Amid this rivalry and contention Baccio finished his figure of God the Father, which he arranged to have placed in the church on the base beside the altar. This figure was clothed and six braccia high, and he erected and completely finished it. But, in order not to leave it unaccompanied, he summoned from Rome the sculptor Vincenzio de' Rossi, his pupil, wishing to execute in clay for the altar all that remained to be done in marble; and he caused Vincenzio to assist him in finishing the two Angels who are holding the candelabra at the corners, and the greater part of the scenes on the predella and the base. Having then set everything upon the altar, in order to see how his work, when finished, was to stand, he strove to prevail on the Duke to come and see it, before he should uncover it. But the Duke would never go, and, although entreated by the Duchess, who favoured Baccio in this matter, he would never let himself be shaken, and did not go to see it, being angered because among so many works Baccio had never finished one, even after his Excellency had made him rich and had won odium among the citizens by honouring him highly and doing him many favours. For all this his Excellency was disposed to assist Clemente, the natural son of Baccio--a young man of ability, who had made considerable proficience in design--because it was likely to fall to him in time to finish his father's works. At this same time, which was in the year 1554, there came from Rome, where he had been working for Pope Julius III, Giorgio Vasari of Arezzo, in order to serve his Excellency in many works that he was intending to execute, and in particular to decorate the Palace on the Piazza, and to renovate it with new constructions, and to finish the Great Hall, as he was afterwards seen to do. In the following year Giorgio Vasari summoned from Rome and engaged in the Duke's service the sculptor Bartolommeo Ammanati, to the end that he might execute the other facade in the above-named Hall, opposite to the audience-chamber begun by Baccio, and a fountain in the centre of that facade; and a beginning was straightway made with executing a part of the statues that were to go into that work. Baccio, perceiving that the Duke was employing others, recognized that he did not wish to use his services any longer; at which, feeling great displeasure and vexation, he had become so strange and so irritable that no one could have any dealings with him either in his house or out of it, and to his son Clemente he behaved very strangely, keeping him in want of everything. For this reason Clemente, who had made a large head of his Excellency in clay, in order to execute it in marble for the statue of the audience-chamber, sought leave of the Duke to depart and go to Rome, on account of his father's strangeness; and the Duke said that he would not fail him. Baccio, at the departure of Clemente, who had asked leave of him, would not give him anything, although the young