pression in the heads, and are so well executed as to make it obvious, that Andrea knew how to manage the colours in oil, as well as his competitor Domenico. In this picture Andrea painted the portraits of Messer Rinaldo degli Albizzi, Puccio Pucci, Falganaccio,[1] by whom the liberation of Cosimo de’ Medici was effected, and Federigo Malavolti,[2] who kept the keys of the Alberghetto.[3] He likewise depicted the resemblance of Messer Bernardo di Domenico della Volta, superintendent of the hospital belonging to the convent of Santa Maria Nuova; this figure is on its knees, and is so well done that it might be supposed to breathe On a sort of medallion, at the commencement of the work, Andrea dal Castagno placed his own portrait also, with a face like that of Judas Iscariot,[4] whom he did indeed resemble, both in person and character.[5]
Having brought his work thus far towards a successful termination, Andrea, blinded by envy at the praises which he heard given to the abilities of Domenico, determined to rid himself of his presence, and after having reflected on various methods of accomplishing this evil design, he at length fixed on one, which he put in execution in the following manner:—
One evening, in the summer time, Domenico, taking his lute, as was his custom, went forth from Santa Maria Nuova, leaving Andrea in his room drawing, the latter having refused his invitation to accompany him to their
- ↑ Vasari, in his Ragionamenti (Giornata 2, Ragionamento 1), calls this person Fargagnaccio; and Cavalcanti (Storie Fiorentine, 1, 526, 27.) Ferganaccio; he effected the liberation of Cosimo by offering a bribe of 1000 florins to the Gonfaloniere, Bernardo Guadagni.
- ↑ See Cavalcanti, ut supra, for the noble words with which Federigo Malavolti rejects the proposal of Mariotto Albertinelli, who would have poisoned Cosimo, and the firm opposition he made to those members of the Council of Eight, who desired to have him strangled.
- ↑ A small room, still to be seen in the tower of the Palazzo Vecchio, wherein Cosimo de’ Medici was imprisoned in consequence of the intrigues of Rinaldo degli Albizzi. —See Machiavelli, Storie Fiorentine, lib. 4.
- ↑ “A curious instance of remorse of conscience,” remarks Mrs. Jameson. —Poetry of Sacred and Legendary Art, vol. i. p. 260.
- ↑ These works were all destroyed, those of Domenico and Alesso, as well as that of Andrea, when the ciborium (sanctuary for holding the sacrament) of marble was erected in the principal chapel of the church. — Förster.
