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However, when they had talked and laughed over this new occurrence to their hearts' content, the bishop persuaded Buonamico to remain; and the painter agreed to set himself to work for the third time, when the chapel was happily completed.
In his callow youth, Buonamico Cristofani, Florentine, surnamed Buffalmacco by reason of his merry humour, served his apprenticeship in the workshop of Andrea Tafi, painter and worker-in-mosaic. Now the said Tafi was a very knowledgeable master.
While Buonamico was employed at Florence, a countryman came and engaged him to paint a picture of St.
"When the works of the chapel before mentioned, were completed, the bishop ordered Buonamico either for a jest, or for some other cause to paint, on one of the walls of his palace, an eagle on the back of a lion, which the bird had killed.
Their rage now knew no bounds, and they instantly despatched horsemen in pursuit of Buonamico, but in vain the painter having found shelter in Florence. They then set an artist of their own to remove the crown of fishes and replace the gilded diadem, consoling themselves for the affront, by hurling maledictions at the head of Buonamico and every other Florentine.
Having learned the art of preparing and using the proper coats and colours, as well as the secret of painting figures in the good manner of Cimabuë and Giotto, the young Buonamico Cristofani, the Florentine, surnamed Buffalmacco, abandoned the workshop of his master Andrea Tafi, and proceeded to establish himself in the quarter of the fullers, immediately opposite to the house known by the sign of the Goose's Head.
When Tafi discoursed of this strange affair with Buonamico, the latter told him that he had been taught to believe that the demons were the greatest enemies of God, consequently they must be the most deadly adversaries of painters.
They decorated the church of S. Maria Novella with several productions which were much applauded, particularly the Martyrdom of St. Maurice and his companions, who were decapitated for their adherence to the faith of Christ. The picture was designed by Buonamico, and painted by Bruno, who had no great power of invention or design.
In Parma, for example, the braccio for measuring silk is 23 inches, for woolens and cottons 25 and a fraction, while that for roads and buildings is 21 only. The writer of these pages, in his intercourse with artists, has met with incidents as comical as that just related of Buonamico.
This animal sometimes stood on the scaffold, watching Buonamico at his work, and giving a grave attention to every action: with his eyes constantly fixed on the painter, he observed him mingle his colors, handle the various flasks and tools, beat the eggs for his paintings in distemper all that he did, in short; for nothing escaped the creature's observation.
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