Coming thus to Florence, where he was received with much rejoicing by his relatives and friends, it chanced that he arrived there at the very moment when the festive preparations were being made for the nuptials of Duke Cosimo and the Lady Donna Leonora di Toledo. Wherefore he was commissioned to paint one of the already mentioned scenes that were executed in the courtyard, which he accepted very willingly; and that was the one in which the Emperor was placing the Ducal crown on the head of Duke Cosimo. But being seized, before he had finished it, with a desire to go to Venice, Francesco left it to Carlo Portelli of Loro, who finished it after Francesco's design; which design, with many others by the same hand, is in our book. Having departed from Florence and made his way to Bologna, Francesco found there Giorgio Vasari, who had returned two days before from Camaldoli, where he had finished the two altar-pieces that are in the tramezzo[17] of the church, and had begun that of the high-altar; and Vasari was arranging to paint three great panel-pictures for the refectory of the Fathers of S. Michele in Bosco, where he kept Francesco with him for two days. During that time, some of his friends made efforts to obtain for him the commission for an altar-piece that was to be allotted by the men of the Della Morte Hospital. But, although Salviati made a most beautiful design, those men, having little understanding, were not able to recognize the opportunity that Messer Domeneddio[18] had sent them of obtaining for Bologna a work by the hand of an able master. Wherefore Francesco went away in some disdain, leaving some very beautiful designs in the hands of Girolamo Fagiuoli, to the end that he might engrave them on copper and have them printed. [Footnote 17: See note on p. 57, Vol. I.] [Footnote 18: A method of alluding to the Deity, which, in its playful simplicity, is quite impossible in English.]