; and again, “also paid to Antoyne Tote, painter, for the painting of four great tables—that is to say, one table of our [Lady] of Pity; another table of the four Evangelists; the third of the Maundythe [the feet-washing on Maundy Thursday?]. The fourth [title omitted]. The said Antonye taking for the said tables, by a bargain with him made, by great, 20_l._ soll.” These entries show that painters at Henry’s Court received separate payment for pictures and other special works, and that their salaries were in the nature of retaining fees. They also received a daily wage