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Updated: June 9, 2025
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.
Having thus departed from Carrara, Tribolo, on his way back to Florence, stayed in Pisa to visit the sculptor Maestro Stagio da Pietrasanta, his very dear friend, who was executing in the Office of Works of the Duomo in that city two columns with capitals of marble all in open work, which were to stand one on either side of the high-altar and the Tabernacle of the Sacrament; and each of these was to have upon the capital an Angel of marble one braccio and three quarters in height, with a candelabrum in the hand.
It was also thought that the favour of Tribolo, who was executing the ornaments of Castello, was no advantage to the Frate. However that may have been, perceiving himself to be badly treated by Riccio, and being a proud and choleric man, he went off to Genoa.
However, since that manner did not please the smooth fancy of Bugiardini, no sooner had Tribolo departed than he took a brush and, dipping it from time to time in water, so smoothed them that he took away the gradine-marks and polished them all over, insomuch that, whereas the lights should have served as contrasts to make the shadows stronger, he contrived to destroy all the excellence that made the work perfect.
In that office, having often conversations with the Pope, Benvenuto, when the occasion arose, did not fail to extol Tribolo as an excellent sculptor and to recommend him warmly; insomuch that, the siege finished, Clement made use of him.
This master since the departure from that place of Tribolo, who was the last there, after he had finished the largest scene in marble, which is at the back of the chapel, wherein are the Angels carrying that house from Sclavonia into the forest of Loreto has laboured there continually from 1534 to the year 1560, executing many works.
Jacopo da Pontormo was requested to execute this work by Messer Pier Francesco Riccio, at that time major-domo to the Duke, and by Tribolo, but he would not do it, on the ground that he did not think that the time given, which was only six days, would be enough for him; and the same refusal was made by Ridolfo Ghirlandajo, Bronzino, and many others.
By reason of this opportunity, then, Tribolo made that tazza sooner than he might otherwise have done, fashioning round it a dance of little children attached to the moulding which is beside the lip of the tazza; which children are holding festoons of products of the sea, cut out of the marble with beautiful art.
However that may have been, whether it was the malignity of some of his assistants, or perchance envy, or that the accusation was indeed true, the blame for all that damage was laid on Tribolo, who, being a man of no great spirit, and rather wanting in resolution than otherwise, and doubting that the malice of some enemy might make him lose the favour of the Duke, was in a state of great despondency, when, being of a feeble habit of body, on the 20th of August in the year 1550, there came upon him a most violent fever.
Stupefied by this misfortune and robbed of all his spirit, and being also ill, Tribolo was living in utter despair, seeming not to be able either in Florence or abroad to hit upon anything that might be to his advantage; but Giorgio Vasari, who was always his friend and loved him from his heart, and helped him all that he could, consoled him, saying that he should not lose heart, because he would so contrive that Duke Alessandro would give him something to do, by means of the favour of the Magnificent Ottaviano de' Medici, into whose service Giorgio had introduced him on terms of no little intimacy.
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