Rome, wherein the ribs that radiate from the round
window in the centre above, from which that temple gets its light, serve
to enclose the square sunk panels containing the rosettes, which
diminish little by little, as likewise do the ribs; and for that reason
they do not fall in a straight line with the columns. Andrea used to
add that if he who built the Temple of the Ritonda, which is the best
designed and proportioned that there is, and made with more harmony than
any other, paid no attention to this in a vault of such size and
importance, much less should he do so in a coffered ceiling with far
smaller panels. Nevertheless many craftsmen, and Michelagnolo in
particular, have been of the opinion that the Ritonda was built by three
architects, of whom the first carried it as far as the cornice that is
above the columns, and the second from the cornice upwards, the part,
namely, that contains those windows of more graceful workmanship, for in
truth this second part is very different in manner from the part below,
since the vaulting was carried out without any relation between the
coffering and the straight lines of what is below. The third is believed
to have made the portico, which was a very rare work. And for these
reasons the masters who practise this art at the present day should not
fall into such an error and then make excuses, as did Andrea.

After that work, having received from the family of the Corbinelli the
commission for the Chapel of the Sacrament in the same church, he
carried it out with much diligence, imitating in the low-reliefs Donato
and other excellent craftsmen, and sparing no labour in his desire to do
himself credit, as, indeed, he did. In two niches, one on either side of
a very beautiful tabernacle, he placed two saints somewhat more than one
braccio in height, S. James and S. Matthew, executed with such spirit
and excellence, that every sort of merit is revealed in them and not one
fault. Equally good, also, are two Angels in the round that are the
crowning glory of this work, with the most beautiful draperies--for they
are in the act of flying--that are anywhere to be seen; and in the
centre is a little naked Christ full of grace. There are also some
scenes with little figures in the predella and over the tabernacle, all
so well executed that the point of a brush could scarcely do what Andrea
did with his chisel. But whosoever wishes to be amazed by the diligence
of this extraordinary man