deliberation. Others took the same view, but thought it better to wait no longer than was absolutely needful. Then Lorenzo de’ Medici rose, and said: ‘All who had sent in models or designs were deserving of praise; but as the work in question was one of lasting importance, long and grave deliberation was needful, and it was advisable to postpone a decision in order to consider the matter further.’ Pietro Machiavelli and Antonio Manetti, architects, supported him, the rest were silent. Sixteen months later he who had started the whole affair lay in his grave. Then came times when Florence had other things to think of than the façade of her cathedral. For the latter, however, it was well that the rebuilding was not begun at that time, for Giuliano da Majano and Giuliano da San Gallo would have been just as incapable of producing work corresponding with the main character of the building, as were Buontalenti or Dosio under the Grand Duke Ferdinand I., or Baccio del Bianco—a decorative painter rather than an architect—of whose façade the foundation-stone was actually laid in 1636. The old unfinished façade might not correspond with the mighty pile that had developed under the hands of so many architects, but the new one would have disfigured it for ever.[182] The church of the Santo Spirito, too, remained unfinished. Great damage had been done by a fire on March 22, 1471, and three months after contributions were voted out of the taxes for the restoration,[183] as had been done before. In consideration of this the municipality made it a condition that the escutcheon of the lilies and the cross should be placed beside those of the guilds. There was some difference about the doors, as appears from a decree of the master-builders in 1486, and from a letter of Giuliano da Sangallo to Lorenzo,[184] which also shows the want of agreement between the former and Giuliano da Majano. Six architects were to deliberate on the matter, and Majano seems to have carried the day, to the disgust of Sangallo, who expresses a hope that Lorenzo on his return will not allow such a fine building to be spoiled. Further information is wanting. It is to be regretted that the exterior was not finished then, while the traditions of Brunelleschi’s time were still in a great measure alive. On the other hand, a great deal was done in the interior of the choir of Sta. Maria del Fiore. In the palace of the Signoria also much work was accomplished in the first and second stories—especially the latter—in the audience chamber, and neighbouring apartments. It cannot be doubted that Lorenzo had a share in all this. The Sala dell’Orologia in the palace took its name from the curious clock made by Lorenzo della Volpaia for the Medici house, and afterwards placed in this hall, whence it has strayed to the Museum of Natural History. It is a handsome piece of work, after the pattern of those made in the fourteenth century by the Paduan Giovanni