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While in the first chapel on the right is the tomb of Michael Angelo, who died at Rome on the 17th of February, 1564; the monument was designed by Vasari, the bust was executed by Battista Lorenzo. Two contemporary sculptors, Valerio Cioli and Giovanni Dell'Opera, did the allegories of Sculpture and Architecture, the frescoes around the monument being by Battista Naldini.
And Domenico Naldini, having become aware of this, first examined the boy well, and then prevailed upon his father, Michelagnolo, to place him in his uncle's shop to learn the goldsmith's art; by reason of which opportunity for design Francesco in a few months made so much proficience, that everyone was astonished.
Giovan Francesco, then, not liking much to live in Florence after the expulsion of the Medici in the year 1528, left the charge of all his affairs to Niccolò Buoni, and went off with his young man Lorenzo Naldini, called Guazzetto, to France, where, having been made known to King Francis by Giovan Battista della Palla, who happened to be there then, and by Francesco di Pellegrino, his very dear friend, who had gone there a short time before, he was received very willingly, and an allowance of five hundred crowns a year was granted to him.
Thus he saw the preparations of Vasari for the above-named Hall namely, forty-four great pictures, of four, six, seven, or ten braccia each in which he was executing figures for the most part of six or eight braccia, with the assistance only of the Fleming Giovanni Strada and Jacopo Zucchi, his disciples, and Battista Naldini, in all which he took the greatest pleasure, and, hearing that all had been executed in less than a year, it gave him great courage.
Indeed, associating in the Via de' Servi, where his father had a house, with the children of Domenico Naldini, their neighbour and an honoured citizen, he showed himself all given to gentle and honourable ways, and much inclined to design.
In his last years, indeed, he kept in his house, as it were to bring him up, Battista Naldini, a young man of fine spirit, who took such care of Jacopo's life as Jacopo would allow him to take; and under his master's discipline he made no little proficiency in design, and became such, indeed, that a very happy result is looked for from him.
The above-mentioned Lorenzo Naldini, called Guazzetto, the disciple of Rustici, has executed many works of sculpture excellently well in France, but of these I have not been able to learn any particulars, any more than of those of his master, who, it may well be believed, did not stay all those years in France as good as idle, nor always occupied with that horse of his.
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