converts them to the faith of Christ. This work is more beautiful than any other painted by Buffalmacco; and it may with truth be said, that on this occasion he surpassed himself, insomuch that the people of Perugia were moved to require, according to what Franco Sacchetti[1] has written, that he should paint Sant’ Ercolano, bishop and protector of Perugia, in the market-place of their city. Having agreed on the price, an enclosure of planks and matting was erected on the spot where the master was to work, that he might not be overlooked at his labours; which done, he commenced his operations. But ten days had not elapsed, before every man who passed the scatfolding, inquired “ when this picture would be finished?” as though they fancied works of that kind were to be cast in a mould; so that Buonamico became thoroughly wearied of their outcries. Wherefore, having brought the matter to an end, he resolved within himself to take a bit of quiet vengeance on the people for their troublesome importunities; nor did he fail to execute this determination. Keeping the work still enclosed, he admitted the Perugini to examine it, when all declared their entire satisfaction; but when they desired to remove the planks and matting, Buonamico requested that they should be suffered to remain for two days longer, as he wished to retouch certain parts when the painting was fully dried. This was agreed to; and Buonamico, who had made a great diadem for the saint in rilievo of plaster, richly gilt, as was then the custom, instantly mounted his scaffold, and replaced this ornament by a coronet or garland of gudgeons, which wholly encircled the head. That accomplished, he paid his host one fine morning, and set off to Florence.
Two days having passed, the Perugini, not seeing the painter going about as they were accustomed to do, inquired of his host what had become of him, and hearing that he had departed to Florence, they hastened to remove the planks that concealed the picture, when they discovered their saint solemnly crowned with gudgeons. This affront was at once made known to the authorities, who instantly sent horsemen in pursuit of Buonamico,—but all in vain, the painter having found shelter in Florence. They set an artist of their own, therefore, to remove the crown of fishes, and replace the
- ↑ See the hundred and sixty-ninth story of Sacchetti.—Bottari.
