block of pietra forte, and this, to the no small convenience of the city, is now an ornament to the whole Piazza.[1]
It now appeared to Vinci that he had made sufficient acquirement in art, to render his revisiting Rome and studying the principal works to be found there advantageous to him, while the conversation of the most excellent artists there resident must also contribute largely to his progress: an occasion presenting itself for him to repair thither, he therefore seized it readily. And the matter was on this wise: Francesco Bandini, who was the intimate friend of Michelagnolo Buonarroti, having arrived in Florence from Rome, II Vinci was made known to him by means of Luca Martini; being much pleased with the young artist, Francesco caused him to make the model in wax of a sepulchral monument, which he proposed to construct in marble for his chapel in the church of Santa Croce, and shortly afterwards, on his return to Rome, he took Vinci with him, the latter having made known to Luca Martini his wish to proceed to that city. Here, studying diligently, Piero remained a year, during which time he did not fail to produce works which merit a record. The first of these was in basso-rilievo, and represents Christ on the Cross, at the moment when he resigns his spirit to his Father, which Vinci copied from a design by Michelagnolo. For the Cardinal Ridolfi he added the breast to an antique head in bronze, and executed a Venus in basso-rilievo; the latter, which was in marble, received much praise. For Francesco Bandini, Piero restored a horse from the antique, many pieces being found wanting thereto, and Vinci rendering the figure entirely complete.
Piero, desiring to do what he could by way of proving his gratitude to Luca Martini, who wrote to him frequently and never ceased to recommend our artist to the good offices of Bandini,—Piero, I say, bethought himself of making a copy in wax from the Moses of Michelagnolo, giving to his work one-third of the size of the original. Now this statue of Buonarroti’s, which makes part of the sepulchral monument of Pope Julius II. in San Pietro-in-Vincula, is a work of so much beauty, that no finer one can be seen, and it was this which II Vinci now made in wax, and sent as a present
- ↑ The stone mask retained its place until the year 1748, when it was removed. — Ed. Flor.j 1832-8.
