could learn nothing more than to work by the square, he first talked concerning the matter with the joiner Ciappino, and from him, who was a great friend and companion of Nanni Unghero,[1] he received advice and assistance which enabled him to place his son for three years with the said Nanni, in whose workshop, where were performed labours both in joining and carving, there were constantly to be found the sculptor Jacopo Sansovino, the painter Andrea del Sarto, and others, who all subsequently became eminent men.
Now in those days Nanni, who was then reputed a tolerably good master, was engaged in numerous works, both of joinery and carving, for the villa of Zanobi Bartolini at Rovezzano, which is outside the gate of the Croce, as well as for the palace of the Bartolini family, which Giovanni, brother of the above-named Zanobi, was at that time causing to be built on the Piazza di Santa Trinità; he was also employed in the Gualfonda, on a house and garden belonging to the same family, all which caused him to lay upon Tribolo heavy labours without reason or measure. The latter therefore, unable, by reason of his bodily weakness, to support these fatigues, and having saws, planes, and other rough tools perpetually in his hands, began to feel dissatisfied with his service in the workshops of Nanni; and when Riccio inquired the cause of his dissatisfaction, the youth declared that he did not think he could remain with Nanni at that calling, begging his father to place him with Andrea del Sarto, or Jacopo Sansovino, wdiose acquaintance he had made in the workshops of Unghero, and with either of whom he hoped to do better, and to enjoy more health.
Moved by these reasons, and still receiving advice and aid from Ciappino, Riccio engaged Tribolo to Jacopo Sansovino, who received him willingly, from having known him in the workshop of Nanni, and having there remarked that the youth acquitted himself very well in design and still better in works of relief.
At the time when Tribolo after having first had his health
- ↑ This artist is called Nanni Vachero, in the Giunti Edition of our author, and the error is repeated in the Bolognese reprint of Manolessi; but in the Life of Sansovino, where Nanni is again mentioned, he is called Unghero, in the Giunti Edition as well as in the Bolognese work. Letters of Nanni will be found in the Lettere Pittoriche, tomo 3.
