ornaments at 36 florins each, and three with figures, which
were estimated at 60 florins apiece. Payments were also made to him for
work in the Sala del Cambio, sometimes for wood, sometimes on account of
salary, so that it seems certain that he made the benches there on
finishing the choir of the Cathedral, since they were being made between
1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
was not finished till the next year. Polimante da Nicola was made
citizen of Perugia in 1473. Three years after he began the choir of S.
Domenico, which cost 11 florins per seat. Four years later it was still
unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
Domenico had three sons, Chimenti, Francesco, and Marco, who followed
the paternal calling. Chimenti was one of those who were judges in 1490
in the competition for the facade of S. Maria del Fiore, and in 1504 was
one of those chosen to decide the position in the piazza to be occupied
by Michael Angelo's David. Marco was an enthusiastic follower of
Savonarola; in 1491 he was, with his brother Francesco, at Perugia
helping his father, and six years later he undertook work there on his
own account. They did half of the choir of La Badia in 1501-2, and the
very elaborate lectern. The son of Mark was Giambattista, called Maestro
Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
the best in his profession. He did many things both for ephemeral and
lasting purposes, and became an architect, designing the door of the
Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
superintending the construction of the latter between 1549 and 1551. In
1548 he designed an addition to the Palazzo Vecchio, then the ducal
residence, and also undertook to execute all the joinery. At the same
time he made a model of the Palace which he intended to build in Pisa,
which, however, was not carried out. He died in 1555. He was said by
Vasari to spend his time in playing the wag, in enjoyment rather than
work, and in criticising the works of others. But Cellini calls him
pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
Martini, who was a great friend of his. The following story of him,
related by Il Lasca, shows that he was not above playing a practical
joke of a rough character, and that he took great pride in the
achievements of his fellow-artists:--"A Lombard Benedictine abbot on
the way to Rome stayed in Flo