The Frate then remembering that he had promised Prince Doria that he would return to Genoa to make his tomb for him in S. Matteo and to adorn the whole church, he departed straightway from Naples and set out for Genoa. Having arrived there, he made the models of the work that he was to execute for that lord, which pleased him vastly; and then he set his hand to it, with a good allowance of money and a good number of masters. And thus, dwelling in Genoa, the Frate made many friendships with noblemen and men of distinction, and in particular with some physicians, who were of much assistance to him; for, helping one another, they made anatomical studies of many human bodies, and gave their attention to architecture and perspective, and so Fra Giovanni Agnolo attained to the greatest excellence. Besides this, the Prince, going very often to the place where he was working, and much liking his discourse, conceived a very great affection for him. At that time, also, of two nephews that he had left in charge of Maestro Zaccheria, one, called Agnolo, was sent to him, a young man of beautiful genius and exemplary character; and shortly afterwards there was sent to him by the same Zaccheria another young man called Martino, the son of one Bartolommeo, a tailor. Of both these young men, teaching them as if they were his sons, the Frate availed himself in the work that he had in hand. And when he had finally come to the end of it, he built up the chapel, the tomb, and the other ornaments that he had made for that church, which forms a cross at the head of the central nave and three crosses down along the length of the nave, and has the high-altar standing isolated at the head and in the centre. The chapel, then, is supported at the corners by four large pilasters, which likewise uphold the great cornice that runs right round, over which curve four semicircular arches that lie in line with the pilasters. Of these arches, three are adorned in their central space with windows of no great size; and over the arches curves a round cornice that forms four angles between one arch and another at the corners, while above it rises a vaulting in the form of a basin. After the Frate, then, had made many ornaments of marble about the altar on all four sides, he placed upon the altar a very rich and beautiful vase of marble for the most Holy Sacrament, between two Angels of the size of life, likewise of marble. Next, around the whole runs a pattern of different kinds of stone let into the marble with a beautiful and well-varied arrangement of variegated marbles and rare stones, such as serpentines, porphyries, and jaspers. And in the principal wall, at the head of the chapel, he made another pattern from the level of the floor to the height of the altar, with similar kinds of variegated marble and stone, which forms a base to four pilasters of marble that enclose three spaces. In the central space, which is larger than the others, there is