Note 2. This was one of the three Councils created by Clement VII. in 1532, when he changed the Florentine constitution. It corresponded to a Senate.
LXXX
WHEN I reached Rome, I went to lodge in Bindo Altoviti’s house. He told me at once how he had shown his bronze bust to Michel Agnolo, and how the latter had praised it. So we spoke for some length upon this topic. I ought to narrate the reasons why I had taken this portrait. Bindo had in his hands 1200 golden crowns of mine, which formed part of 5000 he had lent the Duke; 4000 were his own, and mine stood in his name, while I received that portion of the interest which accrued to me. [1] This led to my taking his portrait; and when he saw the wax model for the bust, he sent me fifty golden scudi by a notary in his employ, named Ser Giuliano Paccalli. I did not want to take the money, so I sent it back to him by the same hand, saying at a later time to Bindo: “I shall be satisfied if you keep that sum of mine for me at interest, so that I may gain a little on it.” When we came to square accounts on this occasion, I observed that he was ill disposed towards me, since, instead of treating me affectionately, according to his previous wont, he put on a stiff air; and although I was staying in his house, he was never good-humoured, but always surly. However, we settled our business in a few words. I sacrificed my pay for his portrait, together with the bronze, and we arranged that he should keep my money at 15 per cent. during my natural life.
Note 1. To make the sum correct, 5200 ought to have been lent the Duke.
LXXXI
ONE of the first things I did was to go and kiss the Pope’s feet; and while I was speaking with his Holiness, Messer Averardo Serristori, our Duke’s Envoy, arrived. [1] I had made some proposals to the Pope, which I think he would have agreed upon, and I should have been very glad to return to Rome on account of the great difficulties which I had at Florence. But I soon perceived that the ambassador had countermined me.
Then I went to visit Michel Agnolo Buonarroti, and repeated what I had written from Florence to him in the Duke’s name. He replied that he was engaged upon the fabric of S. Peter’s, and that this would prevent him from leaving Rome. I rejoined that, as he had decided on the model of that building, he could leave its execution to his man Urbino, who would carry out his orders to the letter. I added much about future favours, in the form of a message from the Duke. Upon this he looked me hard in the face, and said with a sarcastic smile: “And you! to what extent are you satisfied with him?” Although I replied that I was extremely contented and was very well treated by his Excellency, he showed that he was acquainted with the greater part of my annoyances, and gave as his final answer that it would be difficult for him to leave Rome. To this I added that he could not do better than to return to his own land, which was governed by a prince renowned for justice, and the greatest lover of the arts and sciences who ever saw the light of this world. As I have remarked above, he had with him a servant of his who came from Urbino, and had lived many years in his employment, rather as valet and housekeeper than anything else; this indeed was obvious, because he had acquired no skill in the arts. [2] Consequently, while I was pressing Michel Agnolo with arguments he could not answer, he turned round sharply to Urbino, as though to ask him his opinion. The fellow began to bawl out in his rustic way: “I will never leave my master Michel Agnolo’s side till I shall have flayed him or he shall have flayed me.” These stupid words forced me to laugh, and without saying farewell, I lowered my shoulders and retired.
Note 1. His despatches form a valuable series of historical documents.
'Firenze,' Le Monnier, 1853.
Note 2. Upon the death of this Urbino, Michel Agnolo wrote a touching sonnet and a very feeling letter to Vasari.