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Updated: June 4, 2025
"I cannot perceive how Baccio could in any way whatever be compared to you, or his work be set on the same level as your own." The letter winds up with exhortations to work. "Brush these cobwebs of melancholy away; have confidence in his Holiness; do not give occasion to your enemies to blaspheme, and be sure that your pension will be paid; I pledge my word for it."
This would have been thoroughly in keeping with the growing tendency of the frottola to use refrains and advance toward strophical form. The lyre, with which Baccio Ugolino as Orfeo accompanied himself, may have been a cithara, but the probabilities are that it was not. Prætorius tells us that there were two kinds of Italian lyres.
Baccio, then, in his first years, gave his attention to design according to the teaching of his father, being assisted no less to make proficience by the competition of the other lads, among whom he chose as his particular companion one called Piloto, who afterwards became an able goldsmith; and with him he often went about the churches drawing the works of the good painters, but also mingling work in relief with his drawing, and counterfeiting in wax certain sculptures of Donato and Verrocchio, besides executing some works in clay, in the round.
Baccio and Giuliano had in mind, in addition to the ornament of the inner façade, another larger ornament of extraordinary cost and grandeur for the outer façade.
But Andrea perceived Baccio's intention as he made his request, and was angry at his want of confidence and astuteness, for he would have been willing to show him what he desired, if Baccio had asked him as a friend; wherefore, without making any sign that he had found him out, and refraining from mixing the colours into tints, he placed every sort of colour on his palette and mingled them together with the brush, and, taking some now from one and now from another with great dexterity of hand, counterfeited in this way the vivid colouring of Baccio's face.
Thus was the city deprived of a rare ornament, such as that marble would undoubtedly have been when shaped by the hand of Buonarroti. The above-mentioned model of Baccio is now to be found in the guardaroba of Duke Cosimo, by whom it is held very dear, and by the craftsmen as a rare work.
The Pope, having praised Baccio, but not thinking that the time had come to execute the David, sent him to Loreto to Maestro Andrea, to the end that Andrea might give him one of those scenes to do.
Afterwards, the war being finished and peace made, Pope Clement caused Michelagnolo to return to Florence in order to finish the Sacristy of S. Lorenzo, and sent Baccio to see to the completion of the giant.
And since Mariotto was not so well grounded in drawing as was Baccio, he devoted himself to the study of such antiquities as were then in Florence, the greater part and the best of which were in the house of the Medici.
During this time Baccio had given his attention to nothing else but demonstrating to Duke Cosimo how much the glory of the ancients had lived through their statues and buildings, saying that his Excellency should seek to obtain in the same way immortality for himself and his actions in the ages to come.
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