Great is the pleasure that I take in studying at times the beginnings of our craftsmen, for one sees some rising from the lowest depth to the greatest height, and especially in architecture, a science which has not been practised for several years past save by carvers and cunning impostors who profess to understand perspective without knowing even its terms or its first principles. The truth, indeed, is that architecture can never be practised to perfection save by those who have an excellent judgment and a good mastery of design, or have laboured much in painting, sculpture, or works in wood, for the reason that in it have to be executed with true measurements the dimensions of their figures, which are columns, cornices, and bases, and all the ornaments, which are made for the adornment of the figures, and for no other reason. And thus the workers in wood, by continually handling such things, in course of time become architects; and sculptors likewise, by having to find positions for their statues and by making ornaments for tombs and other works in the round, come in time to a knowledge of architecture; and painters, on account of their perspectives, the variety of their inventions, and the buildings that they draw, are compelled to take the ground-plans of edifices, seeing that they cannot plant houses or flights of steps on the planes where their figures stand, without in the first place grasping the order of the architecture. Working in his youth excellently well at wood-inlaying, Baccio executed the backs of the stalls in the choir of S. Maria Novella, in the principal chapel, wherein are most beautiful figures of S. John the Baptist and S. Laurence. In carving, he executed the ornaments of that same chapel, those of the high-altar in the Nunziata, the decorations of the organ in S. Maria Novella, and a vast number of other works, both public and private, in his native city of Florence. Departing from that city, he went to Rome, where he applied himself with great zeal to the study of architecture; and on his return he made triumphal arches of wood in various places for the visit of Pope Leo X. But for all this he never gave up his workshop, where there were often gathered round him, in addition to many citizens, the best and most eminent masters of our arts, so that most beautiful conversations and discussions of importance took place there, particularly in winter. The first of these masters was Raffaello da Urbino, then a young man, and next came Andrea Sansovino, Filippino, Maiano, Cronaca, Antonio da San Gallo and Giuliano da San Gallo, Granaccio, and sometimes, but not often, Michelagnolo, with many young Florentines and strangers.