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Updated: May 27, 2025
"In his face he has always been well-coloured...the eyes might be called small rather than large, of the colour of horn, but variable with 'flecks' of yellow and blue. Hair and beard are black. These particulars are confirmed by the portraits. First and foremost take the portrait of Bugiardini in Museo Buonarotti.
The words of that great man so heartened me, that I set myself to work at once with eagerness upon the model; and when I had finished it, a painter who was intimate with Michel Agnolo, called Giuliano Bugiardini, brought me the drawing of Atlas.
Michelangelo, who knew well where the fault lay, and how little judgment belonged to his friend Bugiardini, resumed his seat, grinning. After some time of careful contemplation, Giuliano rose to his feet and cried: "It seems to me that I have drawn it right, and that the life compels me to do so." "So then," replied Buonarroti, "the defect is nature's, and see you spare neither the brush nor art."
Hearing this, Giuliano, after standing pensive for a while and looking many times from the portrait to the living model, answered in serious earnest: "To me it does not seem so, but sit you down again, and I shall see a little better from the life whether it be true." Buonarroti, who knew whence the defect arose and how small was the judgment of Bugiardini, straightway resumed his seat, grinning.
He even went so far as to sit to Bugiardini for his likeness, at the request of Ottaviano de' Medici. Giuliano, having painted and talked nonsense for two hours, at last exclaimed, to his sitter's great relief, "Now, Michelangelo, come and look at yourself; I have caught your very expression."
Bugiardini was still Mariotto's head assistant, and Fra Paolino, and one or two other monks, worked under Fra Bartolommeo, besides pupils of both, among whom were Gabriele Rustici and Benedetto Cianfanini. So many of these masterly sketches are the Frate's and so few are Mariotto's that we may presume the former was in most instances the designer. And to what perfection he carried design!
Whereupon, since like always draws to like, he so contrived that he became the friend of Giorgio, by means of M. Marco da Lodi, a gentleman of the above-named Cardinal of Cortona, who showed to Giorgio a portrait, which much pleased him, by the hand of Francesco, who a short time before had been placed to learn painting with Giuliano Bugiardini.
At another repast, which was arranged by the same Bugiardini and by Giovan Francesco Rustici, the men of the Company appeared, as the master had commanded, all in the dress of masons and their labourers; that is, those who were "going for the Great" had the trowel with the cutting edge and hammer in their girdles, and those "going for the Less" were dressed as labourers with the hod, the levers for moving weights, and in their girdles the ordinary trowel.
And these pictures, since they were spoilt and had suffered injury, were restored in our own day by the agency of Giuliano Bugiardini, who did them more harm than good.
Among those who studied the arts of design in that garden, the following all became very excellent masters; Michelagnolo, the son of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino, and others, of whom mention will be made in the proper places.
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