ascertained that his child was more strongly disposed to sculpture than to painting.
But afterwards, coming very frequently to Florence, Bartolommeo perceived that Bandinello did not comport himself as he had expected, being altogether regardless of his duties to the boy, and taking no pains to teach him diligently, as he ought to have done, although he could not fail to perceive the strength of his inclination to learn and his power to do so. For this reason Bartolommeo took his son from Bandinello and gave him to Tribolo, in whom he thought he found evidence of a better disposition to aid those who were desirous of learning, with a more decided attachment to the studies of art, as well as a greater affection for the memory of Leonardo, than had been evinced by Bandinello. Tribolo was then working at the villa of his Excellency at Castello, and was occupied with certain of the fountains. Piero therefore began once more to draw as he had been wont to do, for having here the competition of the other young people whom Tribolo kept about him, he set himself with much ardour of mind to his studies, devoting himself thereto day and night, being impelled by his nature and an eager desire for knowledge and honour, while he was still further incited by the example of his fellow disciples, whom he constantly saw labouring around him.
In a few months therefore, Piero made progress by which all who beheld it were amazed, and having begun to acquire a certain facility in the use of the chisels, he set himself to try whether his hand and tools would respond obediently to the thoughts which he had conceived in his mind, and to the figures which his fancy presented to him. Remarking the zeal thus displayed, and having at that time just made a large basin in stone for Cristofano Rinieri, Tribolo gave to Piero a small piece of marble, that he might make the figure of a boy thereof; which figure the master intended to be that which was to throw water into the above-named basin. Piero received the marble with great rejoicing, and having first made a little model of clay, he afterwards completed his work in a manner so graceful, that Tribolo and all those who saw the same, felt persuaded that he would eventually prove to be one of those masters who become distinguished in their art. Tribolo next gave Piero the task of executing a Ducal
