iately above the altar, was a bronze grating opposite to
the inner altar, through which it was possible to hear the Mass and to
see the inside of the Chamber and the aforesaid altar of the Madonna.
Altogether, then, the spaces and compartments for the scenes were
seven: one in front, above the grating, two on each of the longer sides,
and two on the upper part--that is to say, behind the altar of the
Madonna; and, in addition, there were eight large and eight small
niches, with other smaller spaces for the arms and devices of the Pope
and of the Church.

Andrea, then, having found the work in this condition, distributed over
these spaces, with a rich and beautiful arrangement, scenes from the
life of the Madonna. In one of the two side-walls, he began in one part
the Nativity of the Madonna, and executed half of it; and it was
completely finished afterwards by Baccio Bandinelli. In the other part
he began the Marriage of the Virgin, but this also remained unfinished,
and after the death of Andrea it was completed as we see it by Raffaello
da Montelupo. On the front wall he arranged that there should be made,
in two small squares which are on either side of the bronze grating, in
one the Visitation and in the other the scene of the Virgin and Joseph
going to have themselves enrolled for taxes; which scenes were
afterwards executed by Francesco da San Gallo, then a young man. Then,
in that part where the greatest space is, Andrea made the Angel Gabriel
bringing the Annunciation to the Virgin--which happened in that very
chamber which these marbles enclose--with such grace and beauty that
there is nothing better to be seen, for he made the Virgin wholly intent
on that Salutation, and the Angel, kneeling, appears to be not of
marble, but truly celestial, with "Ave Maria" issuing from his mouth. In
company with Gabriel are two other Angels, in full-relief and detached
from the marble, one of whom is walking after him and the other appears
to be flying. Behind a building stand two other Angels, carved out by
the chisel in such a way that they seem to be alive. In the air, on a
cloud much undercut--nay, almost entirely detached from the marble--are
many little boys upholding a God the Father, who is sending down the
Holy Spirit by means of a ray of marble, which, descending from Him
completely detached, appears quite real; as, likewise, is the Dove upon
it, which represents the Holy Spirit. Nor can one describe how great is
th