Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 4.djvu/487

Rh of lines retiring more naturally into the far distance; all being clone in strict accordance with the rules of perspective. There was to be seen the leaning tower of the Cathedral, with the Cupola, the round Church of San Giovanni, and other peculiarities of that city; of the flights of steps which Bastiano added, and of the deception which these caused to all who beheld them, I will say no more, lest I should appear to be merely repeating what has been related before, and will but remark that those steps which had the appearance of ascending from the ground to the stage, were of an octagonal form in the centre, while at the sides they were quadrangular, being managed in such sort as to display a degree of simplicity which was the perfection of art, and adding to the decorations above them a grace and finish the beauty of which could not be surpassed in that kind of work.

Behind all the buildings of this scene Bastiano, moreover, constructed, with great ingenuity, an arch whereon was erected a species of lanthorn made of wood, with a Sun measuring a braccio in diameter, which was formed of a ball of crystal filled with distilled water; behind the ball were kindled torches, which caused it to shine in such sort that the ceiling, the decorations, and the stages were all illuminated by that splendour in a manner which made it appear to be the true and natural Sun. This Sun being surrounded by rays of gold which covered the curtain, was gradually drawn up by means of a windlass in a fashion which caused it to appear that the sun had risen as the representation of the drama commenced; and having ascended to the centre of the arch, it then began to descend in like manner, so that at the close of the drama the sun had the appearance of having set.

The author of this comedy was Antonio Landi, a Florentine gentleman, while Giovan-Battista Strozzi, then a youth, and one of admirable parts, received charge of the interludes and music. But as there was enough written at the time concerning the interludes, music, and other circumstances whereby this drama was accompanied, I will say nothing more of them, except that the whole was arranged by GiovanBattista Strozzi, Il Tribolo, and Aristotile, yet I will not omit to mention the names of certain artists by whom pictures for those decorations were executed.

The side walls beneath the stage were divided into six