in their hearty desire to abide by this decision.  I am furthermore instructed to tell you, that if you possess sketches, working cartoons, or drawings made for this purpose, the same would be of the greatest service in the execution of his project; and he promises to be a good and faithful administrator, so that honour may ensue.  In case you do not feel inclined to do all this, through the burden of old age or for any other reason, he begs you at least to communicate with some one who shall write upon the subject; seeing that he would be greatly grieved, as indeed would the whole of our academy, to have no ray of light from your own mind, and possibly to add things to your masterpiece which were not according to your designs and wishes.  We all of us look forward to being comforted by you, if not with actual work, at least with words.  His Excellency founds this hope upon your former willingness to complete the edifice by allotting statues to Tribolo, Montelupo, and the Friar (Giovanni Angelo Montorsoli).  The last named of these masters is here, eagerly desirous to have the opportunity of doing you honour.  So are Francesco Sangallo, Giovanni Bologna, Benvenuto Cellini, Ammanato, Rossi and Vincenzio Danti of Perugia, not to mention other sculptors of note.  The painters, headed by Bronzino, include many talented young men, skilled in design, and colourists, quite capable of establishing an honourable reputation.  Of myself I need not speak.  You know well that in devotion, attachment, love, and loyalty (and let me say this with prejudice to no one) I surpass the rest of your admirers by far.  Therefore, I entreat you, of your goodness, to console his Excellency, and all these men of parts, and our city, as well as to show this particular favour to myself, who have been selected by the Duke to write to you, under the impression that, being your familiar and loving friend, I might obtain from you some assistance of sterling utility for the undertaking.  His Excellency is prepared to spend both substance and labour on the task, in order to honour you.  Pray then, albeit age is irksome, endeavour to aid him by unfolding your views; for, in doing so, you will confer benefits on countless persons, and will be the cause of raising all these men of parts to higher excellence, each one of whom has learned what he already knows in the sacristy, or rather let me say our school.”

This eloquent despatch informs us very clearly that the walls of the sacristy, above the tall Corinthian order which, encloses the part devoted to sculpture, were intended to be covered with stucco and fresco paintings, completing the polychromatic decoration begun by Giovanni da Udine in the cupola.  Twelve statues had been designed for the niches in the marble panelling; and one word used by Vasari, facciate, leaves the impression that the blank walls round and opposite the altar were also to be adorned with pictures.  We remain uncertain how Michelangelo originally meant to dispose of the colossal Madonna with SS.  Damian and Cosimo.