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He refused, as Giugni writes with some regret, to abandon his inn, but was personally conducted with great honour by the Duke all round the walls and fortresses of Ferrara. On what day he quitted that city, and whither he went immediately after his departure, is uncertain.
They also did their best to persuade Michelangelo that he ought to take measures for returning under a safe-conduct. Galeotto Giugni wrote upon this subject to the War Office, under date October 13, from Ferrara. He says that Michelangelo has begged him to intercede in his favour, and that he is willing to return and lay himself at the feet of their lordships.
In proof thereof he adduces the fact that, upon his return, he found the whole work interrupted." Furnished with letters to the Duke, and with special missives from the Signory and the Ten to their envoy, Galeotto Giugni, Michelangelo left Florence for Ferrara after the 28th of July, and reached it on the and of August.
The Ten wrote to Giugni on the 8th of August, saying that his presence was urgently required at Florence, since the work of fortification was going on apace, "a multitude of men being employed, and no respect being paid to feast-days and holidays."
In answer to this despatch, news was sent to Giugni on the 20th that the Signory had signed a safe-conduct for Buonarroti. On the 22nd Granacci paid Sebastiano di Francesco, a stone-cutter, to whom Michelangelo was much attached, money for his journey to Venice.
Well, they took the road for Venice; but when they came to Polesella, Rinaldo proposed to push on to Ferrara and have an interview with Galeotto Giugni. This he did, and Michelangelo awaited him, for so he promised. Messer Galeotto, who was spirited and sound of heart, wrought so with Rinaldo that he persuaded him to turn back to Florence.
He was sent also to Ferrara with letters from the Signori and the Ten to the Duke, the greatest Italian authority upon fortification, and to their envoy, Galeotto Giugni, who wrote to inform the Florentines that Michael Angelo refused to abandon the inn and receive the hospitality of the Duke, who with great honour personally conducted him over the fortresses and walls of Ferrara; no doubt at the same time showing him his art collections.
Mino also has here a monument to Bernardo Giugni, a famous gonfalonier in the time of Cosimo de' Medici, marked by the same distinction, but not quite so memorable. The Ugo is his masterpiece. The carved wooden ceiling, which is a very wonderful piece of work and of the deepest and most glorious hue, should not be forgotten; but nothing is easier than to overlook ceilings.
See especially a roundel in the Bargello, and the altar-piece in the church of Monte Oliveto at Naples. Those who wish to understand Rossellino should study him in the latter place. In the church of Samminiato, near Florence. Vite di Uomini Illustri, pp. 152-157. These tombs in the Badia were erected for Count Ugo, Governor of Tuscany under Otho II., and for Messer Bernardo Giugni.
"Envy must always be reckoned as of some account in republics, especially when the nobles form a considerable element, as in ours: for they were angry, among other matters, to see a Carducci made Gonfalonier, Michelangelo a member of the Nine, a Cei or a Giugni elected to the Ten."
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