Settignano

There were also many things by the hand of Pietro in the convent of the Frati Gesùati without the Porta Apinti, and since the said church and convent are now in ruins, I do not wish with this occasion, and before I proceed further with this life, to grudge the labor of giving some little account of them.

This church then, the architect of which was Antonio di Giorgio of Settignano, was forty braccia long and twenty wide.

At the upper end one ascended by four treads, or rather steps, to a platform six braccia in extent, on which stood the high altar with many ornaments carved in stone, and on the said altar was a panel with a rich ornament by the hand, as has been related, of Domenico Ghirlandaggio.

In the center of the church was a partition wall with a door wrought in open work from the middle upwards, on either side of which was an altar, while over either altar, as will be told, there stood a panel by the hand of Pietro Perugino.

Andrea then, having been summoned to work at Imola, built a chapel of grey stone, which was much extolled, in the Innocenti in that city.

After that work, he went to Naples at the invitation of Antonio di Giorgio of Settignano, a very eminent engineer and architect to King Ferrante, with whom Antonio was in such credit that he had charge not only of all the buildings in that kingdom, but also of all the most important affairs of state.

On arriving in Naples, Andrea was set to work, and he executed many things for that king in the Castello di San Martino and in other parts of that city.

Now Antonio died, and after the king had caused him to be buried with obsequies suited rather to a royal person than to an architect, and with twenty pairs of mourners following him to the grave.

Andrea then, having been summoned to work at Imola, built a chapel of grey stone, which was much extolled in the Innocenti in that city.

After that work he went to Naples at the invitation of Antonio di Giorgio of Settignano, a very eminent engineer and architect to King Ferrante, with whom Antonio was in such credit that he had charge not only of all the buildings in that kingdom, but also of all the most important affairs of state.

On arriving in Naples, Andrea was set to work, and he executed many things for that king in the Castello di San Martino and in other parts of that city.

Now Antonio died, and after the king had caused him to be buried with obsequies suited rather to a royal person than to an architect, and with twenty pairs of mourners following him to the grave, Andrea, recognizing that this was no country for him, departed from Naples and made his way back to Rome, where he stayed for some time, attending to the studies of his art, and also to some work.