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Updated: June 21, 2025
Baroccio has a fine portrait Francesco Maria II, last Duke of Urbino, and the grandfather of the Vittoria della Rovere whom we saw in the Sala di Rubens. Here also is a portrait of Lorenzo the Magnificent by Vasari, but it is of small value since Vasari was not born till after Lorenzo's death.
Already, Vasari tells us in 1430, Cosimo had caused Michelozzo to prepare a model for a palace at the corner of Via Larga beside S. Giovannino, for one already made by Brunellesco appeared to him too sumptuous and magnificent, and quite as likely to awaken envy among his fellow-citizens as to contribute to the grandeur and ornament of the city, and to his own convenience.
Julius turned to this pitiable mediator, and, as Vasari tells, used a switch on this occasion, observing, "You speak injuriously of him, while I am silent. It is you who are ignorant." Raising Michael Angelo, Julius II. embraced the man of genius.
There is an interesting early copy of this fresco in the Corsini Gallery in Florence, which, though rather crude, gives us a good idea of the light tone of the painting in its early state. This work was received by artists with enthusiasm, reflected in the pages of Vasari.
Vasari, who in his account of this episode seems to have had Varchi's narrative under his eyes, adds a trifle of information, to the effect that Michelangelo was accompanied upon his flight, not only by Antonio Mini, but also by his old friend Piloto.
It is dated 1436. John died in 1441. According to Vasari, the fame of Masaccio drew Antonello da Messina to Rome; from thence he proceeded to Naples, where he saw some oil paintings by John van Eyck, which had been brought to Naples from Flanders, by some Neapolitan merchants, and presented or sold to Alphonso I., King of Naples.
And so, competing lovingly for both honour and profit, they set themselves to copy everything, from the large things down to the most minute, such as millet-seed, hemp-seed, bunches of fennel, and the like, in such a manner that those festoons proved to be very beautiful; and both of them received from Vasari the prize of the scarlet hose.
For, following that stony way which brought me to S. Giovanni, I came at last to the walls of an old fortress, that now houses a few peasants, and turning there saw all the Val d'Arno, from S. Miniato far and far away to the west, to little Vinci on the north, where, as Vasari says, Leonardo was born; while below me, beside Arno, rose the beautiful Villa Ambrogiana, with its four towers at the corners; and then on a hill before me, not far away, a little town nestling round another fortress, maybe less dilapidated than Montelupo, Capraja, that goat which caused Montelupo to be built.
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.
One day that Giorgio Vasari was returning from Monte Oliveto, a place without Florence, after a visit to the reverend and most cultured Don Miniato Pitti, who was then Abbot of that monastery, he found Jacone, with a great part of his crew, at the Canto de' Medici; and Jacone thought to attempt, as I heard afterwards, with some of his idle talk, speaking half in jest and half in earnest, to hit on some phrase insulting to Giorgio.
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