Of these sons, who all gave their attention after the death of Baccio to the art of carving and working in wood, Giuliano, who was the second, was the one who applied himself with the greatest zeal to architecture both during his father's lifetime and afterwards; wherefore, by favour of Duke Cosimo, he succeeded to his father's place as architect to S. Maria del Fiore, and continued not only all that Baccio had begun in that temple, but also all the other buildings that had remained unfinished at his death. At that time Messer Baldassarre Turini da Pescia was intending to place a panel-picture by the hand of Raffaello da Urbino in the principal church of Pescia, of which he was Provost, and to erect an ornament of stone, or rather, an entire chapel, around it, and also a tomb; and Giuliano executed all this after his own designs and models, and also restored for the same patron his house at Pescia, making in it many beautiful and useful improvements. For Messer Francesco Campana, formerly First Secretary to Duke Alessandro, and afterwards to Duke Cosimo de' Medici, the same Giuliano built at Montughi, without Florence, beside the church, a house which is small but very ornate, and so well situated, that it commands from its slight elevation a view of the whole city of Florence and the surrounding plain. And a most beautiful and commodious house was built at Colle, the native place of that same Campana, from the design of Giuliano, who shortly afterwards began for Messer Ugolino Grifoni, Lord of Altopascio, a palace at San Miniato al Tedesco, which was a magnificent work. For Ser Giovanni Conti, one of the secretaries of the Lord Duke Cosimo, he made many useful and beautiful improvements in his house at Florence; although it is true that in the two ground-floor windows, supported by knee-shaped brackets, which open out upon the street, Giuliano departed from his usual method, and so cut them up with projections, little brackets, and off-sets, that they inclined rather to the German manner than to the true and good manner of ancient or modern times. Works of architecture, without a doubt, must first be massive, solid, and simple, and then enriched by grace of design and by variety of subject in the composition, without, however, disturbing by poverty or by excess of ornamentation the order of the architecture or the impression produced on a competent judge.