It is worth noting that there is in Innsbruck, on the left bank of the Inn, a blacksmith’s shop, on the front of which is a very interesting bas-relief of the fourteenth or fifteenth century, representing Saint Peter or Eligius with the horse in a smithy. There is another statue on the exterior of this church, that of Saint Philip, by the sculptor Nanni de Banco, concerning which and whom I find an anecdote in the _Facetie Diverse_, A.D. 1636: “Now, it befell in adorning the church of Or’ San Michele in Florence, that _I Consoli d’Arte_ (Art Directors of Florence) wanting a certain statue, wished to have it executed by Donatello, a most excellent sculptor; but as he asked fifty _scudi_, which was indeed a very moderate price for such statues as he made, they, thinking it too dear, refused him, and gave it to a sculptor _mediocre e mulo_—indifferent and mongrel—who had been a pupil of Donatello; nor did they ask him the price, supposing it would be, of course, less. Who, having done his best, asked for the work eighty scudi. Then the Directors in anger explained to him that Donatello, a first-class sculptor, had only asked fifty; but as he refused to abate a single _quattrino_, saying that he would rather keep the statue, the question was referred to Donatello himself, who at once said they should pay the man _seventy_ scudi. But when they reminded him that he himself had only asked fifty, he very courteously replied, ‘Certainly, and being a master of the art, I should have executed it in less than a month, but that poor fellow, who was hardly fit to be my pupil, has been more than half a year making it.’ “By which shrewd argument he not only reproached them for their meanness and his rival for incapacity, but also vindicated himself as an artist.” This is the story as popularly known. In it Nanni is called Giovanni, and it is not true that he was an unworthy, inferior sculptor, for he was truly great. There is another legend of Or’ San Michele, which is thus given by Pascarel, who, however, like most writers on Florence, is so extravagantly splendid or “gushing” in his description of everything, that untravelled readers who peruse his pages in good faith must needs believe that in every church and palazzo there is a degree of picturesque magnificence, compared to which the Pandemonium of Milton, or even the Celestial City itself as seen by Saint John, is a mere cheap Dissenting chapel. According to him, Or’ San Michele is by right “a world’s wonder, and a gift so perfect to the whole world, that, passing it, one should need say (or be _compelled_ to pronounce) a prayer for Taddeo’s soul.” Which is like the dentist in Paris, who proclaimed in 1847 that it was— “Presque une crime De ne pas crier, ‘_Vive_ Fattet!’” The legend, as told by this writer, and cited by Hare, is as follows: