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Updated: July 12, 2025
After having consumed much time in this service, without any profit or advantage, Cristofano finally took refuge, almost in despair, with other exiles, in the village of S. Giustino in the States of the Church, a mile and a half distant from the Borgo and very near the Florentine frontier. In that place, although he stayed there at his peril, he painted for Abbot Bufolini of Citt
While the work was being executed, Vasari had Cristofano with him, as he had always done in the past, in the house of Signor Bernardetto de' Medici, who much delighted in painting; which having perceived, Cristofano painted two scenes in chiaroscuro in a corner of his garden.
Now Vasari had given a commission to Dattero, a Jew, the friend of Messer Ottaviano de' Medici, who was then a banker in Bologna, that he should provide Cristofano and Battista with everything that they required.
After finishing the preparations for that festival, Vasari and Cristofano stayed some months in Venice, painting for the Magnificent Messer Giovanni Cornaro the ceiling, or rather, soffit, of an apartment, into which there went nine large pictures in oils.
During the execution of that work his Excellency conceived a very great affection for Cristofano, seeing him zealous and diligent in no ordinary manner at his work; for the morning had scarcely broken into day when Cristofano would appear at his labour, of which he had such a love, and it so delighted him, that very often he would not finish dressing before setting out.
And in the central picture, where Vasari had painted Ceres seeking for Proserpine with a lighted pine torch, upon a car drawn by two serpents, Cristofano carried many things to completion with his own hand, because Vasari was ill at that time and had left that picture, among other things, unfinished.
After this, in the year 1543, Giorgio Vasari, having to execute a panel-picture in oils for the Great Cancelleria by order of the most illustrious Cardinal Farnese, and another for the Church of S. Agostino at the commission of Galeotto da Girone, sent for Cristofano, who went very willingly, as one who had a desire to see Rome.
Besides this, he was so gracious in his conversation and his jesting as he worked, that Vasari would at times stay working in his company from morning till night, without ever growing weary. Cristofano executed this façade in a few months, not to mention that he sometimes stayed away some weeks without working there, going to the Borgo to see and enjoy his home.
And if Cristofano, when he was a lad, had exercised himself continuously in the studies of art for he never did a drawing save when he had afterwards to carry it into execution and had pursued the practice of art with spirit, he would have had no equal, seeing that his facility, judgment and memory enabled him to execute his works in such a way, without any further study, that he used to surpass many who in fact knew more than he.
At that time Giorgio Vasari was painting in fresco the upper part of the tramezzo of the Abbey of Camaldoli, and two panel-pictures for the lower part; and, wishing to make about these last an ornament in fresco full of scenes, he would have liked to have Cristofano with him, no less to restore him to the favour of the Duke than to make use of him.
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