Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 4.djvu/259

Rh below. He had at the same time prepared a cartoon for a picture representing the Deposition of Christ from the Cross; the Saviour is supported in the arms of Nicodemus, the Virgin Mother stands weeping beside him, and near that group is an Angel, bearing in his hands the crown of thorns with the nails. This Bandinelli at once began to paint; he finished it with great promptitude, and, having done so, instantly placed it to be shown in the shop of the goldsmith Giovanni di Goro, who was a friend of his, desiring to know the opinions of people respecting it, but more particularly that of Michelagnolo. The last-named master was taken to see the work by the goldsmith Piloto accordingly, and when he had minutely examined every part of it, he remarked, that he wondered to see Baccio, who was so good a designer, permit a picture so crude and so destitute of all grace, to proceed from his hands: he added, that he had known no painter, however miserable and ordinary he might be, who did not execute his pictures in a better manner; and declared that painting was not an art for Baccio.

The judgment of Michelagnolo was made known by Piloto to Bandinelli, and the latter, although he detested Michelagnolo, perceived that he did but tell the truth. It is indeed certain that the designs of Baccio Bandinelli were most beautiful, but he managed the colours badly and painted without grace, wherefore he determined to execute his pictures no more with his own hand, but took into his house a young man called Agnolo, who handled the colours very creditably. This Agnolo was a brother of the excellent painter Franciabigio, who had died a few years before, and to him Bandinelli proposed to make over the painting of the picture mentioned above, as intended for the church of Cestello; but the work was not completed nevertheless, and the cause of its remaining unfinished, was that change in the state of Florence which took place in the year 1527, when the Medici left the city after the sack of Rome, and Baccio likewise, not considering himself to be safe, in consequence of a private feud which he had with one of his neighbours at his villa of Pinzerimonte, who belonged to the popular party, left his dwelling and departed to Lucca. But first he buried certain cameos and small antique figures of bronze,