And now that we have weaned these three arts, to use such a fashion of speaking, and brought them through their childhood, there comes their second age, wherein there will be seen infinite improvement in everything; invention more abundant in figures, and richer in ornament; more depth and more lifelike reality in design; some finality, moreover, in the works, which are executed thoughtfully and with diligence, although with too little mastery of handling; with more grace in manner and more loveliness in colouring, so that little is wanting for the reduction of everything to perfection and for the exact imitation of the truth of nature. Wherefore, with the study and the diligence of the great Filippo Brunelleschi, architecture first recovered the measures and proportions of the ancients, both in the round columns and in the square pilasters, and in the corner-stones both rough and smooth; and then one Order was distinguished from another, and it was shown what differences there were between them. It was ordained that all works should proceed by rule, should be pursued with better ordering, and should be distributed with due measure. Design grew in strength and depth; good grace was given to buildings; the excellence of that art made itself known; and the beauty and variety of capitals and cornices were recovered in such a manner, that the ground-plans of his churches and of his other edifices are seen to have been very well conceived, and the buildings themselves ornate, magnificent, and beautifully proportioned, as it may be seen in the stupendous mass of the cupola of S. Maria del Fiore in Florence, and in the beauty and grace of its lantern; in the ornate, varied, and graceful Church of S. Spirito, and in the no less beautiful edifice of S. Lorenzo; in the most bizarre invention of the octagonal Temple of the Angeli; in the most fanciful Church and Convent of the Abbey of Fiesole, and in the magnificent and vast beginning of the Pitti Palace; besides the great and commodious edifice that Francesco di Giorgio made in the Palace and Church of the Duomo at Urbino, and the very strong and rich Castle of Naples, and the impregnable Castle of Milan, not to mention many other notable buildings of that time. And although there were not therein that delicacy and a certain exquisite grace and finish in the mouldings, and certain refinements and beauties in the carving of the leafage and in making certain extremities in the foliage, and other points of perfection, which all came later, as it will be seen in the Third Part, wherein there will follow those who will attain to all that perfection, whether in grace, or refinement, or abundance, or dexterity, to which the old architects did not attain; none the less, they can be safely called beautiful and good. I do not call them yet perfect, because later there was seen something better in that art, and it appears to me that I can reasonably affirm that there was something wanting in them. And although