Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/145

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baccio da monte lupo.
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those who had observed his proceedings in early youth had long ceased to expect; devoted with all his powers to the study of his art, and labouring very diligently, he became excellent and distinguished in the vocation before neglected. Baccio first gave proof of his ability in a work executed with the chisel in pietra forte; this was the Escutcheon of Pope Leo X. which was affixed to the corner of the garden belonging to the palace of the Pucci family in Florence; the two children by whom the shield is supported, are in a very fine manner and exceedingly well finished.[1] Baccio also executed a statue of Hercules for Pier Francesco de’ Medici, and he received from the Guild of Porta Santa Maria the commission for the figure of San Giovanni Evangelista, which was to be executed in bronze. But before our artist obtained this commission he had to endure not a few vexations, seeing that several masters prepared models in emulation of his work; he completed his task nevertheless with the utmost diligence, and when finished it was placed at the corner of San Michele-in-Orto, opposite to the Chancery.[2]

It is said that when this figure was as yet formed in earth only, the observer could plainly perceive, by the attitude, the arrangement of the armour, and the treatment of other parts, that the work would be one of great excellence, and the talent possessed by the artist for this branch of art was rendered sufficiently obvious; but when the success with which he cast the work was seen, all conceded to Baccio the credit of having displayed great mastery, none refusing to admit that he had completed his undertaking in the best possible manner. The labours of our artist in this branch of his vocation secured him the name of a good, nay, rather of an excellent master; and the work we have just alluded to is now more than ever prized, being acknowledged by all artists to be one of the highest merit.

Baccio da Monte Lupo occupied himself also with carving in wood, and produced a large number of crucifixes the size of life, numerous examples of which are to be found in

  1. These arms have suffered greatly from exposure to the weather.—Ed. Flor. 1832-8.
  2. This work still retains its original place; the reader will find an engraving of it in Cicognara, Storia della Scultura Moderna, vol. ii. plate lx.