THE DUKE sent me word by Messer Lelio Torello, [1] his Master of the
Rolls, [2] that he wanted me to execute some bas-reliefs in bronze for
the choir of S. Maria del Fiore. Now the choir was by Bandinello, and I
did not choose to enrich his bad work with my labours. He had not indeed
designed it, for he understood nothing whatever about architecture; the
design was given by Giuliano, the son of that Baccio d’Agnolo, the
wood-carver, who spoiled the cupola. [3] Suffice it to say that it shows
no talent. For both reasons I was determined not to undertake the task,
although I told the Duke politely that I would do whatever his most
illustrious Excellency ordered. Accordingly, he put the matter into the
hands of the Board of Works for S. Maria del Fiore, [4] telling them to
come to an agreement with me; he would continue my allowance of two
hundred crowns a year, while they were to supply the rest out of their
funds.
In due course I came before the Board, and they told me what the Duke
had arranged. Feeling that I could explain my views more frankly to
these gentlemen, I began by demonstrating that so many histories in
bronze would cost a vast amount of money, which would be totally thrown
away, giving all my reasons, which they fully appreciated. In the first
place, I said that the construction of the choir was altogether
incorrect, without proportion, art, convenience, grace, or good design.
In the next place, the bas-reliefs would have to stand too low, beneath
the proper line of vision; they would become a place for dogs to piss
at, and be always full of ordure. Consequently, I declined positively to
execute them. However, since I did not wish to throw away the best years
of my life, and was eager to serve his most illustrious Excellency, whom
I had the sincerest desire to gratify and obey, I made the following
proposal. Let the Duke, if he wants to employ my talents, give me the
middle door of the cathedral to perform in bronze. This would be well
seen, and would confer far more glory on his most illustrious
Excellency. I would bind myself by contract to receive no remuneration
unless I produced something better than the finest of the Baptistery
doors. [5] But if I completed it according to my promise, then I was
willing to have it valued, and to be paid one thousand crowns less than
the estimate made by experts.
The members of the Board were well pleased with this suggestion, and
went at once to report the matter to the Duke, among them being Piero
Salviati. They expected him to be extremely gratified with their
communication, but it turned out just the contrary. He replied that I
was always wanting to do the exact opposite of what he bade me; and so
Piero left him without coming to any conclusion. On hearing this, I went
off to the Duke at once, who displayed some irritation when he saw me.
However, I begged him to condescend to hear me, and he replied that he
was willing. I then began from the beginning, and used such convincing
arguments that he saw at last how the matter really stood, since I made
it evident that he would only be throwing a large sum of money away.
Then I softened his temper by suggesting that if his most illustrious
Excellency did not care to have the door begun, two pulpits had anyhow
to be made for the choir, and that these would both of them be
considerable works, which would confer glory on his reign; for my part,
I was ready to execute a great number of bronze bas-reliefs with
appropriate decorations. In this way I brought him round, and he gave me
orders to construct the models.
Accordingly I set at work on several models, and bestowed immense pains
on them. Among these there was one with eight panels, carried out with
far more science than the rest, and which seemed to me more fitted for
the purpose. Having taken them several times to the place, his
Excellency sent word by Messer Cesare, the keeper of his wardrobe, that
I should leave them there. After the Duke had inspected them, I
perceived that he had selected the least beautiful. One day he sent for
me, and during our conversation about the models, I gave many reasons
why the octagonal pulpit would be far more convenient for its destined
uses, and would produce a much finer effect. He answered that he wished
me to make it square, because he liked that form better; and thus he
went on conversing for some time very pleasantly. I meanwhile lost no
opportunity of saying everything I could in the interests of art. Now
whether the Duke knew that I had spoken the truth, or whether he wanted
to have his own way, a long time passed before I heard anything more
about it.
Note 1. A native of Fano. Cosimo’s Auditore, 1539; first Secretary or
Grand Chancellor, 1546. He was a great jurist.