Now Giovanni Zanchini had built a chapel very rich in carved stone, with his family tombs in marble, opposite to the Chapel of the Dini in S. Croce at Florence, on the front wall, on the left hand as one enters the church by the central door; and he allotted the altar-piece to Bronzino, to the end that he might paint in it Christ descended into the Limbo of Hell in order to deliver the Holy Fathers. Agnolo, then, having set his hand to it, executed that work with the utmost possible diligence that one can use who desires to acquire glory by such a labour; wherefore there are in it most beautiful nudes, men, women, and children, young and old, with different features and attitudes, and portraits of men that are very natural, among which are Jacopo da Pontormo, Giovan Battista Gello, a passing famous Academician of Florence, and the painter Bacchiacca, of whom we have spoken above. And among the women he portrayed there two noble and truly most beautiful young women of Florence, worthy of eternal praise and memory for their incredible beauty and virtue, Madonna Costanza da Sommaia, wife of Giovan Battista Doni, who is still living, and Madonna Camilla Tedaldi del Corno, who has now passed to a better life. Not long afterwards he executed another large and very beautiful altar-picture of the Resurrection of Jesus Christ, which was placed in the Chapel of Jacopo and Filippo Guadagni beside the choir in the Church of the Servites--that is, the Nunziata. And at this same time he painted the altar-piece that was placed in the chapel of the Palace, whence there had been removed that which was sent to Granvella; which altar-piece is certainly a most beautiful picture, and worthy of that place. Bronzino then painted for Signor Alamanno Salviati a Venus with a Satyr beside her, so beautiful as to appear in truth Venus Goddess of Beauty. [Illustration: CHRIST IN LIMBO (_After the panel by =Angelo Bronzino=. Florence: Uffizi, 1271_) _Anderson_]