But of this work Bandinelii was deprived by death, yet he did not fail to derive much glory from the same, seeing that the preparation of those four models which his own departure had caused to be made, presented clear evidence of his superiority, and showed how much greater had been the knowledge, judgment, and power of design, of him who had placed the Hercules and Cacus almost alive in marble, on the Piazza; for the beauty and excellence of that work were rendered much more fully obvious by the productions which those other masters have executed since Baccio’s death, seeing that these artists, although they have acquitted themselves creditably, have yet not been able to attain to the beauty and excellence which he displayed in his work.[1]
Seven years after the death of Bandinelii, and on the occasion of the nuptials of the Queen Joanna of Austria, his daughter-in-law, Duke Cosimo caused the audience chamber in the great hall, which had been commenced by the sculptor Baccio, as we have before related, to be finished by Giorgio Vasari; to whom he committed the chief direction and care of that completion, and who has endeavoured with all diligence to correct the many errors and defects, that must have appeared in that structure, if it had been continued and completed in accordance with the first arrangements, those namely which had been made by Baccio Bandinelii: but by the help of God this imperfect work is now brought to conclusion, and is enriched by the addition of niches and statues now duly placed in their respective sites. Where the fabric was awry and out of square, moreover, we have done all that could be effected to bring it into order, and have besides considerably raised the same by means of a corridor of Tuscan columns, which we have erected over it; the statue of Leo X., likewise commenced by Baccio, has been also finished; this last being effected by Vincenzio de’ Bossi, the disciple of Baccio Bandinelii.[2]
- ↑ This remark is correct as regards the Biancone, but not as respects the works of Cellini and Gio Bologna, which still adorn the Piazza; it is to be remarked however, that when Vasari wrote, these figures had not been fixed in their places. —Ed. Flor., 1838.
- ↑ Now in the principal niche which adorns the front of the Audience Chamber, occupying the centre of the same.—Ibid.
