rs bent round the angles, the whole work
being composed in the Ionic Order; and these pilasters, since in the
ground-plan they were made, with all the rest of the work, to diminish
towards the centre of the choir and were not even, necessarily had to
be broad on the outer side and narrow on the inner, which is a breach
of proportionate measurement. And since each pilaster was bent
according to the inner angles of the eight sides, the extension-lines
towards the centre so diminished it that the two columns that were one
on either side of the pilaster at the corner caused it to appear too
slender, and produced an ungraceful effect both in it and in the whole
work, both on the outer side and likewise on the inner, although the
measurements there are correct. Giuliano also made the model of the
whole altar, which stood at a distance of one braccio and a half from
the ornament of the choir. For the upper part of this Baccio
afterwards made in wax a Christ lying dead, with two Angels, one of
whom was holding His right arm and supporting His head on one knee,
and the other was holding the Mysteries of the Passion; which statue
of Christ occupied almost the whole altar, so that there would
scarcely have been room to celebrate Mass, and Baccio proposed to make
this statue about four braccia and a half in length. He made, also, a
projection in the form of a pedestal behind the altar, attached to it
in the centre, with a seat upon which he afterwards placed a seated
figure of God the Father, six braccia high and giving the benediction,
and accompanied by two other Angels, each four braccia high, kneeling
at the extreme corners of the predella of the altar, on the level on
which rested the feet of God the Father. This predella was more than a
braccio in height, and on it were many stories of the Passion of Jesus
Christ, which were all to be in bronze, and on the corners of the
predella were the Angels mentioned above, both kneeling and each
holding in the hands a candelabrum; which candelabra of the Angels
served to accompany eight large candelabra placed between the Angels,
and three braccia and a half in height, which adorned that altar; and
God the Father was in the midst of them all. Behind God the Father was
left a space of half a braccio, in order that there might be room to
ascend to kindle the lights.

Under the arch that stood opposite to the principal entrance of the
choir, on the base that ran right round, on the outer s