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And though this example suffice by itself to show the disadvantage in war of divided commands, to make the matter still plainer I shall cite two further instances, one ancient and one modern. In the year 1500, Louis XII. of France, after recovering Milan, sent troops to restore Pisa to the Florentines, Giovambattista Ridolfi and Luca d'Antonio Albizzi going with them as commissaries.
Lucille Grétry, daughter of the famous composer of that name, produced "Le Mariage d'Antonio" when only sixteen years, and followed it up with "Toinette et Louis." Her career was cut short in her twenty-fourth year by an untimely death.
They were Lapo d'Antonio di Lapo, a sculptor at the Opera del Duomo; Lodovico del Buono, surnamed Lotti, a metal-caster and founder of cannon; and Pietro Urbano, a craftsman who continued long in his service. Lapo boasted that he was executing the statue in partnership with Michelangelo and upon equal terms, which did not seem incredible considering their association in a single bedroom.
His art-possessions he left to his pupils, namely, Bertoldo, a sculptor of Florence, who imitated him closely enough, as may be seen from a very beautiful battle between men on horseback, wrought in bronze, which is now in the guardaroba of the Lord Duke Cosimo; Nanni d'Antonio di Banco, who died before him; and Rossellino, Desiderio, and Vellano da Padova.
Nanni d'Antonio di Banco was not only rich enough by patrimony, but also by no means humble in origin, yet, delighting in sculpture, he was not only not ashamed to learn and practise it, but took no small pride therein, and made so much advance that his fame will ever endure; and it will be all the more celebrated in proportion as men know that he applied himself to this noble art not through necessity, but through a true love of the art itself.
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