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Updated: June 16, 2025
Men are so fallible in their estimates of contemporaries that one man's statement that another is a rogue does not in the slightest change our views of that man. What we are, that we see: the epithets a man applies to another usually fit himself better, and this is the thought in mind when we read what Cellini says of Vasari and Bandinelli.
Then he asked if I had read your letter. I said, No. He laughed loudly, as though at a good joke, and I quitted him with compliments. Bandinelli, who is copying the Laocoon, tells me that the Cardinal showed him your letter, and also showed it to the Pope; in fact, nothing is talked about at the Vatican except your letter, and it makes everybody laugh."
Giuliano, meanwhile, not neglecting his workshop, was giving his attention, together with his brothers, to the execution of many carvings and works in wood, and also to pressing on the making of the pavement of S. Maria del Fiore; and since he was superintendent and architect of that building, he was requested by the same Bandinelli to make designs and models of wood, after some fantasies of figures and other ornaments of his own, for the high-altar of that same S. Maria del Fiore, which was to be constructed of marble; which Giuliano did most willingly, being a good and kindly person and one who delighted in architecture as much as Bandinelli despised it, and being also won over by the lavish promises of profit and honour that Bandinelli made him.
His Fame His Autobiography Its Value for the Student of History, Manners, and Character, in the Renaissance Birth, Parentage, and Boyhood Flute-playing Apprenticeship to Marcone Wanderjahr The Goldsmith's Trade at Florence Torrigiani and England Cellini leaves Florence for Rome Quarrel with the Guasconti Homicidal Fury Cellini a Law to Himself Three Periods in his Manhood Life in Rome Diego at the Banquet Renaissance Feeling for Physical Beauty Sack of Rome Miracles in Cellini's Life His Affections Murder of his Brother's Assassin Sanctuary Pardon and Absolution Incantation in the Colosseum First Visit to France Adventures on the Way Accused of Stealing Crown Jewels in Rome Imprisonment in the Castle of S. Angelo The Governor Cellini's Escape His Visions The Nature of his Religion Second Visit to France The Wandering Court Le Petit Nesle Cellini in the French Law Courts Scene at Fontainebleau Return to Florence Cosimo de' Medici as a Patron Intrigues of a petty Court Bandinelli The Duchess Statue of Perseus End of Cellini's Life Cellini and Machiavelli.
And Bandinelli, having therefore arrived in Florence, so haunted the Duke in his audacity, making promises and showing him designs and models, that the tomb of the above-named Signor Giovanni, which was to have been made by Tribolo, was allotted to him; and so, taking some pieces of marble of Michelagnolo's, which were in the Via Mozza in Florence, he hacked them about without scruple and began the work.
At any rate, the block was restored in 1530 to Bandinelli, who produced the misbegotten group which still deforms the Florentine Piazza. Michelangelo had some reason to be jealous of Bandinelli, who exercised considerable influence at the Medicean court, and was an unscrupulous enemy both in word and deed. A man more widely and worse hated than Bandinelli never lived.
It came to pass, therefore, that he was forced to make all the stones irregular in shape, preparing them with great labour by means of the pifferello, which is the instrument otherwise called the bevel-square; and this made the work so clumsy, that, as will be related in the Life of Bandinelli, it has been difficult to bring it to such a form as might be in harmony with the rest.
Afterwards Giorgio was placed by the Magnificent Ippolito with Baccio Bandinelli, who was pleased to have the boy with him and to teach him; and Vasari contrived to obtain Francesco as his companion, with great advantage to them both, for the reason that while working together they learned more and made greater progress in one month than they had done in two years while drawing by themselves.
For which reason Bartolommeo took him away from Bandinelli, and entrusted him to Tribolo, who appeared to him to make more effort to help those who were seeking to learn, besides giving more attention to the studies of art and bearing even greater affection to the memory of Leonardo.
The portrait might be attributed to Raphael, but for the date. This example is, to my mind, superior to the portrait of Baccio Bandinelli in the Musee; the latter is a little hard, while the Templar, being painted upon 'lavagna, or slate, has preserved its freshness of coloring."
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