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Updated: June 12, 2025
And last of all, in the bases at the foot, beneath all the scenes, the same Cristofano painted the device of M. Sforza; that is, some obelisks, or rather triangular pyramids, which rest upon three balls, with a motto around that reads Immobilis.
A rival of Agostino was one Cristofano Gobbo, who also executed many works in the façade of the above-named Certosa and in the church, and that so well, that he can be numbered among the best sculptors that there were in Lombardy at that time.
After they were finished, Cristofano remained many days in Florence, assisting the same Vasari in the preparations that were made in the Palace of Messer Ottaviano de' Medici for the nuptials of Duke Alessandro; wherein, among other things, Cristofano executed the coat of arms of the Duchess Margherita of Austria, with the balls, upheld by a most beautiful eagle, with some boys, very well done.
But the works in which he showed himself most marvellous were some festoons of fruits that are in the friezes of the beams on the under side, which are so beautiful that there is nothing better coloured or more natural to be seen, particularly because they are separated one from another by certain masks, that hold in their mouths the ligatures of the festoons, than which one would not be able to find any more varied or more bizarre; in which manner of work it may be said that Cristofano was superior to any other who has ever made it his principal and particular profession.
Francesco also depicted at the request of the above-named Cristofano Rinieri and of Maestro Giovanni Rosto, the Flemish master of tapestry, the whole story of Tarquinius and the Roman Lucretia in many cartoons, which, being afterwards put into execution in tapestries woven in silk, floss-silk, and gold, proved to be a marvellous work.
Tribolo, perceiving his readiness, and having had a water-basin of stone made at that very time for Cristofano Rinieri, gave to Piero a small piece of marble, from which he was to make for that water-basin a boy that should spurt forth water from the private part.
Being summoned from Florence to Arezzo, he made in fresco, for the Chapel of the Magi in the Church of S. Antonio, a large scene wherein the Magi are adoring Christ; and in the Vescovado he painted the Chapel of S. Jacopo e S. Cristofano for the family of the Ubertini.
Indeed, to speak more exactly, almost the whole of this work was by the hand of Cristofano, Vasari having done nothing therein beyond making certain sketches, designing some parts on the plaster, and then retouching it at times in various places, according as it was necessary.
On the corner of the Palazzo de' Priori there is a large escutcheon of Pope Clement VII in grey sandstone, by the hand of the same master; and under his direction, and partly by his hand, was executed for Bernardino di Cristofano da Giuovi a chapel of grey sandstone in the Corinthian Order, which was erected in the Abbey of S. Fiore, a passing handsome monastery of Black Friars in Arezzo.
But, although Messer Ottaviano de' Medici pleaded strongly with the Duke, it proved impossible to bend him, so ugly was the information that had been given to him about the behaviour of Cristofano.
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