e two other similar arches,
which unite with the entrance and the altar in forming a cross; and
these were for two pulpits, which the old choir also had, serving for
music and other ceremonies of the choir and of the altar. In this choir,
around the eight faces, Giuliano made an ornament of the Ionic Order,
and placed at every corner a pilaster bent in the middle, and one on
every face; and since each pilaster so narrowed that the extension-lines
of its side-faces met in the centre of the choir, from inside it looked
narrow and bent in, and from outside broad and pointed. This invention
was not much extolled, nor can it be commended as beautiful by any man
of judgment; and for a work of such cost, in a place so celebrated,
Bandinelli, if he despised architecture, or had no knowledge of it,
should have availed himself of someone living at that time with the
knowledge and ability to do better. Giuliano deserves to be excused in
the matter, because he did all that he could, which was not a little;
but it is very certain that one who has not strong powers of design and
invention in himself, will always be too poor in grace and judgment to
bring to perfection great works of architecture.

Giuliano made for Filippo Strozzi a couch of walnut-wood, which is now
at Citta di Castello, in the house of the heirs of Signor Alessandro
Vitelli. For an altar-piece which Giorgio Vasari painted for the
high-altar of the Abbey of Camaldoli in the Casentino, he made a very
rich and beautiful frame, after the design of Giorgio; and he carved
another ornamental frame for a large altar-piece that the same Giorgio
executed for the Church of S. Agostino in Monte Sansovino. The same
Giuliano made another beautiful frame for another altar-piece by the
hand of Vasari, which is in the Abbey of Classi, a seat of the Monks of
Camaldoli, at Ravenna. He also executed the frames for the pictures by
the hand of the same Giorgio of Arezzo that are in the refectory of the
Monks of the Abbey of S. Fiore at Arezzo; and in the Vescovado in the
same city, behind the high-altar, he made a most beautiful choir of
walnut-wood, after the design of Giorgio, which provided for the
bringing forward of the altar. And, finally, a short time before his
death, he made the rich and beautiful Ciborium of the most Holy
Sacrament for the high-altar of the Nunziata, with the two Angels of
wood, in full-relief, which are on either side of it. This was the last
work that he exe