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Updated: June 26, 2025
Thus, when Giovan Francesco's work was to be valued, and he had chosen on his side Michelagnolo Buonarroti, the body of Consuls, at the persuasion of Ridolfi, chose Baccio d'Agnolo; at which Rustici complained, saying to the men of that body, at the audience, that it was indeed something too strange that a worker in wood should have to value the labours of a statuary, and he as good as declared that they were a herd of oxen, but Ridolfi answered that, on the contrary, it was a good choice, and that Giovan Francesco was a swollen bladder of pride and arrogance.
I must not omit to tell that it has come to my ears that while Antonio Mini, a disciple of Buonarroti, was living in France, when he was entertained and treated with much lovingness in Paris by Giovan Francesco, there came into the hands of Rustici some cartoons, designs, and models by the hand of Michelagnolo; a part of which the sculptor Benvenuto Cellini received when he was in France, and he brought them to Florence.
Wherefore, the Pope having ordained that the weaving should be done in Flanders, it was arranged with the consent of Michelagnolo that Perino should begin to paint a canvas of the same size, which he did, executing in it women, children and terminal figures, holding festoons, and all very lifelike, with the most bizarre things of fancy; but this work, which was truly worthy of him and of the divine picture that it was to adorn, remained unfinished after his death in some apartments of the Belvedere.
But since, as has been related, Buonarroti had drawn his figures only in outline, Bugiardini was not able to put them into execution, because there were neither shadows in them nor any other help; whereupon Tribolo resolved to assist him, and thus made some sketch-models in clay, which he executed excellently well, giving them that boldness of manner that Michelagnolo had put into the drawing, and working them over with the gradine, which is a toothed instrument of iron, to the end that they might be somewhat rough and might have greater force; and, thus finished, he gave them to Giuliano.
Next, the above-named Messer Ottaviano de' Medici having besought Giuliano privately that he should take for him the portrait of Michelagnolo Buonarroti, he set his hand to it; and, after he had kept Michelagnolo, who used to take pleasure in his conversation, sitting for two hours, Giuliano said to him: "Michelagnolo, if you wish to see yourself, get up and look, for I have now fixed the expression of the face."
Him nature presented to the world, when, vanquished by art through the hands of Michelagnolo Buonarroti, she wished to be vanquished, in Raffaello, by art and character together.
Buonarroti, then, having compassion on the poor man and wishing to oblige him, went up to the picture with a piece of charcoal and outlined with a few strokes, lightly sketched in, a line of marvellous nude figures, which, foreshortened in different attitudes, were falling in various ways, some backward and others forward, with some wounded or dead, and all executed with that judgment and excellence that were peculiar to Michelagnolo.
In another he represented S. Anthony beaten by Devils, and carried through the air by a vast number of them in the most varied and bizarre forms that could possibly be imagined; which sheet so pleased Michelagnolo, when he was a mere lad, that he set himself to colour it.
This model, which gave Antonio a very great name, was published in engraving after the death of Antonio da San Gallo, together with the ground-plan of the whole edifice, by the said Antonio L'Abacco, who wished to show in this way how great was the genius of San Gallo, and to make known to all men the opinion of that architect; for new plans had been proposed in opposition by Michelagnolo Buonarroti, and out of this change of plans many contentions afterwards arose, as will be related in the proper place.
These things making clear to Michelagnolo the mind and inclination of his son, he also changed his intention, like the boy himself, and, being likewise advised by his friends, placed him under the care of Giovan Francesco Rustici, one of the best sculptors in the city, whose workshop was still constantly frequented by Leonardo da Vinci.
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