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"But Salviati's mosaics were not like those here, señor," put in Giusippe, "because the San Marco mosaics were constructed upon the walls, small cubes of glass being pressed into the moist cement to make the picture. This gave a rough, irregular surface which artists say is far more artistic than is Salviati's smooth, glassy work.
The old works sent by Italy stood by themselves; and in mosaic, Salviati's glass, and statuary led by Vela's Last Moments of Napoleon, the modern studios of that country ranked in the front.
It is a dialogue between Simplicio, an Aristotelian, Salviati, who represents the author, and Sagredo, a half convert to Salviati's opinions.
It has a glazed loggia looking down to the Riva. We next come to a brand new spacious building divided into apartments, then a tiny house, and then the rather squalid Palazzo Martinengo. The calle and traghetto of S. Gregorio, and two or three old palaces and the new building which now holds Salviati's glass business, follow.
Baccio was also all day long in Salviati's halls and apartments, waiting to have the contract made for the tombs, but not able to bring matters to a head, because of the Cardinal's preoccupation with the affairs of the exiles; and they, seeing Baccio in those rooms morning and evening, grew suspicious of this, and, fearing lest he might be there to spy upon their movements and give information to the Duke, some of the young men among them agreed to follow him secretly one evening and put him out of the way.
Meanwhile, as was related at the beginning, Francesco Salviati came to Florence, and he worked at the picture for M. Alamanno in the rooms that the other Francesco occupied in the Office of Works of S. Maria del Fiore; wherefore with that opportunity, seeing Salviati's method of working, he applied himself to painting with much more zeal than he had done up to that time, and executed a very beautiful picture of the Conversion of S. Paul, which is now in the possession of Guglielmo del Tovaglia.
She might, if she would, have mated with almost any noble in Tuscany, had not her foolish, wayward fancy fallen on Pietro Bonaventuri, a handsome young clerk in Salviati's bank, whose eyes had often strayed from his ledgers to follow her as, in the company of her maid, the Senator's daughter took her daily walk past his office window.
Although melancholy and suspicious, often making enemies and losing patronage by misunderstandings, Rossi and Vasari were always faithful to their first boyish friendship, often working together, but never with any spirit of rivalry. Salviati's style was bold and spirited; he was rich in invention, but perhaps a little wild in the matter of draperies and bizarre costumes.
Whereupon many of the craftsmen and others, banding themselves together and forming a faction, began to disseminate among the people of importance a rumour that Salviati's work was not succeeding, and that he was labouring by mere skill of hand, and devoting no study to anything that he did.
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