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Updated: June 16, 2025
When the Medici returned to power and transferred their residence from the Palace of the Via Larga, which they had occupied, to the Palace of the Seigneurie, Cosmo wished to change the Council Hall into an audience chamber, and charged the presumptuous Bacchio Bandinelli, whose designs had attracted him, with various alterations of an important character; but the sculptor had undoubtedly presumed too much on his talent as an architect, and in spite of the assistance of Giuliano Baccio d'Agnolo, whom he called to his aid, he worked for ten years without being able to conquer the difficulties which he had created for himself.
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.
This invention was not much extolled, nor can it be commended as beautiful by any man of judgment; and for a work of such cost, in a place so celebrated, Bandinelli, if he despised architecture, or had no knowledge of it, should have availed himself of someone living at that time with the knowledge and ability to do better.
Accordingly he introduced a Life of Bandinelli into the second edition of his work, containing the following passage: "Baccio was in the habit of frequenting the place where the Cartoon stood more than any other artists, and had in his possession a false key; what follows happened at the time when Piero Soderini was deposed in 1512, and the Medici returned.
Those who wish to gain insight into the life of an artist at Court in the sixteenth century, will do well to study attentively the chapters devoted by Cellini to his difficulties with the Duchess, and his wordy warfares with Bandinelli. This atmosphere of intrigue and animosity was not uncongenial to Benvenuto; and as far as words and blows went, he almost always got the best of it.
All these were engraved and printed during the lifetime of Raffaello. After the death of Raffaello, Marco and Agostino separated, and Agostino was retained by Baccio Bandinelli, the Florentine sculptor, who caused him to engrave after his design an anatomical figure that he had formed out of lean bodies and dead men's bones; and then a Cleopatra. Both these were held to be very good plates.
He betrays his animus at the commencement by praising Baccio Bandinelli, to mention whom in the same breath with Buonarroti was an insult. Then he proceeds: "The Pope, the Cardinal, and Jacopo Salviati are men who when they say yes, it is a written contract, inasmuch as they are true to their word, and not what you pretend them to be.
Did any other young man show talent or surpass him, revenge deep and mean as that of Bandinelli to Michelangelo was sure to follow, the envied work being spoiled in his rage.
Art can go no further than this. Art has risen above Nature, since Nature only gives her creatures a few brief years of life. Pons possessed one example of this immortal great genius and incurably indolent painter; it was a Knight of Malta, a Templar kneeling in prayer. The picture was painted on slate, and in its unfaded color and its finish was immeasurably finer than the Baccio Bandinelli.
It was found in the place mentioned by Pliny, and the joinings are so accurate and artfully concealed, that they might easily escape his notice. There are several copies of this matchless production by modern sculptors, the most remarkable of which, are one in bronze by Sansovino, and another in marble by Baccio Bandinelli, which last is in the Medici gallery at Florence.
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