Giuliano, meanwhile, not neglecting his workshop, was giving his attention, together with his brothers, to the execution of many carvings and works in wood, and also to pressing on the making of the pavement of S. Maria del Fiore; and since he was superintendent and architect of that building, he was requested by the same Bandinelli to make designs and models of wood, after some fantasies of figures and other ornaments of his own, for the high-altar of that same S. Maria del Fiore, which was to be constructed of marble; which Giuliano did most willingly, being a good and kindly person and one who delighted in architecture as much as Bandinelli despised it, and being also won over by the lavish promises of profit and honour that Bandinelli made him. Setting to work, therefore, on that model, Giuliano made it much after the simple pattern formerly designed by Brunelleschi, save that he enriched it by doubling both the columns and the arch above. And when he had brought it to completion, and the model, together with many designs, had been carried by Bandinelli to Duke Cosimo, his most illustrious Excellency resolved in his regal mind to execute not only the altar, but also the ornament of marble that surrounds the choir, following its original octagonal shape, with all those rich adornments with which it has since been carried out, in keeping with the grandeur and magnificence of that temple. Giuliano, therefore, with the assistance of Bandinelli, made a beginning with that choir, without altering anything save the principal entrance, which is opposite to the above-mentioned altar; for which reason he wished that it should be exactly similar to that altar, with the same arch and decorations. He also made two other similar arches, which unite with the entrance and the altar in forming a cross; and these were for two pulpits, which the old choir also had, serving for music and other ceremonies of the choir and of the altar. In this choir, around the eight faces, Giuliano made an ornament of the Ionic Order, and placed at every corner a pilaster bent in the middle, and one on every face; and since each pilaster so narrowed that the extension-lines of its side-faces met in the centre of the choir, from inside it looked narrow and bent in, and from outside broad and pointed. This invention was not much extolled, nor can it be commended as beautiful by any man of judgment; and for a work of such cost, in a place so celebrated, Bandinelli, if he despised architecture, or had no knowledge of it, should have availed himself of someone living at that time with the knowledge and ability to do better. Giuliano deserves to be excused in the matter, because he did all that he could, which was not a little; but it is very certain that one who has not strong powers of design and invention in himself, will always be too poor in grace and judgment to bring to perfection great works of architecture.