Lorenzo the Magnificent, in order to benefit the commonwealth and adorn the State, and at the same time to leave behind him some splendid monument, in addition to the endless number that he had already erected, wished to execute the fortification of the Poggio Imperiale, above Poggibonsi, on the road to Rome, with a view to founding a city there; and he would not lay it out without the advice and design of Giuliano. Wherefore that master began that most famous structure, in which he made the well-designed and beautiful range of fortifications that we see at the present day.
These works brought him such fame, that he was then summoned to Milan, through the mediation of Lorenzo, by the Duke of Milan, to the end that he might make for him the model of a palace; and there Giuliano was no less honoured by the Duke than he had previously been honoured by the King of Naples, when that Sovereign had invited him to that city. For when he had presented the model to him, on the part of the Magnificent Lorenzo, the Duke was filled with astonishment and marvel at seeing the vast number of beautiful adornments in it, so well arranged and distributed, and all accommodated in their places with art and grace; for which reason all the materials necessary for the work were got together, and they began to put it into execution. In the same city, together with Giuliano, was Leonardo da Vinci, who was working for the Duke; and Leonardo, speaking with Giuliano about the casting of the horse that he was proposing to make, received from him some excellent suggestions. This work was broken to pieces on the arrival of the French, so that the horse was never finished; nor could the palace be brought to completion.
Having returned to Florence, Giuliano found that his brother Antonio, who worked for him on his models, had become so excellent, that there was no one in his day who was a better master in carving, particularly for large Crucifixes of wood; to which witness is borne by the one over the high-altar of the Nunziata in Florence, by another that is kept by the Friars of S. Gallo in S. Jacopo tra Fossi, and by a third in the Company of the Scalzo, which are all held to be very good. But Giuliano removed him from that profession and caused him to give his attention to architecture, in company with himself, since he had many works to execute, both public and private.
Now it happened, as it is always happening, that Fortune, the enemy of talent, robbed the followers of the arts of their hope and support by the death of Lorenzo de' Medici, which was a heavy loss not only to all able craftsmen and to his country, but also to all Italy. Wherefore Giuliano, together with all the other lofty spirits, was left wholly inconsolable; and in his grief he betook himself to Prato, near Florence, in order to build the Temple of the Madonna delle Carcere, since all building in Florence, both public and private, was at a standstill. He lived in Prato, therefore, three whole years, supporting the expense, discomfort, and sorrow as best he could.
At the end of that time, it being proposed to roof the Church of the Madonna at Loreto, and to raise the cupola, which had been formerly begun but not finished by Giuliano da Maiano, and those who had charge of the matter doubting that the piers were too weak to bear such a weight, they wrote, therefore, to Giuliano, that if he desired such a work, he should go and see it for himself. And having gone, like the bold and able man that he was, he showed them that the cupola could be raised with ease, and that he had courage enough for the task; and so many, and of such a kind, were the reasons that he put before them, that the work was allotted to him. After receiving this commission, he caused the work in Prato to be despatched, and made his way, with the same master-builders and stone-cutters, to Loreto. And to the end that this structure, besides beauty of form, might be firm, solid, stable, and well bound in the stonework, he sent to Rome for pozzolana[22]; nor was any lime used that was not mixed with it, nor any stone built in without it; and thus, within the space of three years, it was brought to perfect completion, ready for use.
Giuliano then went to Rome, where, for Pope Alexander VI, he restored the roof of S. Maria Maggiore, which was falling into ruin; and he made there the ceiling that is to be seen at the present day. While he was thus employed about the Court, Bishop della Rovere, who had been the friend of Giuliano from the time when he was Castellan of Ostia, and who had been created Cardinal of S. Pietro in Vincula, caused him to make a model for the Palace of S. Pietro in Vincula. And a little time after, desiring to build a palace in his own city of Savona, he wished to have it erected likewise from the design and under the eye of Giuliano. But such a journey was difficult for Giuliano, for the reason that his ceiling was not yet finished, and Pope Alexander would not let him go. He entrusted the finishing of it, therefore, to his brother Antonio, who, having a good and versatile intelligence, and coming thus into contact with the Court, entered into the service of the Pope, who conceived a very great affection for him; and this he proved when he resolved to restore, with new foundations and with defences after the manner of a castle, the Mausoleum of Hadrian, now called the Castello di S. Angelo, for Antonio was made overseer of this undertaking, and under his direction were made the great towers below, the ditches, and the rest of the fortifications that we see at the present day. This work brought him great credit with the Pope, and with his son, Duke Valentino; and it led to his building the fortress that is now to be seen at Cività Castellana. Thus, then, while that Pontiff was alive, he was continually employed in building; and while working for him, he was rewarded by him no less than he was esteemed.
Giuliano had already carried well forward the work at Savona, when the Cardinal returned to Rome on some business of his own, leaving many workmen to bring the building to completion after the directions and design of Giuliano, whom he took with him to Rome. Giuliano made that journey willingly, wishing to see Antonio and his works; and he stayed there some months. During that time, however, the Cardinal fell into disgrace with the Pope, and departed from Rome, in order not to be taken prisoner, and Giuliano, as before, went in his company. On arriving at Savona, they set a much greater number of master-builders and other artificers to work on the building. But the threats of the Pope against the Cardinal becoming every day louder, it was not long before he made his way to Avignon. From there he sent as a present to the King of France a model for a palace that Giuliano had made for him, which was marvellous, very rich in ornament, and spacious enough for the accommodation of his whole Court. The royal Court was at Lyons when Giuliano presented his model; and the gift was so welcome and acceptable to the King, that he rewarded Giuliano liberally and gave him infinite praise, besides rendering many thanks for it to the Cardinal, who was at Avignon.
Meanwhile they received news that the palace at Savona was already nearly finished; whereupon the Cardinal determined that Giuliano should once more see the work, and Giuliano, having gone for this purpose to Savona, had not been there long when it was completely finished. Then, desiring to return to Florence, where he had not been for a long time, Giuliano took the road for that city together with his master-builders. Now at that time the King of France had restored Pisa her liberty, and the war between the Florentines and the Pisans was still raging; and Giuliano, wishing to pass through Pisan territory, had a safe-conduct made out for his company at Lucca, for they had no small apprehension about the Pisan soldiers. Nevertheless, while passing near Altopascio, they were captured by the Pisans, who cared nothing for safe-conducts or for any other warrant that they might have. And for six months Giuliano was detained in Pisa, his ransom being fixed at three hundred ducats; nor was he able to return to Florence until he had paid it.
Antonio had heard this news in Rome, and, desiring to see his native city and his brother again, obtained leave to depart from Rome; and on his way he designed for Duke Valentino the fortress of Montefiascone. Finally, in the year 1503, he reached Florence, where the two brothers and their friends took joyful pleasure in each other's company.
There now ensued the death of Alexander VI, and the election of Pius III, who lived but a short time; whereupon the Cardinal of S. Pietro in Vincula was created Pontiff, under the name of Pope Julius II; which brought great joy to Giuliano, on account of his having been so long in his service, and he determined, therefore, to go to kiss the Pope's foot. Having then arrived in Rome, he was warmly received and welcomed lovingly, and was straightway commissioned to execute the first buildings undertaken by that Pope before the coming of Bramante.