Desiring to know what was said, of his labours, Bandinelli sent a pedagogue whom he kept in his family, to the Piazza; begging him to repeat the exact truth of all that he might hear. The tutor, hearing nothing but censure, returned very sorrowfully home, and being questioned by Baccio, replied, “that all were complaining of the Giants with one voice, and that they pleased no one.” “And yourself, what do you say of them?” inquired Baccio. “I speak well of them, and am willing to say that they please me, at your service.” “But I will not have them please you,” retorted Baccio, “and do you speak as ill of them as others do, for, as you know, I never speak well of any one, therefore we are quits.”
Thus Baccio concealed his displeasure, as it was always his custom to do, affecting not to regard the censure of any man whatever; but we may reasonably conclude that he must have been very much dissatisfied nevertheless. All who labour for honour, but obtain censure only, must needs, as we cannot but suppose, be secretly afflicted at heart, however unjust or unworthy may be the blame thus incurred, they cannot but feel aggrieved by the same. One consolation Baccio had in his regret, the possession of a little estate, namely, which the Pope caused to be presented to him over and above the stipulated payment for his work; and this gift was doubly acceptable to the sculptor, first, because the revenue thereof was useful to him; and next, because it was near to his villa of Pinzerimonte, and had previously belonged to his deadly enemy, Rignadori, who was at that time in rebellion, and with whom he had constantly lived in mortal strife on account of the disputed limits of that estate.
At this time Prince Doria wrote to the Duke Alessandro, requesting him to see that Baccio at once bethought himself of completing his Statue, since the colossal figures for the Piazza were now finished, and threatening to avenge himself on Baccio if the latter did not perform his duty. This terrified the artist so much that he dared not trust himself at Carrara, but at length, being assured of his safety by Cardi-
Angelo, that master admitted the beauty of that part, but remarked that he would like to see the remainder, in a manner which made it obvious that he meant to imply his doubt of the other parts corresponding in beauty with that before him.
