The name and fame of Baldassarre became greater after his death than they had been during his lifetime; and then, above all, was his talent missed, when Pope Paul III resolved to have S. Pietro finished, because men recognized how great a help he would have been to Antonio da San Gallo. For, although Antonio had to his credit all that is to be seen executed by him, yet it is believed that in company with Baldassarre he would have done more towards solving some of the difficulties of that work. The heir to many of the possessions of Baldassarre was Sebastiano Serlio of Bologna, who wrote the third book on architecture and the fourth on the antiquities of Rome with their measurements; in which works the above-mentioned labours of Baldassarre were partly inserted in the margins, and partly turned to great advantage by the author. Most of these writings of Baldassarre came into the hands of Jacomo Melighino of Ferrara, who was afterwards chosen by Pope Paul as architect for his buildings, and of the aforesaid Francesco da Siena, his former assistant and disciple, by whose hand is the highly renowned escutcheon of Cardinal Trani in Piazza Navona, with some other works. From this Francesco we received the portrait of Baldassarre, and information about some matters which I was not able to ascertain when this book was published for the first time. Another disciple of Baldassarre was Virgilio Romano, who executed a facade with some prisoners in sgraffito-work in the centre of the Borgo Nuovo in his native city, and many other beautiful works. From the same master, also, Antonio del Rozzo, a citizen of Siena and a very excellent engineer, learnt the first principles of architecture; and Baldassarre was followed, in like manner, by Riccio, a painter of Siena, who, however, afterwards imitated to no small extent the manner of Giovanni Antonio Sodoma of Vercelli. And another of his pupils was Giovan Battista Peloro, an architect of Siena, who gave much attention to mathematics and cosmography, and made with his own hand mariner's compasses, quadrants, many irons and instruments for measuring, and likewise the ground-plans of many fortifications, most of which are in the possession of Maestro Giuliano, a goldsmith of Siena, who was very much his friend. This Giovan Battista made for Duke Cosimo de' Medici a plan of Siena, all in relief and altogether marvellous, with the valleys and the surroundings for a mile and a half round--the walls, the streets, the forts, and, in a word, a most beautiful model of the whole place. But, since he was unstable by nature, he left Duke Cosimo, although he had a good allowance from that Prince; and, thinking to do better, he made his way into France, where he followed the Court without any success for a long time, and finally died at Avignon. And although he was an able and well-practised architect, yet in no place are there to be seen any buildings erected by