The Florentine Lorenzo Pucci, Cardinal Santiquattro, had formerly caused a chapel to be built in the Trinita, and all the vaulting to be painted by Perino del Vaga, with certain Prophets on the outer side, and two little boys holding the arms of that Cardinal. But the chapel remaining unfinished, with three walls still to be painted, when the Cardinal died, those fathers, without any regard for what was just and reasonable, sold that chapel to the Archbishop of Corfu; and it was afterwards given by that Archbishop to Taddeo to paint. Now although, out of respect for the church and from other reasons, it may have been well to find means of finishing the chapel, at least they should not have allowed the arms of the Cardinal to be removed from the part that was finished, only in order to place there those of the above-named Archbishop, which they could have set up in another place, instead of offering so manifest an affront to the memory of that good Cardinal. Having thus so many works on his hands, Taddeo was every day urging Federigo to return from Venice. That Federigo, after having finished the chapel for the Patriarch, was negotiating to undertake to paint the principal wall of the Great Hall of the Council, where Antonio Viniziano had formerly painted; but the rivalry and the contentions that he suffered from the Venetian painters were the reason that neither they, with all their interest, nor he, likewise, obtained it. Meanwhile Taddeo, having a desire to see Florence and the many works which, so he heard, Duke Cosimo had carried out and was still carrying out, and the beginning that his friend Giorgio Vasari was making in the Great Hall; Taddeo, I say, pretending one day to go to Caprarola in connection with the work that he was doing there, went off to Florence for the Festival of S. John, in company with Tiberio Calcagni, a young Florentine sculptor and architect. There, to say nothing of the city, he found vast pleasure in the works of the many excellent sculptors and painters, ancient as well as modern; and if he had not had so many charges and so many works on his hands, he would gladly have stayed there some months. Thus he saw the preparations of Vasari for the above-named Hall--namely, forty-four great pictures, of four, six, seven, or ten braccia each--in which he was executing figures for the most part of six or eight braccia, with the assistance only of the Fleming Giovanni Strada and Jacopo Zucchi, his disciples, and Battista Naldini, in all which he took the greatest pleasure, and, hearing that all had been executed in less than a year, it gave him great courage. Wherefore, having returned to Rome, he set his hand to the above-named chapel in the Trinita, with the resolve that he would surpass himself in the stories of Our Lady that were to be painted there, as will be related presently.