Vasari's story is uncorroborated.
Leonardo's battle merely perished, being done in some fugitive medium; and the walls are now covered with the works of Vasari himself and his pupils and do not matter, while the ceiling is a muddle of undistinguished paint.

There are many statues which also do not matter; but at the raised end is Leo X, son of Lorenzo the Magnificent, and the first Medici Pope, and at the other a colossal modern statue of Savonarola, who was in person the dominating influence here for the years between 1494 and 1497; who is to many the central figure in the history of this building; and whose last night on earth was spent with his companions in this very room.

But to him we come in the chapter on S.Marco.
Many rooms in the Palazzo are to be seen only on special occasions, but the great hall is always accessible.

Certain rooms upstairs, mostly with rich red and yellow floors, are also visible daily, all interesting; but most notable is the Salle de Lys, with its lovely blue walls of lilies, its glorious ceiling of gold and roses, Ghirlandaio's fresco of S.Zenobius, and the perfect marble doorway containing the wooden doors of Giuliano and Benedetto da Maiano, with the heads of Dante and Petrarch in intarsia.

Note the figures of Charity and Temperance in the doorway and the charming youthful Baptist.
In Eleanor of Toledo's dining-room there are some rich and elaborate green jugs which I remember very clearly and also the ceiling of her workroom with its choice of Penelope as the presiding genius.