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Updated: April 30, 2025
A modern monument in the Martelli Chapel, where the beautiful Annunciation by Lippo Lippi hangs under a crucifix by Cellini, in the left transept, commemorates him; but he needs no such reminder here, for about us is his beautiful and unforgetable work: not perhaps the two ambones, which he only began on his return from Padua when he was sixty-seven years old, and which were finished by his pupils Bertoldo and Bellano, but the work in the old sacristy built in 1421 by Brunellesco.
Giovanni, encouraged by the words of Filippo, determined to build the sacristy and the principal chapel, together with the whole body of the church, although only seven families were willing to co-operate, since the others had not the means: these seven were the Rondinelli, Ginori, Dalla Stufa, Neroni, Ciai, Marignolli, Martelli, and Marco di Luca, and these chapels were to be made in the cross.
Those three literati were the Marquis Maffei, the Abbe Conti, and Pierre Jacques Martelli, who became enemies, according to public rumour, owing to the belief entertained by each of them that he possessed the favours of the actress, and, being men of learning, they fought with the pen. Martelli composed a satire against Maffei, in which he designated him by the anagram of Femia.
"He taught me to speak French in less than two years, and as a mark of my gratitude I translated his Radamiste into Italian Alexandrines. I am the first Italian who has dared to use this metre in our language." "The first? I beg your pardon, as that honour belongs to my friend Pierre Jacques Martelli." "I am sorry to be obliged to tell you that you are making a mistake."
Eleanor fell asleep before she had worked that question out to her satisfaction, and all the next day she was too busy practising the quality to have much time to think about it. Madame Martelli had sent up in the morning to say that the sudden change in the weather had given her such a bad cold that she would be unable to receive her pupil until further notice, and as Mrs.
Do you not think so also?" But Eleanor brushed the inquiry aside as though she had not heard it. "And to think," she muttered, more to herself than to Margaret, "that she is going to have lessons from Martelli." "But why not?" said Margaret in a puzzled tone. "Is she not nice? Is she not a good teacher?" "Nice! A good teacher! Have you never heard of Margherita Martelli?"
Picture to yourself, Margaret, a little woman with hair and eyes of almost coal-like blackness, and a little sallow, eager face, and you have the once great Madame Martelli to the life. Though she has lived in England for a great many years she does not talk English very well, and her foreign accent is very strong.
'It so chanced on the 28th of February, which was the second Sunday of Lent, that having gone, as was my wont, to pry out whether Lorenzo would give orders for going abroad that day, I entered the shoemaker's shop, and stayed awhile, until Lorenzo came to the window with a napkin round his neck for he was combing his hair and at the same moment I saw a certain Giovan Battista Martelli, who kept his sword for the defence of Lorenzo's person, enter and come forth again.
These statues, which are the most perfect and the best conceived that have ever been executed in bronze by a modern master, were cast in three parts and polished in the above-mentioned house in the Via de' Martelli where Giovan Francesco lived; and so, also, the ornaments of marble that are about the S. John, with the two columns, the mouldings, and the emblem of the Guild of Merchants.
All Martelli's lines have fourteen syllables, except those that finish with a long vowel, which at the end of a line always counts as two syllables. You will observe that the first hemistitch in Martelli always consists of seven syllables, while in French it only has six. Your friend Pierre Jacques was either stone deaf or very hard of hearing."
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