here were, with the great Accursio,
Francesco his son, M. Lorenzo Ridolfi, M. Dino Rossoni di Mugello, and
M. Forese da Rabatta. The Physicians, also, had their portraits; and
among them Maestro Taddeo Dino and Tommaso del Garbo, with Maestro
Torrigian Valori and Maestro Niccolo Falcucci, had the first places. Nor
did the Mathematicians, likewise, fail to be painted there; and of
these, besides the ancient Guido Bonatto, were seen Maestro Paolo del
Pozzo and the very acute, ingenious, and noble Leon Batista Alberti, and
with them Antonio Manetti and Lorenzo della Volpaia, he by whose hand we
have that first and marvellous clock of the planets, the wonder of our
age, which is now to be seen in the guardaroba of our most excellent
Duke. For Navigation, also, there was Amerigo Vespucci, most experienced
and most fortunate of men, in that so great a part of the world, having
been discovered by him, retains because of him the name of America. For
Learning, various and elegant, there was Messer Agnolo Poliziano, to
whom how much is owed by the Latin and Tuscan tongues, which began to
revive in him, I believe is sufficiently well known to all the world.
With him were Pietro Crinito, Giannozzo Manetti, Francesco Pucci,
Bartolommeo Fonzio, Alessandro de' Pazzi, and Messer Marcello Vergilio
Adriani, father of the most ingenious and most learned M. Giovan
Battista, now called Il Marcellino, who is still living and giving
public lectures with so much honour in our Florentine University, and
who at the commission of their illustrious Excellencies has been writing
anew the History of Florence; and there were also M. Cristofano Landini,
M. Coluccio Salutati, and Ser Brunetto Latini, the master of Dante. Nor
were there wanting certain Poets who had written in Latin, such as
Claudian, and among the more modern Carlo Marsuppini and Zanobi Strada.
Of the Historians, then, were seen M. Francesco Guicciardini, Niccolo
Macchiavelli, M. Leonardo Bruni, M. Poggio, Matteo Palmieri, and, among
the earliest, Giovanni and Matteo Villani and the very ancient Ricordano
Malespini. All these, or the greater part, for the satisfaction of all
beholders, had each his name or that of his most famous works marked on
the scrolls or on the covers of the books that they held, placed there
as if by chance; and with all of them, as with the men of war, to
demonstrate what they were come there to do, the four verses that were
painted on the architrave, as with the