places, and that it was intended to add a great number of figures, as well as to adorn blank spaces in the walls with frescoes.  All the best artists of the time, including Gian Bologna, Cellini, Bronzino, Tribolo, Montelupo, Ammanati, offered their willing assistance, “forasmuch as there is not one of us but hath learned in this sacristy, or rather in this our school, whatever excellence he possesses in the arts of design.”  We know already only too well that the scheme was never carried out, probably in part because Michelangelo’s rapidly declining strength prevented him from furnishing these eager artists with the necessary working drawings.  Cosimo’s anxiety to gain possession of any sketches left in Rome after Buonarroti’s death may be ascribed to this project for completing the works begun at S. Lorenzo.

Well then, upon the news of Michelangelo’s death, the academicians were summoned by their lieutenant, Don Vincenzo Borghini, to deliberate upon the best way of paying him honour, and celebrating his obsequies with befitting pomp.  It was decided that all the leading artists should contribute something, each in his own line, to the erection of a splendid catafalque, and a sub-committee of four men was elected to superintend its execution.  These were Angelo Bronzino and Vasari, Benvenuto Cellini and Ammanati, friends of the deceased, and men of highest mark in the two fields of painting and sculpture.  The church selected for the ceremony was S. Lorenzo; the orator appointed was Benedetto Varchi.  Borghini, in his capacity of lieutenant or official representative, obtained the Duke’s assent to the plan, which was subsequently carried out, as we shall see in due course.

Notwithstanding what Vasari wrote to Lionardo about his uncle’s coffin having been left at the Dogana, it seems that it was removed upon the very day of its arrival, March II, to the Oratory of the Assunta, underneath the church of S. Pietro Maggiore.  On the following day the painters, sculptors, and architects of the newly founded academy met together at this place, intending to transfer the body secretly to S. Croce.  They only brought a single pall of velvet, embroidered with gold, and a crucifix, to place upon the bier.  When night fell, the elder men lighted torches, while the younger crowded together, vying one with another for the privilege of carrying the coffin.  Meantime the Florentines, suspecting that something unusual was going forward at S. Pietro, gathered round, and soon the news spread through the city that Michelangelo was being borne to S. Croce.  A vast concourse of people in this way came unexpectedly together, following the artists through the streets, and doing pathetic honour to the memory of the illustrious dead.  The spacious church of S. Croce was crowded in all its length and breadth, so that the pall-bearers had considerable difficulty in reaching the sacristy with their precious burden.  In that place Don Vincenzo Borghini, who was lieutenant of the academy,