We have deferred to the end the mention of his family name, because it was not always the same, but varied, Baccio having himself called now De' Brandini, and now De' Bandinelli. In his early prints the name De' Brandini may be seen engraved after that of Baccio; but afterwards he preferred the name De' Bandinelli, which he retained to the end and still retains, and he used to say that his ancestors were of the Bandinelli of Siena, who once removed to Gaiuole, and from Gaiuole to Florence.

GIULIANO BUGIARDINI

GIULIANO BUGIARDINI: PORTRAIT OF A LADY
(Florence: Pitti, 140. Panel)
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LIFE OF GIULIANO BUGIARDINI
PAINTER OF FLORENCE

Before the siege of Florence the population had multiplied in such great numbers that the widespread suburbs which lay without every gate, together with the churches, monasteries, and hospitals, formed as it were another city, inhabited by many honourable persons and by good craftsmen of every kind, although for the most part they were less wealthy than those of the city, and lived there with less expense in the way of customs-dues and the like. In one of these suburbs, then, without the Porta a Faenza, was born Giuliano Bugiardini, who lived there, even as his ancestors had done, until the year 1529, when all the suburbs were pulled down. But before that, when still a mere lad, he began his studies in the garden of the Medici on the Piazza di S. Marco, in which, attending to the study of art under the sculptor Bertoldo, he formed such strait friendship and intimacy with Michelagnolo Buonarroti, that he was much beloved by Buonarroti ever afterwards; which Michelagnolo did not so much because of any depth that he saw in Giuliano's manner of drawing, as on account of the extraordinary diligence and love that he showed towards art. There was in Giuliano, besides this, a certain natural goodness and a sort of simplicity in his mode of living, free from all envy and malice, which vastly pleased Buonarroti; nor was there any notable defect in him save this, that he loved too well the works of his own hand. For, although all men are wont to err in this respect, Giuliano in truth passed all due bounds, whatever may have been the reason—either the great pains and diligence that he put into executing them, or some other cause. Wherefore Michelagnolo used to call him blessed, since he appeared to be content with what he knew, and himself unhappy, in that no work of his ever fully satisfied him.

After Giuliano had studied design for some time in the above-named garden, he worked, together with Buonarroti and Granacci, under Domenico Ghirlandajo, at the time when he was painting the chapel in S. Maria Novella. Then, having made his growth and become a passing good master, he betook himself to work in company with Mariotto Albertinelli in Gualfonda; in which place he finished a panel-picture that is now at the door of entrance of S. Maria Maggiore in Florence, containing S. Alberto, a Carmelite friar, who has under his feet the Devil in the form of a woman, a work that was much extolled.