not been of silver since the period of their destruction.[1] To these ornaments Pagno added an immense lily, formed of copper, and proceeding from a vase which is placed on the angle of the painted and gilded cornice of wood, whereby the lamps are supported. But this cornice is not suffered to uphold so great a weight alone, the whole being sustained by two branches of the lily, which are of iron, painted green, and which being fixed into the angle of the marble cornice, support the other branches; these last are of copper, and hang freely suspended in the air. This work was certainly executed with judgment, and displays invention, wherefore it deserves to be much commended as a fanciful and beautiful thing.[2]
Beside the chapel here described, a second was built on the side towards the cloister, which now serves as a choir for the monks. The windows of this last-named chapel receive their light from the court, and illuminate not only the chapel itself, but, standing opposite to two similar windows, they also give light to the room containing the small organ which is beside the marble chapel. On the wall of this choir is a large press or awning, in which the silver vessels of the Nunziata are kept. On all parts of the building and on all these ornaments are to be seen the arms and devices of the Medici.[3] Without the chapel of the Nunziata and opposite to it, the same master made a large chandelier in bronze, five braccia high: the holy water font of marble at the entrance of the church is likewise by his hand, as is a figure of San Giovanni in the centre of the building, which is a very beautiful work.[4] Pagno also executed a half-length Madonna in marble, which was placed above the table or counter where the monks sell
- ↑ They were subsequently all reconstructed in silver; but towards the close of the last century they were again broken up for the public service. No long time elapsed, however, before the offerings of the faithful repaired the mischief; so that this remarkable chapel is not now deprived of its rich decoration. — Masselli.
- ↑ At the time when Richa wrote his Notizie Storichc delle Chiese Florentine, the lily, with its ramifications, had been removed. — Masselli.
- ↑ About the middle of the seventeenth century, the walls of this choir were inlaid with precious stones, representing emblems and devices alluding to the Virgin. On the spot where stood the press or armory, there is now a tabernacle, in which the crucifix of Antonio da San Gallo, formerly placed over the high altar, is preserved. —Ibid.
- ↑ Neither the chandelier nor the San Giovanni are now to be seen.
