with laurel, and Mugnone, known by the Nymph that stood over him crowned with stars, with the moon on her brow, in allusion to the daughters of Atlas, and representing Fiesole, appeared likewise to be expressing the same gladness and contentment. All which conception described above was explained excellently well by the four verses that were placed in the architrave, as with the others, which ran thus: Musarum hic regnat chorus, atque Helicone virente Posthabito, venere tibi Florentia vates Eximii, quoniam celebrare haec regia digno Non potuere suo et connubia carmine sacro. Opposite to this, placed on the left hand, and perhaps not less peculiar to the Florentine genius than the last-named, was seen the statue of Design, the father of painting, sculpture, and architecture, who, if not born in Florence, as may be seen in the past writings, may be said to have been born again there, and nourished and grown as in his own nest. He was figured by a statue wholly nude, with three similar heads for the three arts that he embraces, each holding in the hand some instrument, but without any distinction; and in the canvas that was beneath him was seen painted a vast courtyard, for the adornment of which were placed in various manners a great quantity of statues and of pictures in painting, both ancient and modern, which could be seen in process of being designed and copied by divers masters in divers ways. In one part was being prepared an anatomical study, and many could be seen observing it, and likewise drawing, very intently. Others, again, considering the fabric and rules of architecture, appeared to be seeking to measure certain things with great minuteness, the while that the divine Michelagnolo Buonarroti, prince and monarch of them all, with the three circlets in his hand (his ancient device), making signs to Andrea del Sarto, Leonardo da Vinci, Pontormo, Rosso, Perino del Vaga, Francesco Salviati, Antonio da San Gallo, and Rustici, who were gathered with great reverence about him, was pointing out with supreme gladness the pompous entrance of the noble Lady. The ancient Cimabue, standing in another part, was doing as it were the same service to certain others, at whom Giotto appeared to be smiling, having taken from him, as Dante said so well, the field of painting which he thought to hold; and Giotto had with him, besides the Gaddi, Buffalmacco and Benozzo, with many others of that age. In another part, again, placed in another fashion and all rejoicing as they conversed, were seen those who conferred such benefits on art, and to whom these new masters owed so much; the great Donatello, Filippo di Ser Brunellesco, Lorenzo Ghiberti, Fra Filippo, the excellent Masaccio, Desiderio, and Verrocchio, with many others, portrayed from life, whom, since I have spoken of them in the previous books, I will pass by without saying more about them, thus avoiding the tedium that might come upon my readers by repetition.