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The words of that great man so heartened me, that I set myself to work at once with eagerness upon the model; and when I had finished it, a painter who was intimate with Michel Agnolo, called Giuliano Bugiardini, brought me the drawing of Atlas.
While Fra Giovanni Agnolo was executing that work in Bologna, he was ever pondering, as one who was not yet firmly resolved in the matter, in what place, among those of his Order, he might be able most conveniently to spend his last years; when Maestro Zaccheria, his very dear friend, who was then Prior of the Nunziata in Florence, desiring to attract him to that place and to settle him there, spoke of him to Duke Cosimo, recalling to his memory the excellence of the Frate, and praying that he should deign to make use of him.
Montelupo then going to Florence, where, in like manner, very great preparations were being made for the reception of the above-named Emperor, Battista went with him, and when they arrived they found those preparations well on the way to completion; but Battista, being set to work, made a base all covered with figures and trophies for the statue on the Canto de' Carnesecchi that Fra Giovanni Agnolo Montorsoli had executed.
When Michelagnolo, with the assistance of Fra Giovanni Agnolo, had finished and placed in position the statues of Duke Giuliano and Duke Lorenzo, being summoned by the Pope, who wished that arrangements should be made for executing in marble the façade of S. Lorenzo, he went to Rome; but he had not made a long stay there, when, Pope Clement dying, everything was left unfinished.
Certainly Baccio's drawings were very beautiful, but in colours he executed them badly and without grace, and he therefore resolved to paint no more with his own hand; but he took into his service one who handled colours passing well, a young man called Agnolo, the brother of the excellent painter Franciabigio, who had died a few years before.
Filippo, finding the Florentines resolved to occupy the places he had undertaken to defend, postponed all personal considerations, and sent Agnolo della Pergola with a strong force against Imola, that Ludovico, having to provide for the defense of his own possessions, might be unable to protect the interests of his grandson.
Agnolo approached Imola while the forces of the Florentines were at Modigliana, and an intense frost having rendered the ditches of the city passable, he crossed them during the night, captured the place, and sent Lodovico a prisoner to Milan. The Florentines finding Imola in the hands of the enemy, and the war publicly known, sent their forces to Furli and besieged it on all sides.
As she was to be placed before women as an example of every virtue, so she was skilled in all feminine accomplishments; she was as studious, as learned, as wise, as she was industrious, chaste, and temperate. She is seen surrounded by her young companions, the maidens who were brought up in the temple with her, in a picture by Agnolo Gaddi.
Niccolo Soderini drawn Gonfalonier of Justice Great hopes excited in consequence The two parties take arms The fears of the Signory Their conduct with regard to Piero Piero's reply to the Signory Reform of government in favor of Piero de' Medici Dispersion of his enemies Fall of Lucca Pitti Letter of Agnolo Acciajuoli to Piero de' Medici Piero's answer Designs of the Florentine exiles They induce the Venetians to make war on Florence.
One version of this subject, by Agnolo Gaddi, is conceived with much simplicity and originality. The Virgin and Joseph are seen together within a rude and otherwise solitary building. She points expressively to the manger where lies the divine Infant, while Joseph leans on his staff and appears lost in thought.
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