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Updated: June 4, 2025
Here the architect, Baccio d'Agnolo, commissioned Andrea del Sarto to paint an Annunciation. This chapter will speak of the man, and not of the artist.
It is true that the David of Michelagnolo, which is beside Baccio's Hercules, takes away not a little of its glory, being the most beautiful colossal figure that has ever been made; for in it is all grace and excellence, whereas the manner of Baccio is entirely different.
At the instance of the Magnificent Giuliano there was allotted to Baccio a S. Peter, four braccia and a half in height, which after a long time he brought to completion; and, although it has not the highest perfection of sculpture, nevertheless good design may be seen in it.
Baccio uncovered the altar of S. Maria del Fiore, and the statue of God the Father was criticized. The altar has remained as was described above, nor has anything more been done to it since; but the work of the choir has been continued.
Michelagnolo was taken by the goldsmith Piloto to see it, and, after he had examined every part, he said that he marvelled that so good a draughtsman as Baccio should allow a picture so crude and wanting in grace to leave his hands, that he had seen the most feeble painters executing their works in a better manner, and that this was no art for Baccio.
Baccio, who stood hidden behind the door-curtain, was not able to contain himself until Solosmeo should have finished, and, bursting out scowling and full of rage, said to Solosmeo: "What have I done to you, that you should speak of me with such scant respect?" Dumbfounded at the appearance of Baccio, Solosmeo turned to Ridolfi and said: "What tricks are these, my lord?
This Giuliano and Baccio do not seem to have considered or observed, for they chose a subject involving much labour and endless pains, but wanting in grace, as experience has proved.
This work was certainly executed by those masters with great diligence; and if Baccio and Giuliano had urged it on, they would have finished and built in all the ornaments of stone very quickly.
The loss of the Cartoon to the city was no slight one, and Baccio deserved the blame he got, for everybody called him envious and spiteful." This second version stands in glaring contradiction to the first, both as regards the date and the place where the Cartoon was destroyed.
In spite of marked differences of character, disagreements upon the fundamental matters of politics and religion, and not unfrequent quarrels, these men continued to be comrades through the better part of their joint lives. Baccio was gentle, timid, yielding, and industrious.
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