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Art can go no further than this. Art has risen above Nature, since Nature only gives her creatures a few brief years of life. Pons possessed one example of this immortal great genius and incurably indolent painter; it was a Knight of Malta, a Templar kneeling in prayer. The picture was painted on slate, and in its unfaded color and its finish was immeasurably finer than the Baccio Bandinelli.
She particularly insisted upon the likeness being carefully brought out. Michelangelo died before the equestrian statue of Henri II. was finished. Cellini, in his Memoirs, relates that Daniele da Volterra worked slowly, and caused much annoyance to the Queen-mother of France. In 1562 her agent, Baccio del Bene, came to Florence on financial business with the Duke.
Of which not knowing the reason, some said that Baccio had torn it up in order to have some pieces of the cartoon in his possession for his own convenience, some declared that he wished to deprive the other young men of that advantage, so that they might not be able to profit by it and make themselves a name in art, others said that he was moved to do this by his affection for Leonardo da Vinci, from whom Michelagnolo's cartoon had taken much of his reputation, and others, again, perhaps interpreting his action better, attributed it to the hatred which he felt against Michelagnolo and afterwards demonstrated as long as he lived.
He was archpriest of Ferrara, and appears to have written a theoretical work on music in which he set forth a great deal of the fundamental matter afterward utilized in the writings of Tinctoris. But whether this learned man was a member of the same family as Baccio Ugolino is not known.
Nanni di Baccio Bigio had, as it seems, good friends at court in Rome. He was an open enemy of Michelangelo, who, nevertheless, found it difficult to shake him off. In the history of S. Peter's the man's name will frequently occur. Three years elapsed.
The Duke having answered that Baccio should come, he set off for Florence without a word, leaving the work of the tombs unfinished and the statues in the hands of two assistants.
"Your Piagnoni will make l'inferno a pleasant prospect to us, if they are to carry things their own way on earth. It's enough to fetch a cudgel over the mountains to see painters, like Lorenzo di Credi and young Baccio there, helping to burn colour out of life in this fashion."
After this, the Giant of the Piazza, executed by the hand of Michelagnolo, having been set into place in the time of Giuliano, the brother of our Antonio, it was proposed to set up the other, which had been made by Baccio Bandinelli; and the task of bringing it safely into position was given to Antonio, who, taking Baccio d' Agnolo as his companion, carried this out by means of very powerful machines, and placed it in safety on the base that had been prepared for that purpose.
Accordingly he introduced a Life of Bandinelli into the second edition of his work, containing the following passage: "Baccio was in the habit of frequenting the place where the Cartoon stood more than any other artists, and had in his possession a false key; what follows happened at the time when Piero Soderini was deposed in 1512, and the Medici returned.
Baccio, at the departure of Clemente, who had asked leave of him, would not give him anything, although the young man had been a great help to him in Florence, and, indeed, Baccio's right hand in every matter; nevertheless, he thought nothing of getting rid of him.
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