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Updated: July 24, 2025
Giustino soon acquired the jargon; he passed his examination in fifteen articles, in secrecy, swiftness of foot and nimbleness of hand.
If Don Giustino came, the proceedings must be fixed for next morning it was the merest act of courtesy towards a man of his standing, a man whom one must conciliate at any cost. He blamed himself for arresting that young idiot. It threatened to bring him into undesired prominence. Hitherto, by reason of his sheer insignificance, he had escaped the great Catholic deputy's eye.
Nay, he grumbled that he would take leave of them all and by hook or by crook return to S. Giustino, where he was allowed to live in his own way and had not all these restraints; and it was the devil's own business to pacify him.
To-morrow perhaps he would have to confront the monster. Don Giustino! He knew him by reputation. A Camorrista of the blackest dye. He took no chances. He never threatened; he performed. Everybody knew that. Signor Malipizzo did not like the prospect of losing his lucrative job. Still less did he fancy the notion of receiving a charge of buck-shot in his liver, one evening from behind a wall.
Turkish persecution reached such a point that two Italians, the monk, Father Giustino, and the merchant, Gastone Terreni, were assassinated at the instigation and with the complicity of the authorities, without any redress being obtained.
Giorgio took great pains to persuade Cristofano to execute by himself part of the designs for the scenes that were to go into the frieze, but he would never do it. Wherefore, the while that Giorgio was drawing them himself, Gherardi executed the buildings in two of the panel-pictures, with much grace and beauty of manner, and such perfection, that a master of great judgment, even if he had had the cartoons before him, could not have done what Cristofano did. And, in truth, there never was a painter who could do by himself, and without study, the things that he contrived to do. After having finished the execution of the buildings in the two panel-pictures, the while that Vasari was carrying to completion the twenty stories from the Apocalypse for the above-mentioned frieze, Cristofano, taking in hand the panel-picture in which S. Gregory (whose head is a portrait of Pope Clement VII) is eating with his twelve poor men, executed the whole service of the table, all very lifelike and most natural. Then, a beginning having been made with the third panel-picture, while Stefano was occupied with the gilding of the ornamental frames of the other two, a staging was erected upon two trestles of wood, from which, while Vasari was painting on one side, in a glory of sunlight, the three Angels that appeared to Abraham in the Valley of Mamre, Cristofano painted some buildings on the other side. But he was always making some contraption with stools and tables, and at times with basins and pans upside down, on which he would climb, like the casual creature that he was; and once it happened that, seeking to draw back in order to look at what he had done, one of his feet gave way under him, the whole contraption turned topsy-turvy, and he fell from a height of five braccia, bruising himself so grievously that he had to be bled and properly nursed, or he would have died. And, what was worse, being the sort of careless fellow that he was, one night there slipped off the bandages that were on the arm from which the blood had been drawn, to the great danger of his life, so that, if Stefano, who was sleeping with him, had not noticed this, it would have been all up with him; and even so Stefano had something to do to revive him, for the bed was a lake of blood, and he himself was reduced almost to his last gasp. Vasari, therefore, taking him under his own particular charge, as if he had been his brother, had him tended with the greatest possible care, than which, indeed, nothing less would have sufficed; and with all this he was not restored until that work was completely finished. After that, returning to S. Giustino, Cristofano completed some of the apartments of the Abbot there, which had been left unfinished, and then executed at Citt
After returning from Rome to Florence and setting out from that city to go to Rimini, to paint a chapel in fresco and an altar-piece in the Church of the Monks of Monte Oliveto for Abbot Gian Matteo Faettani, Giorgio passed through S. Giustino, in order to take Cristofano with him: but Abbot Bufolini, for whom he was painting a hall, would not let him go for the time being, although he promised Giorgio that he should send Cristofano to him soon all the way to Romagna.
But, since Cristofano, being an exile from the State of Florence, was not able to follow Giorgio, he returned to S. Giustino, where he did not remain long, doing some work all the time for the above-mentioned Abbot, before he went to Perugia on the first occasion when Pope Paul III went there after the war waged with the people of that city.
Nay, Buffalmacco was again invited to Arezzo, no long time after, by the same prelate, who always treated him as a valued servant and familiar friend, confiding many works in the old cathedral to his care, all of which, unhappily, are now destroyed. Buonamico also painted the apsis of the principal chapel in the church of San Giustino in Arezzo."
In the tramezzo of the Church of S. Giustino he painted in fresco a S. Martin on horseback, who is cutting off a piece of his garment to give it to a beggar, and two other saints. In the Vescovado, also, on the face of one wall, he painted an Annunciation, which to-day is half spoilt through having been exposed for many years.
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