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Updated: June 16, 2025
But Baccio answering him arrogantly with many abusive words, Maestro Andrea could endure no more, and rushed upon him in order to kill him; but Bandinelli was torn away from him by some who intervened between them. Being therefore forced to depart from Loreto, Baccio had his scene carried to Ancona; but he grew weary of it, although it was near completion, and he went away leaving it unfinished.
What hurts me most is that they should prevent your working, for that rejoices your ill-wishers, and confirms them in what they have always gone on preaching about your habits." He proceeds to tell him how absurd it is to suppose that Baccio Bandinelli is preferred before him.
The great fountain with its bronze figures at this corner is by Bartolommeo Ammanati, a pupil of Bandinelli, and the statue of Cosimo I is by Gian Bologna, who was the best of the post-Michelangelo sculptors and did much good work in Florence, as we shall see at the Bargello and in the Boboli Gardens. He studied under Michelangelo in Rome.
One of Andrea's acquaintances was Baccio Bandinelli, who, as he thought he could equal Michelangelo in sculpture, imagined that only a knowledge of Andrea del Sarto's method of colouring was necessary to enable him to surpass him in painting. To gain this knowledge he proposed to sit to Andrea for his portrait.
The coarseness and exaggeration of the muscular development have not the characteristics of Signorelli's own errors in over-realism, but bear the same relation to his style that the work of Bandinelli bears to that of Michelangelo.
I shall be an attentive listener like you, my friend. I speak no more." Merthyr went with him to the house of a carpenter, where in one of the uppermost chambers communicating with the roof, Ugo Corte, Marco Sana, Giulio Bandinelli, and others, sat waiting for the arrival of Carlo Ammiani; when he came Carlo had to bear with the looks of mastiffs for being late.
All present, save the youthfuller Carlo, had suffered. Imprisonment and exile marked the Chief. Ugo Corte, of Bergamo, had seen his family swept away by the executioner and pecuniary penalties. Thick scars of wounds covered the body and disfigured the face of Giulio Bandinelli.
Giuliano, therefore, with the assistance of Bandinelli, made a beginning with that choir, without altering anything save the principal entrance, which is opposite to the above-mentioned altar; for which reason he wished that it should be exactly similar to that altar, with the same arch and decorations.
Corte gazed at her heavily, but not altogether disapprovingly. Giulio Bandinelli and Marco Sana, though evidently astonished, and to some extent incredulous, listened like the perfectly trusty lieutenants in an enterprise which they were. But Carlo Ammiani stood horror-stricken.
And thus do Bandinelli and Torrigiano go clattering down the corridors of time hand in hand. Yet we know what the picture was, for various men who saw it recorded their impressions; but although many of the younger artists of Italy flocked to Florence to see it, and many copied it, only one copy has come down to us the one in the collection of the Earl of Leicester, at Holkham.
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