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At the Metropolitan Museum of Art are two pictures by the Florentine painter of the fifteenth century called Piero di Cosimo. They represent hunting scenes, and the figures are those of men, women, fauns, satyrs, centaurs, and beasts of the forests, fiercely struggling together.
It is said that Ser Piero da Vinci, being at his villa, was besought as a favour, by a peasant of his, who had made a buckler with his own hands out of a fig-tree that he had cut down on the farm, to have it painted for him in Florence, which he did very willingly, since the countryman was very skilful at catching birds and fishing, and Ser Piero made much use of him in these pursuits.
These transactions alarmed the leaders of the opposite faction, and Agnolo Acciajuoli fled to Naples, Diotisalvi Neroni and Niccolo Soderini to Venice. Luca Pitti remained in Florence, trusting to his new relationship and the promises of Piero. The refugees were declared rebels, and all the family of the Neroni were dispersed.
Having formed a friendship with Piero di Marcone, a Florentine goldsmith, and having become his gossip, Francesco made to Piero's wife, who was also his gossip, after her delivery, a present of a very beautiful design, which was to be painted on one of those round baskets in which food is brought to a newly-delivered woman.
"Now that's what I can't bear in you women," said Piero, turning impatiently, and kicking aside the objects that littered the floor "you are always pouring out feelings where there's no call for them. Why should you be grateful to me for a picture you pay me for, especially when I make you wait for it? And if I paint a picture, I suppose it's for my own pleasure and credit to paint it well, eh?
In spite of her efforts to control herself, her voice trembled in anticipation of an affirmative answer. The herder replied that he did not know, and offered to go and see. Knocking several times, he called: "Benedè! Benedè!" A step at last! Jeanne was leaning against the door-post to keep herself from falling. O God! if it be Piero, what shall she say to him?
Under Pius V., Vignola and Piero Ligorio did indeed continue his tradition; under Gregory XIII., Sixtus V., and Clement VIII., Giacomo della Porta made no substantial alterations; and in 1590 Domenico Fontana finished the dome.
Pontormo painted beautiful cabinets and cassoni, and Granacci, Francesco d' Ubertini Verdi, called Bacchiacca, and Andrea were all employed on the walls. Andrea furnished two pictures; the one tells the story of Joseph in Canaan, the other gives his life in Egypt. The style is that of Piero di Cosimo, but with greater excellence and more dignified figures.
Piero was by nature and employment a decorative painter; the construction of cars for pageants, and the adornment of dwelling rooms and marriage chests, affected his whole style, rendering it less independent and more quaint than that of Botticelli.
But a neighbour of mine, a very ancient lady, telleth me that, according to that which she heard, when a child, both the one and the other were true; but that the latter happened, not to Gianni Lotteringhi, but to one Gianni di Nello, who abode at Porta San Piero and was no less exquisite a ninny than the other.
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