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Nothing, for example, could be keener and more cutting than the very just criticism he made in Bandinelli's presence of his "Hercules and Cacus." "Quel bestial buaccio Bandinello," as he delights to name him, could do nothing but retort with vulgar terms of insult. The great achievement of this third period was the modelling and casting of the "Perseus."
The little Bigallo The Misericordia Or San Michele Andrea Orcagna The Tabernacle Old Glass A company of stone saints Donatello's S. George Dante conferences The Guilds of Florence The Palazzo Vecchio Two Towers Bandinelli's group The Marzocco The Piazza della Signoria Orcagna's Loggia Cellini and Cosimo The Perseus Verrocchio's dolphin The Great Council Hall Leonardo da Vinci and Michelangelo's cartoons Bandinelli's malice The Palazzo Vecchio as a home Two cells and the bell of independence.
Bandinelli in his delight at obtaining it vowed to surpass that master's David, and those who want to know what Florence thought of his effort should consult the amusing and malicious pages of Cellini's Autobiography. On its way to Bandinelli's studio the block fell into the Arrio, and it was a joke of the time that it had drowned itself to avoid its fate at the sculptor's hands.
They have nothing Greek about them but their names, their nakedness, and their association with myths, the significance whereof was never really felt by the sculptors. Some of Bandinelli's designs, it is true, are vigorous; but they are mere drawings from undraped peasants, life studies depicting the human animal.
And indeed, that group, part of the plunder that the people found in Palazzo Riccardi, in the time of Piero de' Medici, who sought to make himself tyrant, once stood beside the great gate of Palazzo Vecchio, whence it was removed at the command of Alessandro, who placed there instead Bandinelli's feeble Hercules and Cacus.
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