would return him all that he had said in full measure. Thus, while conversing on subjects connected with art, or speaking of their own works, each would point out the defects of the other and would frequently utter very offensive remarks to each other in the presence of the Duke, in all which his Excellency found no little amusement, since there was of a truth much spirit and acuteness in these bitter discourses, insomuch that Duke Cosimo gave them free scope and permission to say whatever they pleased to each other in his presence, but with the understanding that neither was to recur to these quarrels when they had gone forth.
This contention, or rather this enmity, caused Baccio to proceed all the more zealously with his figure of the Almighty Father, but the Duke did not show him so much favour as formerly, a circumstance for which Baccio sought to console himself by paying homage to, and devoting himself to the service of, the Duchess. One day among others that the masters were as usual attacking each other, and mutually accusing each other of the errors that both had committed, Benvenuto looked fixedly at Bandinelli, and with threatening gestures exclaimed to him, “Prepare thyself for another world Baccio, for I mean to be myself the means of sending thee out of this.” “Let me know a day beforehand,” retorted Bandinelli, that I may confess and make my will, so as not to die like a brute beast such as thou art.”[1] Hearing this, the Duke, although he had for many months found diversion in their strife, now bade them hold their peace, fearing lest some evil should ensue; he commanded moreover that each should prepare a half-length figure of the portrait of himself, to be cast in bronze, saying that he who succeeded best would secure all the honour.
In the midst of these turmoils and contentions, Bandinelli completed his figure of the Almighty Father, which he then made arrangements for placing on the base beside the Altar.f[2] This statue, which is six braccia high, the master draped, erecting and finishing it entirely himself, he then, and to the end that the figure might not remain without fitting accompaniment, caused the sculptor Yincenzio de’ Rossi, his
