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I was ready to execute a great number of bronze bas-reliefs with appropriate decorations. In this way I brought him round, and he gave me orders to construct the models.
Accordingly I set at work on several models, and bestowed immense pains on them. Among these there was one with eight panels, carried out with far more science than the rest, and which seemed to me more fitted for the purpose. Having taken them several times to the place, his Excellency sent word by Messer Cesare, the keeper of his wardrobe, that I should leave them there. After the Duke had inspected them, I perceived that he had selected the least beautiful. One day he sent for me, and during our conversation about the models, I gave many reasons why the octagonal pulpit would be far more convenient for its destined uses, and would produce a much finer effect. He answered that he wished me to make it square, because he liked that form better; and thus he went on conversing for some time very pleasantly. I meanwhile lost no opportunity of saying everything I could in the interests of art. Now whether the Duke knew that I had spoken the truth, or whether he wanted to have his own way, a long time passed before I heard anything more about it.
Note 1. A native of Fano. Cosimo’s Auditore, 1539; first Secretary or Grand Chancellor, 1546. He was a great jurist.
Note 2. 'Suo auditore.'
Note 3. It was Baccio d’Agnolo who altered Brunelleschi’s plan for the cupola. Buonarroti used to say that he made it look like a cage for crickets. His work remained unfinished.
Note 4. 'Operai di S. Maria del Fiore.'
Note 5. He means Ghiberti’s second door, in all probability.
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