afterwards much commended, by them of that house, for his fidelity, which they amply rewarded.
To this Michelagnolo there was born in the year 1487, a son, whom he named Bartolommeo, but who afterwards, according to the custom of Florence, was by every one called Baccio. Desiring that this youth should be the heir of his art, as well as of his possessions, the father took him into his workshop, in company with other young people, who were learning the art of design, as it was then customary to do, seeing that he who was not a good designer and well-acquainted with works in relief, was at that time held to be no finished goldsmith. In his early years, therefore, Baccio gave his attention to design, according to the instructions which he received from his father, nor was he less indebted for his progress to the emulation of the other young persons who studied with him. Among these he formed a particular intimacy with one called Piloto,[1] who afterwards became a distinguished goldsmith, and with him, Baccio frequently visited the churches, copying from the works of good painters. But with his studies in design, Baccio mingled works in relief, copying in wax certain sculptures which had been executed by Donato and Verrocchio; he also executed some works in clay, which were in full relief.
While still but a boy, Baccio sometimes resorted to the workshop of Girolamo del Buda,[2] an ordinary painter, who had his dwelling on the Piazza of San Pulinari,[3] and once, during a certain winter, there chanced to fall in this place a large quantity of snow. This the people had gathered into a heap on the above-named Piazza, when Girolamo, turning to Baccio, said to him by way of jest: “Baccio, if this snow were marble, could not one make a fine statue of a giant, lying down like Marforio, out of it?” “That one could, and right well,” returned Baccio; “and I would have us
- ↑ Of whom there has already been mention in the Life of Perino del Vaga.
- ↑ Believed to be the person called Bernardo del Buda, in the Life of Andrea del Sarto, the change of name being considered a mere oversight of the author’s.
- ↑ Sant’ Apoilinare that is to say. The church whence the Piazza took its name is now used for secular purposes.
