ITALIAN GARDENS OF THE RENAISSANCE 
dear citizen.” Afterwards, when his son Angelo was 
disgraced and imprisoned by the ungrateful Joanna, 
the Signory of Florence interfered on his behalf, and 
sent the Queen an indignant remonstrance, reproach¬ 
ing her for so grievously forgetting the services of 
the great man who had stood by her when all others 
forsook her, and had more than once shown how gladly 
he would have died in her cause. Matteo Palmieri, 
a scholar of the age of the Medici, wrote a history of 
the Grand Seneschal, and Andrea Castagno intro¬ 
duced his portrait among the life-sized figures of 
celebrated Italians which he painted for the Villa 
Pandolfini at Legnaia. 
But it was still with the Certosa, as Niccolo had 
himself wished, that his memory was chiefly asso¬ 
ciated. There, according to the directions given 
in his will, his body, embalmed and brought from 
Naples, was laid to rest in the crypt by the side of his 
beloved Lorenzo. The best sculptors of the day, 
Orgagna’s pupils, were employed to raise the Area 
above his remains and carve his sleeping efligy as 
nearly as possible approaching to what he had been in 
life. There we see the Grand Seneschal, in full 
armour, reclining under a Gothic canopy of marble 
supported by spiral columns. The head rests on the 
embroidered pillow, and the hands are folded with 
the quiet consciousness that their work is done. The 
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