Baptist of marble, three braccia high, by the hand of Donatello, which was left by him in the house of Gismondo Martelli, as has been related in the Life of Donatello himself. In short, this temple was adorned both within and without as well as could possibly be imagined, and the only part neglected was the principal chapel, where there is an old tabernacle with those figures in relief that Andrea Pisano made long ago; by reason of which it appeared that, every other part being made new, that old chapel spoilt all the grace that the other things together displayed. Wherefore the Duke, going one day to see those decorations, after praising everything like a man of judgment, and recognizing how well Tribolo had adapted himself to the situation and to every other feature of the place, censured one thing only, but that severely--that no thought had been given to the principal chapel. And then he ordained on the spot, like a person of resolute character and beautiful judgment, that all that part should be covered with a vast canvas painted in chiaroscuro, with S. John the Baptist baptizing Christ, and the people standing all around to see them or to be baptized, some taking off their clothes, and others putting them on again, in various attitudes; and above this was to be a God the Father sending down the Holy Spirit, with two fountains in the guise of river-gods, representing the Jor and the Dan, which, pouring forth water, were to form the Jordan. Jacopo da Pontormo was requested to execute this work by Messer Pier Francesco Riccio, at that time major-domo to the Duke, and by Tribolo, but he would not do it, on the ground that he did not think that the time given, which was only six days, would be enough for him; and the same refusal was made by Ridolfo Ghirlandajo, Bronzino, and many others. Now at this time Giorgio Vasari, having returned from Bologna, was executing for Messer Bindo Altoviti the altar-piece of his chapel in S. Apostolo at Florence, but he was not held in much consideration, although he had friendship with Tribolo and Tasso, because certain persons had formed a faction under the protection of the above-named Messer Pier Francesco Riccio, and whoever was not of that faction had no share in the favours of the Court, although he might be able and deserving. This was the reason that many who, with the aid of so great a Prince, would have become excellent, found themselves neglected, none being employed save those chosen by Tasso, who, being a gay person, got Riccio so well under his thumb with his jokes, that in certain affairs he neither proposed nor did anything save what was suggested by Tasso, who was architect to the Palace and did all the work. These men, then, having a sort of suspicion of Giorgio, who laughed at their vanities and follies, and sought to make a position for himself rather by means of the studies of art than by favour, gave no thought to his claims;