I
I REMAINED for some time in the Cardinal of Ferrara’s palace, very well
regarded in general by everybody, and much more visited even than I had
previously been. Everybody was astonished that I should have come out of
prison and have been able to live through such indescribable
afflictions; [1] and while I was recovering my breath and endeavouring
to resume the habit of my art, I had great pleasure in re-writing the
Capitolo. Afterwards, with a view to re-establishing my strength, I
determined to take a journey of a few days for change of air. My good
friend the Cardinal gave me permission and lent me horses; and I had two
young Romans for my companions, one of them a craftsman in my trade, the
other only a comrade in our journey. We left Rome, and took the road to
Tagliacozzo, intending to visit my pupil Ascanio, who lived there. On
our arrival, I found the lad, together with his father, brothers,
sisters, and stepmother. I was entertained by them two days with
indescribable kindness; then I turned my face towards Rome, taking
Ascanio with me. On the road we fell to conversing about our art, which
made me die of impatience to get back and recommence my labours.
Having reached Rome, I got myself at once in readiness to work, and was
fortunate enough to find again a silver basin which I had begun for the
Cardinal before I was imprisoned. Together with this basin I had begun a
very beautiful little jug; but this had been stolen, with a great
quantity of other valuable articles. I set Pagolo, whom I have
previously mentioned, to work upon the basin. At the same time I
recommenced the jug, which was designed with round figures and
bas-reliefs. The basin was executed in a similar style, with round
figures and fishes in bas-relief. The whole had such richness and good
keeping, that every one who beheld it expressed astonishment at the
force of the design and beauty of invention, and also at the delicacy
[2] with which these young men worked.
The Cardinal came at least twice a day to see me, bringing with him
Messer Luigi Alamanni and Messer Gabriel Cesano; [3] and here we used to
pass an hour or two pleasantly together. Notwithstanding I had very much
to do, he kept giving me fresh commissions. Among others, I had to make
his pontifical seal of the size of the hand of a boy of twelve. On it I
engraved in intaglio two little histories, the one of San Giovanni
preaching in the wilderness, the other of Sant’ Ambrogio expelling the
Arians [4] on horseback with a lash in his hand. The fire and
correctness of design of this piece, and its nicety of workmanship, made
every one say that I had surpassed the great Lautizio, who ranked alone
in this branch of the profession. The Cardinal was so proud of it that
he used to compare it complacently with the other seals of the Roman
cardinals, which were nearly all from the hand of Lautizio.
Note 1. This assertion is well supported by contemporary letters of Caro
and Alamanni.
Note 2. 'Pulitezza.' This indicates precision, neatness, cleanness of
execution.
Note 3. The name of Cesano is well known in the literary correspondence
of those times.
Note 4. It will be remembered that the Cardinal was Archbishop of Milan.