Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

The frieze, which is between the architrave and the cornice in this work, was moreover adorned by Mosca with an exquisite ornament of foliage carved into full relief, and entirely detached from the ground of macigno; this he covered with birds which are so admirably executed that they seem to be flying in the air: it is indeed a marvellous thing to see the tiny legs of those minute creatures, none larger than life, all entirely detached from the stone in a manner that might well be thought impossible: the whole work indeed is more like a miracle than mere art.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Simone Mosca, on the contrary, gives evidence of great power and boldness in this part of his labours, and these are made apparent in the rich and full abundance which he imparted to all, intertwining his foliage in a manner wholly new, carving the leaves with a pleasing variety of form, and with finely executed indentations; he added to all likewise the most delicately beautiful blossoms, seeds, and tendrils that can be conceived, to say nothing of the birds which he so gracefully carved in the richest variety among the festoons and foliage of his ornaments.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Over the arches which form the entrance into the new Loggia which looks towards the meadows for example, Messer Tiberio caused Simone to execute two escutcheons in marble, of the arms of the above-named Pope, and in these the artist succeeded to admiration. The mitre or triple crown, and the keys, with certain festoons and small masks which make part of this work, are so delicately finished and so skilfully detached from the ground of the marble beneath them, that they are truly wonderful.
Source: Wikisource

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