Franco Gizdulich’s 20th-century 1:25 scale wooden model of Baccio Bandinelli and Giuliano Baccio d'Agnolo’s choir enclosure (1547 onwards). The model helps us to understand the complexity of Bandinelli’s choir, commissioned by Grand Duke Cosimo I in 1547 to replace the wooden choir made in 1520, which had in turn replaced the choir built by Brunelleschi in 1436. The new choir maintained roughly the structure of Brunelleschi’s octagonal enclosure with its pillared balustrade; but the simplicity of the earlier structure was enriched by more robust forms and the use of veined Seravezza marble. However the most striking innovations were the numerous sculptures in the reliefs of the balustrade and the statues on the altar: above the altar table was a dead Christ and God the Father; to the rear, Adam and Eve caught in original sin. The Bandinelli choir was partially dismantled in 1842, in a "purist" climate which had no love for the wealth, complex iconography and sheer size of this exquisitely 16th-century monument, directing that some of the reliefs on the parapet, the columns and upper entablature be removed.