elected, who took pleasure in eccentric and light-headed figures of
fun such as our painter was, Mattaccio felt the greatest possible joy,
particularly because he had an ill-will against Julius, who had done
him that affront, wherefore, having set to work in order to make
himself known to the new Pontiff, he painted in a picture the Roman
Lucrece, nude, who was stabbing herself with a dagger; and, since
Fortune takes care of madmen and sometimes aids the thoughtless, he
succeeded in executing a most beautiful female body, and a head that
was breathing. Which work finished, at the instance of Agostino Chigi,
who was on terms of strait service with the Pope, he presented it to
his Holiness, by whom he was made a Chevalier and rewarded for so
beautiful a picture. Whereupon Giovanni Antonio, believing that he had
become a great man, began to be disinclined to work any more, save
when he was driven by necessity. But, after Agostino had gone on some
business to Siena, taking Giovanni Antonio with him, while staying
there he was forced, being a Chevalier without an income, to set
himself to painting; and so he painted an altar-piece containing a
Christ taken down from the Cross, on the ground Our Lady in a swoon,
and a man in armour who, having his back turned, shows his front
reflected in a helmet that is on the ground, bright as a mirror. This
work, which was held to be, as it is, one of the best that he ever
executed, was placed in S. Francesco, on the right hand as one enters
the church. Then in the cloister that is beside the above-named
church, he painted in fresco Christ scourged at the Column, with many
Jews around Pilate, and with a range of columns drawn in perspective
after the manner of wing-walls; in which work Giovanni Antonio made a
portrait of himself without any beard--that is, shaven--and with the
hair long, as it was worn at that time.
Not long afterwards he executed some pictures for Signor Jacopo VI of
Piombino, and, while living with him at that place, some other works
on canvas. Wherefore by his means, besides many courtesies and
presents that he received from him, Giovanni Antonio obtained from his
island of Elba many little animals such as that island produces, all
of which he took to Siena.
[Illustration: S. SEBASTIAN
(_After the painting by =Giovanni Antonio [Il Sodoma]=. Florence:
Uffizi, 1279_)
_Anderson_]
Arriving next in Florence, a monk of the Brandolini family, Abbot of
the Monastery of Monte Oliveto, which is without the Porta a S.
Friano, caused him to paint some pictures in fresco on the wall of the
refectory; but since, like a careless fellow, he did them without
study, they proved to be such that he was derided and mocked at for
his follies by those who were expecting that he would do some
extraordinary work. Now, while he was engaged on that work, having
taken a Barbary horse with him to Florence, he set it to run in the
race of S. Barnaba; and, as fortune would have it, the horse ran so
much better than the others, that it won. Whereupon, the boys having,
as is the custom, to call out the name or by-name of the owner of the
horse that had won, after the running of the race and the fanfare of
trumpets, Giovanni Antonio was asked what name they were to call out;
and, after he had replied, "Sodoma, Sodoma," the boys called out that
name. But some honest old men, having heard that filthy name, began to
protest against it and to say, "What filthy thing is this, and what
ribaldry, that so vile a name should be cried through our city?"
Insomuch that, a clamour arising, poor Sodoma came within an ace of
being stoned by the boys and the populace, with his horse and the ape
that he had with him on the crupper. Having in the space of many years
got together many prizes, won in the same way by his horses, he took
the greatest pride in the world in them, and showed them to all who
came into his house; and very often he made a show of them at his
windows.
But to return to his works: he painted for the Company of S. Bastiano
in Camollia, beyond the Church of the Umiliati, on a banner of cloth
which is carried in processions, in oils, a nude S. Sebastian, bound
to a tree, who is standing on the right leg, with the left in
foreshortening, and raises the head towards an Angel who is placing a
crown upon it. This work is truly beautiful, and much to be praised.
On the reverse side is Our Lady with the Child in her arms, and below
her are S. Gismondo, S. Rocco, and some Flagellants kneeling on the
ground. It is said that some merchants of Lucca offered to give three
hundred crowns of gold to the men of that Company for that picture,
but did not obtain it, because the others did not wish to deprive
their Company and the city of so rare a painting. And, in truth, in
certain works--whether it was study, or good fortune, or
chance--Sodoma acquitted himself very well; but of such he did very
few. In the Sacristy of the Friars of the Carmine is a picture by the
hand of the same master, wherein is a very beautiful Nativity of Our
Lady, with some nurses; and on the corner near the Piazza de' Tolomei
he painted in fresco, for the Guild of Shoemakers, a Madonna with the
Child in her arms, S. John, S. Francis, S. Rocco, and S. Crispino, the
Patron Saint of the men of that Guild, who has a shoe in his hand. In
the heads of these figures, and in all the rest, Giovanni Antonio
acquitted himself very well.
In the Company of S. Bernardino of Siena, beside the Church of S.
Francesco, he executed some scenes in fresco in competition with
Girolamo del Pacchia, a Sienese painter, and Domenico Beccafumi--namely,
the Presentation of Our Lady in the Temple, when she goes to visit S.
Elizabeth, her Assumption, and when she is crowned in Heaven. In the
angles of the same Company he painted a Saint in episcopal robes, S.
Louis, and S. Anthony of Padua; but the best figure of all is a S.
Francis, who, standing on his feet and raising his head, is gazing at a
little Angel, who appears to be in the act of speaking to him; the head
of which S. Francis is truly marvellous. In the Palazzo de' Signori at
Siena, likewise, in a hall, he painted some little tabernacles full of
columns and little children, with other ornaments; and within these
tabernacles are various figures. In one is S. Vittorio armed in the
ancient fashion, with the sword in his hand; near him, in the same
manner, is S. Ansano, who is baptizing certain persons; in another is S.
Benedict; and all are very beautiful. In the lower part of that Palace,
where salt is sold, he painted a Christ who is returning to life, with
some soldiers about the Sepulchre, and two little Angels, held to be
passing beautiful in the heads. Farther on, over a door, is a Madonna
with the Child in her arms, painted by him in fresco, and two Saints.
[Illustration: S. ANSANO
(_After the fresco by =Giovanni Antonio Bazzi [Il Sodoma]=. Siena:
Palazzo Pubblico_)
_Alinari_]
In S. Spirito he painted the Chapel of S. Jacopo, which he did at the
commission of the men of the Spanish colony, who have their place of
burial there; depicting there an image of the Madonna after the
ancient manner, with S. Nicholas of Tolentino on the right hand, and,
on the left, the Archangel S. Michael, who is slaying Lucifer. Above
these, in a lunette, he painted Our Lady placing the sacerdotal
habit upon a Saint, with some Angels around. Over all these figures,
which are in oils on panel, there is painted in fresco, in the
semicircle of the vaulting, a S. James in armour on a galloping horse,
who has grasped his sword with a fiery gesture, and below him are many
Turks, dead and wounded. Below all this, on the sides of the altar,
are painted in fresco S. Anthony the Abbot and a nude S. Sebastian at
the Column, which are held to be passing good works.
[Illustration: S. FRANCIS
(_After the fresco by =Giovanni Antonio Bazzi [Il Sodoma]=. Siena: S.
Bernardino, Oratory_)
_Alinari_]
In the Duomo of the same city, on the right hand as one enters the
church, there is upon an altar a picture in oils by his hand, in which
there are Our Lady with the Child on her knee, S. Joseph on one side,
and S. Calixtus on the other; which work is likewise held to be very
beautiful, because it is evident that in colouring it Sodoma showed
much more diligence than he used to devote to his works. He also
painted for the Company of the Trinity a bier for carrying the dead to
burial, which was very beautiful; and he executed another for the
Company of Death, which is held to be the most beautiful in Siena; and
I believe that the latter is the finest that there is to be seen, for,
besides that it is indeed much to be extolled, it is very seldom that
such works are executed at much cost or with much diligence. In the
Church of S. Domenico, in the Chapel of S. Caterina da Siena, where
there is in a tabernacle the head of that Saint, enclosed in one of
silver, Giovanni Antonio painted two scenes, which are one on either
side of that tabernacle. In one, on the right hand, is that Saint
when, having received the Stigmata from Jesus Christ, who is in the
air, she lies half-dead in the arms of two of her sisters, who are
supporting her; of which work Baldassarre Peruzzi, the painter of
Siena, after considering it, said that he had never seen anyone
represent better the expression of persons fainting and half-dead, or
with more similitude to the reality, than Giovanni Antonio had
contrived to do. And in truth it is so, as may be seen, apart from the
work itself, from the design by Sodoma's own hand which I have in my
book of drawings. On the left hand, in the other picture, is the scene
when the Angel of God carries to the same Saint the Host of the most
Holy Communion, and she, raising her head to Heaven, sees Jesus
Christ and Mary the Virgin, while two of her sisters, her companions,
stand behind her. In another scene, which is on the wall on the right
hand, is painted the story of a criminal, who, going to be beheaded,
would not be converted or commend himself to God, despairing of His
mercy; when, the above-named Saint praying for him on her knees, her
prayers were so acceptable to the goodness of God, that, when the
felon's head was cut off, his soul was seen ascending to Heaven; such
power with the mercy of God have the prayers of those saintly persons
who are in His grace. In this scene is a very great number of figures,
as to which no one should marvel if they are not of the highest
perfection, for the reason that I have heard as a fact that Giovanni
Antonio had sunk to such a pitch in his negligence and slothfulness,
that he would make neither designs nor cartoons when he had any work
of that kind to execute, but would attack the work by designing it
with the brush directly on the plaster, which was a strange thing; in
which method it is evident that this scene was executed by him. The
same master also painted the arch in front of that chapel, making
therein a God the Father. The other scenes in that chapel were not
finished by him, partly from his own fault, he not choosing to work
save by caprice, and partly because he had not been paid by him who
was having the chapel painted. Below this is a God the Father, who has
beneath Him a Virgin in the ancient manner, on panel, with S. Dominic,
S. Gismondo, S. Sebastian, and S. Catharine.
[Illustration: THE ADORATION OF THE MAGI
(_After the painting by =Giovanni Antonio Bazzi [Il Sodoma]=. Siena: S.
Agostino_)
_Alinari_]
For S. Agostino, in an altar-piece that is on the right hand at the
entrance into the church, he painted the Adoration of the Magi, which
was held to be, and is, a good work, for the reason that, besides the
Madonna, which is much extolled, the first of the three Magi, and
certain horses, there is a head of a shepherd between two trees which
has all the appearance of life. Over a gate of the city, called the
Porta di S. Viene, he painted in fresco, in a large tabernacle, the
Nativity of Jesus Christ, with some Angels in the air; and on the arch
of that gate a child in foreshortening, very beautiful and in strong
relief, which is intended to signify that the Word has been made
Flesh. In this work Sodoma made a portrait of himself, with a beard,
being now old, and with a brush in his hand, which is pointing to a
scroll that says "Feci."
He painted likewise in fresco the Chapel of the Commune at the foot of
the Palace, in the Piazza, representing there Our Lady with the Child
in her arms, upheld by some little Angels, S. Ansano, S. Vittorio, S.
Augustine, and S. James; and above this, in a triangular lunette, he
painted a God the Father with some Angels about Him. From this work it
is evident that when he executed it he was beginning, as it were, to
have no more love for art, having lost that certain quality of
excellence that he used to have in his better days, by means of which
he gave a certain air of beauty to his heads, which made them graceful
and lovely. And this is manifestly true, for some works that he
executed long before this one have quite another grace and another
manner, as may be seen above the Postierla, from a wall in fresco over
the door of the Captain Lorenzo Mariscotti, where there is a Dead
Christ in the lap of His Mother, who has a marvellous divinity and
grace. In like manner, a picture in oils of Our Lady, which he painted
for Messer Enea Savini della Costerella, is much extolled, and also a
canvas that he executed for Assuero Rettori of S. Martino, in which is
the Roman Lucrece stabbing herself, while she is held by her father
and her husband, all painted with much beauty of attitude and
marvellous grace in the heads.
Finally, perceiving that the devotion of the people of Siena was all
turned to the talents and excellent works of Domenico Beccafumi, and
possessing neither house nor revenues in Siena, and having by that
time consumed almost all his property and become old and poor,
Giovanni Antonio departed from Siena almost in despair and went off to
Volterra. And there, as his good fortune would have it, chancing upon
Messer Lorenzo di Galeotto de' Medici, a rich and honoured nobleman,
he proceeded to live under his protection, with the intention of
staying there a long time. And so, dwelling in the house of that
nobleman, he painted for him on a canvas the Chariot of the Sun,
which, having been badly guided by Phaethon, is falling into the Po;
but it is easy to see that he did that work to pass the time, and
hurried through it by rule of thumb, without giving any thought to it,
so entirely commonplace is it and so ill-considered. Then, having
grown weary of living at Volterra and in the house of that nobleman,
as one who was accustomed to being free, he departed and went off to
Pisa, where, at the instance of Battista del Cervelliera, he executed
two pictures for Messer Bastiano della Seta, the Warden of Works of
the Duomo, which were placed in the recess behind the high-altar of
that Duomo, beside those of Sogliani and Beccafumi. In one is the Dead
Christ with Our Lady and the other Maries, and in the other Abraham
sacrificing his son Isaac; but since these pictures did not succeed
very well, the Warden, who had intended to make him paint some
altar-pieces for the church, dismissed him, knowing that men who do
not study, once they have lost in old age the quality of excellence
that they had in their youth from nature, are left with a kind of
facility of manner that is generally little to be praised. At that
same time Giovanni Antonio finished an altar-piece that he had
previously begun in oils for S. Maria della Spina, painting in it Our
Lady with the Child in her arms, with S. Mary Magdalene and S.
Catharine kneeling before her, and S. John, S. Sebastian, and S.
Joseph standing at the sides; in all which figures he acquitted
himself much better than in the two pictures for the Duomo.
Then, having nothing more to do at Pisa, he made his way to Lucca,
where, at S. Ponziano, a seat of the Monks of Monte Oliveto, an Abbot
of his acquaintance caused him to paint a Madonna on the ascent of a
staircase that leads to the dormitory. That work finished, he returned
weary, old, and poor to Siena, where he did not live much longer; for
he fell ill, through not having anyone to look after him or any means
of sustenance, and went off to the Great Hospital, and there in a few
weeks he finished the course of his life.
[Illustration: THE SACRIFICE OF ISAAC
(_After the painting by =Giovanni Antonio Bazzi [Il Sodoma]=. Pisa:
Duomo_)
_Alinari_]
Giovanni Antonio, when young and in good repute, took for his wife in
Siena a girl born of a very good family, and had by her in the first
year a daughter. But after that, having grown weary of her, because he
was a beast, he would never see her more; and she, therefore,
withdrawing by herself, lived always on her own earnings and on the
interest of her dowry, bearing with great and endless patience the
beastliness and the follies of that husband of hers, who was truly
worthy of the name of Mattaccio which, as has been related, the Monks
of Monte Oliveto gave him.
Riccio of Siena, the disciple of Giovanni Antonio, a passing able and
well-practised painter, having taken as his wife his master's
daughter, who had been very well and decently brought up by her
mother, became the heir to all the possessions connected with art of
his wife's father. This Riccio, I say, has executed many beautiful and
praiseworthy works at Siena and elsewhere, and has decorated with
stucco and pictures in fresco a chapel in the Duomo of the above-named
city, on the left hand as one enters the church; and he now lives at
Lucca, where he has done, as he still continues to do, many beautiful
works worthy to be extolled.
A pupil of Giovanni Antonio, likewise, was a young man who was called
Giomo del Sodoma; but, since he died young, and was not able to give
more than a small proof of his genius and knowledge, there is no need
to say more about him.
Sodoma lived seventy-five years, and died in the year 1554.
INDEX OF NAMES
OF THE CRAFTSMEN MENTIONED IN VOLUME VII
Adone Doni, 128
Agnolo, Baccio d', 74
Agnolo, Battista d' (Battista del Moro), 236
Agnolo Bronzino, 29, 31, 113, 149, 158, 160, 163, 167, 168, 171, 172,
175, 176, 178, 182, 201
Agnolo di Cristofano, 70
Agnolo, Giuliano di Baccio d', 83-86, 88, 89, 102
Agostino Viniziano, 60, 63
Albertinelli, Mariotto, 108, 148
Albrecht Duerer, 163, 164, 166
Alessandro Vittoria, 228
Alfonso Berughetta (Alonzo Spagnuolo), 58
Alfonso Lombardi, 77
Alonzo Spagnuolo (Alfonso Berughetta), 58
Ammanati, Bartolommeo, 95, 96, 99, 100, 203, 206
Andrea, Maestro, 66
Andrea Contucci (Andrea Sansovino), 5, 9, 61, 62, 187, 189
Andrea da Fiesole (Andrea Ferrucci), 4
Andrea del Minga, 97
Andrea del Sarto, 4, 58, 59, 148-150, 152, 156, 157, 171, 188
Andrea di Cosimo Feltrini, 13, 149-152
Andrea Ferrucci (Andrea da Fiesole), 4
Andrea Pisano, 30
Andrea Sansovino (Andrea Contucci), 5, 9, 61, 62, 187, 189
Andrea Verrocchio, 56
Antonio da San Gallo (the elder), 74
Antonio da San Gallo (the younger), 9, 78, 119, 186, 189, 190, 193,
217, 218
Antonio di Domenico (Antonio di Donnino Mazzieri), 29
Antonio di Gino Lorenzi, 24
Antonio di Giovanni (Solosmeo da Settignano), 5, 79, 80
Antonio di Marco di Giano (Il Carota), 152
Aristotile (Bastiano) da San Gallo, 29
Bacchiacca, Il (Francesco Ubertini), 29
Baccio, Giovanni di (Nanni di Baccio Bigio), 81
Baccio Bandinelli (Baccio de' Brandini), _Life_, 55-103. 4, 27, 28,
42, 43, 55-103, 154, 187
Baccio d'Agnolo, 74
Baccio da Montelupo, 155
Baccio de' Brandini (Baccio Bandinelli), _Life_, 55-103. 4, 27, 28,
42, 43, 55-103, 154, 187
Bagnacavallo, Giovan Battista, 129
Baldassarre Lancia, 206
Baldassarre Peruzzi, 253
Bandinelli, Baccio (Baccio de' Brandini), _Life_, 55-103. 4, 27, 28,
42, 43, 55-103, 154, 187
Bandinelli, Clemente, 77, 94, 95, 98
Barba, Jacopo della, 71
Bartolommeo Ammanati, 95, 96, 99, 100, 203, 206
Bartolommeo di Jacopo di Martino, 147
Bartolommeo di San Marco, Fra, 108, 109, 148
Bartolommeo Genga, _Life_, 206-210. 203, 204
Bartolommeo Neroni (Riccio), 257
Bartolommeo San Michele, 217
Bastiano (Aristotile) da San Gallo, 29
Battista Cungi, 121, 122, 124, 125
Battista d'Agnolo (Battista del Moro), 236
Battista da Verona (Battista Farinati), 237, 238
Battista del Cervelliera, 256
Battista del Cinque, 12
Battista del Moro (Battista d'Agnolo), 236
Battista del Tasso, 13, 30, 31, 34, 35, 137
Battista della Bilia, 118
Battista Dossi, 201
Battista Farinati (Battista da Verona), 237, 238
Battista Franco, 28, 29, 203
Battista Naldini, 181, 182
Battista of Citta di Castello, 118, 119
Bazzi, Giovanni Antonio (Il Sodoma), _Life_, 245-257
Beccafumi, Domenico, 252, 255, 256
Beceri, Domenico (Domenico Benci), 141
Bellucci, Giovan Battista (Giovan Battista San Marino),
_Life_, 210-213. 207
Benci, Domenico (Domenico Beceri), 141
Benedetto da Rovezzano, 4, 63, 64, 187
Benvenuto Cellini, 93, 94, 96, 97, 99, 100
Bernardino Brugnuoli, 226, 227, 233, 234
Bernardino India, 237
Bersuglia, Gian Domenico, 193
Bertoldo, 107
Berughetta, Alfonso (Alonzo Spagnuolo), 58
Bicci, Lorenzo di, 61
Bigio, Nanni di Baccio (Giovanni di Baccio), 81
Bilia, Battista della, 118
Bizzerra, 129
Bologna, Giovan, 100, 101
Bolognese, Marc'Antonio, 65
Borgo, Raffaello dal (Raffaello dal Colle), 117, 118, 120, 128, 129,
201
Bramante da Urbino, 249
Brandini, Baccio de' (Baccio Bandinelli), _Life_, 55-103. 4, 27, 28,
42, 43, 55-103, 154, 187
Bronzino, Agnolo, 29, 31, 113, 149, 158, 160, 163, 167, 168, 171,
172, 175, 176, 178, 182, 201
Brugnuoli, Bernardino, 226, 227, 233, 234
Brugnuoli, Luigi, 229, 233
Brunelleschi, Filippo, 87, 88, 167, 226
Brusciasorzi, Domenico (Domenico del Riccio), 236, 237
Brusciasorzi, Felice (Felice del Riccio), 237
Buda, Girolamo del, 56
Bugiardini, Giuliano, _Life_, 107-113
Buglioni, Santi, 29
Buonarroti, Michelagnolo, 10, 11, 14, 16, 28, 32, 44, 46, 48, 49, 57,
58, 61, 66-68, 71, 72, 75, 77, 81, 98, 99, 107, 108, 110-113, 151,
172, 173, 179, 194, 235
Cadore, Tiziano da (Tiziano Vecelli), 237
Caliari, Paolino or Paolo (Paolo Veronese), 236-240
Camillo Mantovano, 201
Carota, Il (Antonio di Marco di Giano), 152
Caroto, Giovanni, 238
Carrara, Danese da (Danese Cattaneo), 228
Carrucci, Jacopo (Jacopo da Pontormo), _Life_, 147-182. 31, 201
Cattaneo, Danese (Danese da Carrara), 228
Cavalieri, Tiberio, 50
Cellini, Benvenuto, 93, 94, 96, 97, 99, 100
Cervelliera, Battista del, 256
Cinque, Battista del, 12
Cioli, Simone, 9, 10, 189
Clemente Bandinelli, 77, 94, 95, 98
Colle, Raffaello dal (Raffaello dal Borgo), 117, 118, 120, 128, 129,
201
Conti, Domenico, 29
Contucci, Andrea (Andrea Sansovino), 5, 9, 61, 62, 187, 189
Cosimo, Piero di, 148
Cristofano, Agnolo di, 70
Cristofano Gherardi (Doceno), _Life_, 117-143
Cungi, Battista, 121, 122, 124, 125
Danese da Carrara (Danese Cattaneo), 228
Danti, Vincenzio, 100
David Fortini, 37
Doceno (Cristofano Gherardi), _Life_, 117-143
Domenico, Antonio di (Antonio di Donnino Mazzieri), 29
Domenico Beccafumi, 252, 255, 256
Domenico Beceri (Domenico Benci), 141
Domenico Brusciasorzi (Domenico del Riccio), 236, 237
Domenico Conti, 29
Domenico del Riccio (Domenico Brusciasorzi), 236, 237
Domenico Ghirlandajo, 108, 147
Donato (Donatello), 30, 56, 57, 62
Doni, Adone, 128
Dossi, Battista, 201
Dossi, Dosso, 201
Duerer, Albrecht, 163, 164, 166
Eliodoro Forbicini, 237
Fabro, Pippo del, 5
Fancelli, Giovanni, 97
Farinati, Battista (Battista da Verona), 237, 238
Farinato, Paolo, 236, 240, 241
Felice del Riccio (Felice Brusciasorzi), 237
Feltrini, Andrea di Cosimo, 13, 149-152
Ferrarese, Girolamo (Girolamo da Ferrara), 9, 10, 189
Fiesole, Andrea da (Andrea Ferrucci), 4
Filippo Brunelleschi, 87, 88, 167, 226
Filippo Lippi, Fra, 57
Fonte, Jacopo della (Jacopo della Quercia), 245
Forbicini, Eliodoro, 237
Forli, Francesco da (Francesco Menzochi), 201, 204-206
Fortini, David, 37
Fra Bartolommeo di San Marco, 108, 109, 148
Fra Filippo Lippi, 57
Fra Giovanni Agnolo Montorsoli, 10, 11, 81, 82
Fra Sebastiano Viniziano del Piombo, 110, 111
Francesco da Forli (Francesco Menzochi), 201, 204-206
Francesco da San Gallo (the younger), 9, 10, 189
Francesco de' Rossi (Francesco Salviati), 178, 205
Francesco del Tadda, 9, 10, 49
Francesco di Girolamo dal Prato, 72, 73
Francesco Granacci, 108
Francesco Menzochi (Francesco da Forli), 201, 204-206
Francesco Moschino, 192, 194, 195
Francesco Salviati (Francesco de' Rossi), 178, 205
Francesco Ubertini (Il Bacchiacca), 29
Franciabigio, 70, 157, 171
Franco, Battista, 28, 29, 203
Galeotto, Pietro Paolo, 152
Genga, Bartolommeo, _Life_, 206-210. 203, 204