About 1501 Thomas Warley, Clerk of the King's Works to Henry VII, recorded in Latin the payments for preparations at St. Paul's Cathedral in connection with the marriage of the King's eldest son Arthur, along with payments for work at the Tower of London, Westminster Palace, Greenwich, and Eltham (British Museum, Egerton MS. 2358, Henry VII:15). With amounts for John Moore, Richard Codeman (or Codinham), Robert Bellamy, and Nicholas Delphyn, he listed those for a sculptor named John Hudde, who had carved two lions and a great rose surmounted by an imperial crown over the north door in Westminster Hall, and the dragon, lion, and leopards of a royal cipher in the Great Hall of the Tower of London, the latter afterwards painted and gilded by Robert Duke.

Deh le mie belle donne & amorose,
Datemi il uer per uostra cortesia,
Non è chiara tra uoi la donna mia,
Come è '1 Sol chiar tra tutte 1' altre cose?
5 Mirate il uolto, & uedrete le rose,
In bianca neue rider tutta uia:
Et per le perle e i rubini aprir la uia,
A i bei pensier, che in lei bontate pose.

In his recent translation of the letters of Michelangelo, E. H. Ramsden devotes some space to a discussion of three letters to Luigi del Riccio, the artist's friend and banker at Rome, letters primarily concerned with the setting to music, evidently by Jacques Arcadelt, of one of his poems. The first letter (no. 215: II, 16-17) is somewhat enigmatic in its wording, but the evident meaning is that Del Riccio is to find someone to compose a musical setting of an enclosed poem. The second and third letters (nos. 216 and 217: II, 17-18) indicate that Del Riccio gave this commission to Arcadelt and that the resultant madrigal was sufficiently pleasing to Michelangelo and to others within Michelangelo's artistic circle to move him to reward the composer with a gift of money or of satin or silks. None of the three letters is dated, but Ramsden, on the basis of internal evidence, suggests May or June 1542 for all three.