colours; and the soldiers saw him set to work on the Saints of Buonamico. They then summoned the artist, and showing him the malefactor, they all stood watching the animal at his operations, being in danger of fainting with laughter, Buonamico more than all; for, though exceedingly disturbed by what had happened, he could not help laughing till the tears ran down his cheeks. At length he betook himself to the bishop, and said: “ My lord, you desire to have your chapel painted in one fashion, but your ape chooses to have it done in another.” Then, relating the story, he added: “ There was no need whatever for your lordship to send to foreign parts for a painter, since you had the master in your house; but perhaps he did not know exactly how to mix the colours; however, as he is now acquainted with the method, he can proceed without further help: I am no longer required here, since we have discovered his talents, and will ask no other reward for my labours, but your permission to return to Florence.” Hearing all this, the bishop, although heartily vexed, could not restrain his laughter; and the rather, as he remembered that he who was thus tricked by an ape, was himself the most incorrigible trickster in the world. However, when they had talked and laughed over this new occurrence to their hearts’ content, the bishop persuaded Buonamico to remain; and the painter agreed to set himself to work for the third time, when the chapel was happily completed. But the ape, for his punishment, and in expiation of the crimes he had committed, was shut up in a strong wooden cage, and fastened on the platform where Buonamico worked; there he was kept until the whole was finished; and no imagination could conceive the leaps and flings of the creature, thus enclosed in his cage, nor the contortions he made with his feet, hands, muzzle, and whole body, at the sight of others working, while he was not permitted to do anything. When the works of the chapel were completed, the bishop ordered Buonamico—either for a jest, or for some other cause—to paint, on one of the walls of his palace, an eagle on the back of a lion, which the bird had killed.[1] The crafty
- ↑ In the notcs of the Roman and other earlier editions of Vasari, we are told that the lion being the insignia of Florence, and the eagle that of Arezzo, the bishop herein designed to assert his own superiority over the former city, he being lord of Arezzo, but later commentators affirm
