d practised master. Wherefore he
was almost continually employed ever afterwards by the Wardens of Works
of that church; and he made the head of Marsilius Ficinus that is to be
seen therein, within the door that leads to the chapter-house. He made,
also, a marble fountain that was sent to the King of Hungary, which
brought him great honour; and by his hand was a marble tomb that was
sent, likewise, to Strigonia, a city of Hungary. In this tomb was a
Madonna, very well executed, with other figures; and in it was
afterwards laid to rest the body of the Cardinal of Strigonia. To
Volterra Andrea sent two Angels of marble in the round; and for Marco
del Nero, a Florentine, he made a lifesize Crucifix of wood, which is
now in the Church of S. Felicita at Florence. He made a smaller one for
the Company of the Assumption in Fiesole. Andrea also delighted in
architecture, and he was the master of Mangone, the stonecutter and
architect, who afterwards erected many palaces and other buildings in
Rome in a passing good manner.

In the end, having grown old, Andrea gave his attention only to mason's
work, like one who, being a modest and worthy person, loved a quiet
life more than anything else. He received from Madonna Antonia Vespucci
the commission for a tomb for her husband, Messer Antonio Strozzi; but
since he could not work much himself, the two Angels were made for him
by Maso Boscoli of Fiesole, his disciple, who afterwards executed many
works in Rome and elsewhere, and the Madonna was made by Silvio Cosini
of Fiesole, although it was not set into place immediately after it was
finished, which was in the year 1522, because Andrea died, and was
buried by the Company of the Scalzo in the Church of the Servi.

[Illustration: FONT

(_After_ Andrea da Fiesole [Andrea Ferrucci]. _Pistoia: Duomo_)

_Brogi_]

Silvio, when the said Madonna was set into place and the tomb of the
Strozzi completely finished, pursued the art of sculpture with
extraordinary zeal; wherefore he afterwards executed many works in a
graceful and beautiful manner, and surpassed a host of other masters,
above all in the bizarre fancy of his grotesques, as may be seen in the
sacristy of Michelagnolo Buonarroti, from some carved marble capitals
over the pilasters of the tombs, with some little masks so well hollowed
out that there is nothing better to be seen. In the same place he made
some friezes with very beautiful masks in the act of crying out;
wherefo