DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0180
164 LIVES OF THE ARTISTS.
painter, having promised to do all that the bishop desired,
caused a stout scaffolding and screen of wood-work to be
made before the building, saying that he could not be seen
to paint such a thing. Thus prepared, and shut up alone
within his screen, Buonamico painted the direct contrary of
what the bishop had required—a lion, namely, tearing an
eagle to pieces; and, having painted the picture, he re-
quested permission from the bishop to repair to Florence, for
the purpose of seeking certain colours needful to his work.
He then locked up the scaffold, and departed to Florence,
resolving to return no more to the bishop. But the latter,
after waiting some time, and finding that the painter did not
reappear, caused the scaffolding to be taken down, and dis-
covered that Buonamico had been making a jest of him.
Furious at this affront, Guido condemned the artist to ba-
nishment for life from his dominions; which, when Buona-
mico learnt, he sent word to the bishop that he might do his
worst : whereupon the bishop threatened him with fearful
consequences. Yet, considering afterwards that he had been
tricked, only because he had intended to put an affront upon
the painter, Bishop Guido forgave him, and even rewarded
him liberally for his labours. Nay, Buffalmacco was again
invited to Arezzo, no long time after, by the same prelate,
who always treated him as a valued servant and familiar
friend, confiding many works in the old cathedral to his care,
all of which, unhappily, are now destroyed. Buonamico also
painted the apsis of the principal chapel in the church of San
Giustino in Arezzo.
Some writers relate that this artist, after his return to
Florence, resorted frequently to the shop of Maso del Saggio,*
with his companions and friends; and was there, with many
others, assisting in the arrangements for a festival, which
was ^iven on the first of May, by the inhabitants of the
suburb of San Friano, in boats on the Arno, when it chanced
that the bridge of the Carraja, which was then of wood, gave
that Guido, being a furious Ghibelline, intended rather to offer an
affront to the Guelfs, by exalting the eagle, which was the emblem of
the Ghibelline party, over that of the Guelphic party, which was the
lion.
* Maso del Saggio was an agent or broker, of joyous character and
very witty; he is described by Boccaccio, in his seventy-third story.—
Bottari, Roman edition, 1759.
painter, having promised to do all that the bishop desired,
caused a stout scaffolding and screen of wood-work to be
made before the building, saying that he could not be seen
to paint such a thing. Thus prepared, and shut up alone
within his screen, Buonamico painted the direct contrary of
what the bishop had required—a lion, namely, tearing an
eagle to pieces; and, having painted the picture, he re-
quested permission from the bishop to repair to Florence, for
the purpose of seeking certain colours needful to his work.
He then locked up the scaffold, and departed to Florence,
resolving to return no more to the bishop. But the latter,
after waiting some time, and finding that the painter did not
reappear, caused the scaffolding to be taken down, and dis-
covered that Buonamico had been making a jest of him.
Furious at this affront, Guido condemned the artist to ba-
nishment for life from his dominions; which, when Buona-
mico learnt, he sent word to the bishop that he might do his
worst : whereupon the bishop threatened him with fearful
consequences. Yet, considering afterwards that he had been
tricked, only because he had intended to put an affront upon
the painter, Bishop Guido forgave him, and even rewarded
him liberally for his labours. Nay, Buffalmacco was again
invited to Arezzo, no long time after, by the same prelate,
who always treated him as a valued servant and familiar
friend, confiding many works in the old cathedral to his care,
all of which, unhappily, are now destroyed. Buonamico also
painted the apsis of the principal chapel in the church of San
Giustino in Arezzo.
Some writers relate that this artist, after his return to
Florence, resorted frequently to the shop of Maso del Saggio,*
with his companions and friends; and was there, with many
others, assisting in the arrangements for a festival, which
was ^iven on the first of May, by the inhabitants of the
suburb of San Friano, in boats on the Arno, when it chanced
that the bridge of the Carraja, which was then of wood, gave
that Guido, being a furious Ghibelline, intended rather to offer an
affront to the Guelfs, by exalting the eagle, which was the emblem of
the Ghibelline party, over that of the Guelphic party, which was the
lion.
* Maso del Saggio was an agent or broker, of joyous character and
very witty; he is described by Boccaccio, in his seventy-third story.—
Bottari, Roman edition, 1759.