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Giuliano Bugiardini was his head assistant rather than pupil; Francia Bigio, then a boy, Visino, who afterwards went to Hungary, and Innocenzio da Nicola, besides Piero, Baccio's brother, were all scholars. Albertinelli's Bottega in Val Fonda gave some noble paintings to the world, works independently his own, though Fra Bartolommeo's influence is traceable in most of them.
Vasari is probably accurate in his statement here; for we shall see that Michelangelo, in his Ricordi, makes mention of five assistants, two of whom are proved by other documents to have been Granacci and Indaco. We also possess two letters from Granacci which show that Bugiardini, San Gallo, Angelo di Donnino, and Jacopo l'Indaco were engaged in July.
The painter Giuliano Bugiardini ought to be added to the same list. Messer Ottaviano de' Medici begged him to make a portrait of Michelangelo, who gave him a sitting without hesitation, being extremely partial to the man's company. At the end of two hours Giuliano exclaimed: "Michelangelo, if you want to see yourself, stand up; I have caught the likeness."
After this, in 1512, another club, called that of the "Trowel," was instituted, of which Andrea was not a member, but was chosen as an associate. The first supper was arranged by Giuliano Bugiardini, and was held on the aja or threshing floor of S. Maria Nuova, where the bronze gates of the Baptistery had been cast.
The first given by the Cazzuola, which was arranged by Giuliano Bugiardini, was held at a place called the Aia, at S. Maria Nuova, where, as we have already said, the gates of S. Giovanni were cast in bronze.
But since, as has been related, Buonarroti had drawn his figures only in outline, Bugiardini was not able to put them into execution, because there were neither shadows in them nor any other help; whereupon Tribolo resolved to assist him, and thus made some sketch-models in clay, which he executed excellently well, giving them that boldness of manner that Michelagnolo had put into the drawing, and working them over with the gradine, which is a toothed instrument of iron, to the end that they might be somewhat rough and might have greater force; and, thus finished, he gave them to Giuliano.
Now, when Michelagnolo was in Florence in the time of Pope Clement, engaged in the work of the new Sacristy of S. Lorenzo, Giuliano Bugiardini wished to paint for Baccio Valori a picture with the head of Pope Clement and that of Baccio himself, and another for Messer Ottaviano de' Medici of the same Pontiff and the Archbishop of Capua.
He began a panel for S. Gallo, afterwards finished by Giuliano Bugiardini, which is now on the high-altar of S. Jacopo fra Fossi, on the Canto degli Alberti; and likewise a picture of the Rape of Dinah, now in the possession of Messer Cristofano Rinieri, and afterwards coloured by the same Giuliano, in which are buildings and conceptions that are much extolled.
It is generally supposed that this was the picture which Bugiardini is said to have coloured after the master's death; but there is much divergence among Italian authors both as to whether this was the painting spoken of, and also as to the meaning of Vasari's words, he using the phrase "finished" in one place, and "coloured" in another.
Among these, says Vasari, were his friends Francesco Granacci and Giuliano Bugiardini, Bastiano da San Gallo surnamed Aristotele, Angelo di Donnino, Jacopo di Sandro, and Jacopo surnamed l'Indaco.
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