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Updated: June 4, 2025
At this time, after the war of Hungary, Pope Clement and the Emperor Charles held a conference at Bologna, whither there went Cardinal Ippolito de' Medici and Duke Alessandro; and it occurred to Baccio to go and kiss the feet of his Holiness.
Knowing that Baccio was worth little as an architect, they had caused a design to be made by Antonio da San Gallo, which pleased them, and had ordained that all the mason's work to be done in marble should be executed under the direction of the sculptor Lorenzetto, and that the marble statues and scenes should be allotted to Baccio.
He, having shown in his childhood not merely inclination, but also aptitude, for drawing, was placed, through the good services of Benedetto da Maiano, with Cosimo Rosselli, and lodged in the house of some relatives of his own, who lived at the Porta a S. Piero Gattolini; where he stayed for many years, so that he was never called or known by any other name than that of Baccio della Porta.
Having at last definitely entered the service of Pope Leo, Michelangelo travelled to Florence, and intrusted Baccio d'Agnolo with the construction of the model of his façade. It may have been upon the occasion of this visit that one of his father's whimsical fits of temper called out a passionate and sorry letter from his son.
While these preparations were in progress, Baccio was seized with a desire to finish the statue of the Dead Christ supported by Nicodemus, which his son Clemente had carried well forward; for he had heard that Buonarroti was finishing one in Rome that he had begun to carve from a large block of marble, containing five figures, which was to be placed on his tomb in S. Maria Maggiore.
Having then done this without delay, he placed Piero, who was now twelve years of age, with Bandinelli in Florence, flattering himself that Baccio, having been once the friend of Leonardo, would take notice of the boy and teach him with diligence; besides which, it seemed to him that Piero delighted more in sculpture than in painting.
Having arranged the matter in this way, they finally made the contract with Baccio, who therefore appeared no more about the house of Cardinal Salviati, withdrawing himself just in time; and the exiles, the occasion having passed by, thought nothing more about him. After these things Baccio made two models of wood, with the statues and scenes in wax.
For whereas, according to the first design, the ceiling of the Hall being twenty-one braccia above the floor, the audience-chamber did not rise higher than eighteen braccia, so that between it and the old ceiling there was a space of only three braccia; now, after our design, the ceiling of the Hall has been raised so much that it has risen twelve braccia above the old ceiling and fifteen above the audience-chamber of Baccio and Giuliano, so that the ceiling is now thirty-three braccia above the floor of the Hall.
But, returning to Baccio, we must say that his abilities were always recognized during his lifetime, yet will be recognized and regretted much more now that he is dead.
In the year 1487 there was born to Michelagnolo a son, whom he called Bartolommeo, but afterwards, according to the Florentine custom, he was called by everyone Baccio.
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