These commissions given, Michelagnolo desired that Tribolo should make two nude statues, which were to be one on either side of that of Duke Giuliano, which he himself had already made; one was to be a figure of Earth crowned with cypress, weeping with bowed head and with the arms outstretched, and lamenting the death of Duke Giuliano, and the other a figure of Heaven with the arms uplifted, all smiling and joyful, and showing her gladness at the adornment and splendour that the soul and spirit of that lord conferred upon her. But Tribolo's evil fortune crossed him at the very moment when he was about to begin to work on the statue of Earth; for, whether it was the change of air, or his feeble constitution, or because he had been irregular in his way of living, he fell ill of a grievous sickness, which, ending in a quartan fever, hung about him many months, to his infinite vexation, since he was tormented no less by his grief at having had to abandon the work, and at seeing that the friar and Raffaello had taken possession of the field, than by the illness itself. However, wishing to conquer that illness, in order not to be left behind by his rivals, whose name he heard celebrated more and more every day, feeble as he was, he made a large model of clay for the statue of Earth, and, when he had finished it, began to execute the work in marble, with such diligence and assiduity, that the statue could be seen already all cut out in front, when Fortune, who is always ready to oppose herself to any fair beginning, by the death of Clement at a moment when nothing seemed less likely, cut short the aspirations of all those excellent masters who were hoping to acquire under Michelagnolo, besides boundless profits, immortal renown and everlasting fame.
Stupefied by this misfortune and robbed of all his spirit, and being also ill, Tribolo was living in utter despair, seeming not to be able either in Florence or abroad to hit upon anything that might be to his advantage; but Giorgio Vasari, who was always his friend and loved him from his heart, and helped him all that he could, consoled him, saying that he should not lose heart, because he would so contrive that Duke Alessandro would give him something to do, by means of the favour of the Magnificent Ottaviano de' Medici, into whose service Giorgio had introduced him on terms of no little intimacy. Wherefore Tribolo, having regained a little courage, occupied himself, while measures were being taken to assist him, with copying in clay all the figures of marble in the Sacristy of S. Lorenzo which Michelagnolo had executed—namely, Dawn, Twilight, Day, and Night. And he succeeded in doing them so well, that M. Giovan Battista Figiovanni, the Prior of S. Lorenzo, to whom he presented the Night in return for having the sacristy opened for him, judging it to be a rare work, presented it to Duke Alessandro, who afterwards gave it to Giorgio Vasari, who was living with his Excellency, knowing that Giorgio gave his attention to such studies; which figure is now in his house at Arezzo, with other works of art. Having afterwards copied, likewise in clay, the Madonna made by Michelagnolo for the same sacristy, Tribolo presented it to the above-named M. Ottaviano de' Medici, who had a most beautiful ornament in squared work made for it by Battista del Cinque, with columns, cornices, brackets, and other carvings very well executed.
Meanwhile, by the favour of him who was Treasurer to his Excellency, and at the commission of Bertoldo Corsini, the proveditor for the fortress which was being built at that time, out of three escutcheons that were to be made by order of the Duke for placing on the bastions, one on each, one four braccia in height was given to Tribolo to execute, with two nude figures representing Victories; which escutcheon, finished by him with great diligence and promptitude, with the addition of three great masks that support the escutcheon and the figures, so pleased the Duke, that he conceived a very great love for Tribolo. Now shortly afterwards the Duke went to Naples to defend himself before the Emperor Charles V, who had just returned from Tunis, against many calumnies that had been laid upon him by some of his citizens; and, having not only defended himself, but also obtained from his Majesty his daughter Signora Margherita of Austria for wife, he wrote to Florence that four men should be appointed who might cause vast and splendid decorations to be prepared throughout the city, in order to receive the Emperor, who was coming to Florence, with proper magnificence. And I, having to distribute the various works at the commission of his Excellency—who ordained that I should act in company with the said four men, who were Giovanni Corsi, Luigi Guicciardini, Palla Rucellai, and Alessandro Corsini—gave the greatest and most difficult labours for that festival to Tribolo to execute, which were four large statues. The first was a Hercules that has just killed the Hydra, six braccia in height, in the round and overlaid with silver, which was placed at that corner of the Piazza di S. Felice that is at the end of the Via Maggio, with the following inscription in letters of silver on the base: UT HERCULES LABORE ET ÆRUMNIS MONSTRA EDOMUIT, ITA CÆSAR VIRTUTE ET CLEMENTIA, HOSTIBUS VICTIS SEU PLACATIS, PACEM ORBI TERRARUM ET QUIETEM RESTITUIT. Two others were colossal figures eight braccia high, one representing the River Bagrada, which was resting upon the skin of the serpent that was brought to Rome, and the other representing the Ebro, with the horn of Amaltheia in one hand and in the other the helm of a ship; both coloured in imitation of bronze, with inscriptions on the bases; below the Ebro, HIBERUS EX HISPANIA, and below the other, BAGRADAS EX AFRICA. The fourth was a statue five braccia in height, on the Canto de' Medici, representing Peace, who had in one hand an olive branch and in the other a lighted torch, with which she was setting fire to a pile of arms heaped up on the base on which she was placed; with the following words: FIAT PAX IN VIRTUTE TUA. He did not finish, as he had hoped to do, the horse seven braccia in length that was set up on the Piazza di S. Trinita, upon which was to be placed the statue of the Emperor in armour, because Tasso the wood-carver, who was much his friend, did not show any promptitude in executing the base and the other things in the way of wood-carving that were to be included in the work, being a man who let time slip through his fingers in arguing and jesting; and there was only just time to cover the horse alone with tin-foil laid upon the still fresh clay. On the base were to be read the following words:
IMPERATORI CAROLO AUGUSTO VICTORIOSISSIMO, POST DEVICTOS HOSTES, ITALIÆ PACE RESTITUTA ET SALUTATO FERDIN. FRATRE, EXPULSIS ITERUM TURCIS AFRICAQUE PERDOMITA, ALEXANDER MED. DUX FLORENTIÆ, D.D.
His Majesty having departed from Florence, a beginning was made with the preparations for the nuptials, in expectation of his daughter, and to the end that she and the Vice-Queen of Naples, who was in her company, might be commodiously lodged according to the orders of his Excellency in the house of M. Ottaviano de' Medici, an addition was made to his old house in four weeks, to the astonishment of everyone; and Tribolo, the painter Andrea di Cosimo, and I, in ten days, with the help of about ninety sculptors and painters of the city, what with masters and assistants, completed the preparations for the wedding in so far as appertained to the house and its decorations, painting the loggie, courtyards, and other spaces in a manner suitable for nuptials of such importance. Among these decorations, Tribolo made, besides other things, two Victories in half-relief that were one on either side of the principal door, supported by two large terminal figures, which also upheld the escutcheon of the Emperor, pendent from the neck of a very beautiful eagle in the round. The same master also made certain boys, likewise in the round, and large in size, which were placed on either side of some heads over the pediments of various doors; and these were much extolled.
Meanwhile, as the nuptials were in progress, Tribolo received letters from Bologna, in which Messer Pietro del Magno, his devoted friend, besought him that he should consent to go to Bologna, in order to make for the Madonna di Galliera, where a most beautiful ornament of marble was already prepared, a scene likewise of marble three braccia and a half in extent. Whereupon Tribolo, happening to have nothing else to do at that time, went thither, and after making a model of a Madonna ascending into Heaven, with the Apostles below in various attitudes, which, being very beautiful, gave great satisfaction, he set his hand to executing it; but with little pleasure for himself, since the marble that he was carving was that Milanese marble, saline, full of emery, and bad in quality; and it seemed to him that he was wasting his time, without feeling a particle of that delight that men find in working those marbles which are a pleasure to carve, and which in the end, when brought to completion, show a surface that has the appearance of the living flesh itself. However, he did so much that it was already almost finished, when I, having persuaded Duke Alessandro to recall Michelagnolo from Rome, and also the other masters, in order to finish the work of the sacristy begun by Clement, was arranging to give him something to do in Florence; and I would have succeeded, but in the meantime, by reason of the death of Alessandro, who was murdered by Lorenzo di Pier Francesco de' Medici, not only was this design frustrated, but the greatness and prosperity of art were thrown into utter ruin.
Having heard of the Duke's death, Tribolo condoled with me in his letters, beseeching me, after he had exhorted me to bear with resignation the death of that great Prince, my gracious master, that if I went to Rome, as he had heard that I, being wholly determined to abandon Courts and to pursue my studies, was intending to do, I should obtain some commission for him, for the reason that, if assisted by my friends, he would do whatever I told him. But it so chanced that it became in no way necessary for him to seek commissions in Rome. For Signor Cosimo de' Medici, having been created Duke of Florence, as soon as he had freed himself from the troubles that he had in the first year of his rule by routing his enemies at Monte Murlo, began to take some diversion, and in particular to frequent not a little the villa of Castello, which is little more than two miles distant from Florence. There he began to do some building, in order that he might be able to live there comfortably with his Court, and little by little—being encouraged in this by Maestro Pietro da San Casciano, who was held to be a passing good master in those days, and was much in the service of Signora Maria, the mother of the Duke, and had also always been the master-builder and the former servant of Signor Giovanni—he resolved to conduct to that place certain waters that he had desired long before to bring thither. Whereupon a beginning was made with building an aqueduct that was to receive all the waters from the hill of Castellina, which was at a distance of a quarter of a mile or more from Castello; and the work was pursued vigorously with a good number of men. But the Duke recognizing that Maestro Pietro had neither invention nor power of design enough to make in that place a beginning that might afterwards in time receive that ornamentation which the site and the waters required, one day that his Excellency was on the spot, speaking of this with such men as Messer Ottaviano de' Medici and Cristofano Rinieri, the friend of Tribolo and the old servant of Signora Maria and of the Duke, they extolled Tribolo in such a manner, as a man endowed with all those parts that were requisite in the head of such a fabric, that the Duke gave Cristofano a commission to make him come from Bologna. Which having been straightway done by Rinieri, Tribolo, who could not have received any better news than that he was to serve Duke Cosimo, set out immediately for Florence, and, arriving there, was taken to Castello, where his most illustrious Excellency, having heard from him what he thought should be done in the way of decorative fountains, gave him a commission to make the models. Whereupon he set his hand to these, and was engaged upon them, while Maestro Pietro da San Casciano was executing the aqueduct and bringing the waters to the place, when the Duke, who meanwhile had begun, for the security of the city, to surround with a very strong wall the bastions erected on the hill of San Miniato at the time of the siege after the designs of Michelagnolo, ordained that Tribolo should make an escutcheon of hard stone, with two Victories, for an angle of the summit of a bastion that faces Florence. But Tribolo had scarcely finished the escutcheon, which was very large, and one of those Victories, a figure four braccia high, which was held to be a very beautiful thing, when he was obliged to leave that work incomplete, for the reason that, Maestro Pietro having carried well on the making of the aqueduct and the bringing of the waters, to the full satisfaction of the Duke, his Excellency wished that Tribolo should begin to put into execution, for the adornment of that place, the designs and models that he had already shown to him, ordaining him for the time being a salary of eight crowns a month, the same that was paid to San Casciano.
Now, in order that I may not become confused in describing the intricacies of the aqueducts and of the ornaments of the fountains, it may be well to say briefly some few words about the site and position of Castello. The villa of Castello stands at the roots of Monte Morello, below the Villa della Topaia, which is halfway up the slope; it has before it a plain that descends little by little, for the space of a mile and a half, down to the River Arno, and exactly where the ascent of the mountain begins stands the palace, which was built in past times by Pier Francesco de' Medici, after a very good design. The principal front faces straight towards the south, overlooking a vast lawn with two very large fish-ponds full of running water, which comes from an ancient aqueduct made by the Romans in order to conduct water from Valdimarina to Florence, and provided with a vaulted cistern under the ground; and so it has a very beautiful and very pleasing view. The fish-ponds in front are divided in the middle by a bridge twelve braccia wide, which leads to an avenue of the same width, bounded at the sides and covered above by an unbroken vault of mulberry-trees, ten braccia in height, thus making a covered avenue three hundred braccia in length, delightful for its shade, which opens on to the high road to Prato by a gate placed between two fountains that serve to give water to travellers and animals. On the eastern side the same palace has a very beautiful pile of stable-buildings, and on the western side a private garden into which one goes from the courtyard of the stables, passing straight through the ground-floor of the palace by way of the loggie, halls, and chambers on the level of the ground; from which private garden one can enter by a door on the west side into another garden, very large and all filled with fruit-trees, and bounded by a forest of fir-trees that conceals the houses of the labourers and others who live there, engaged in the service of the palace and of the gardens. Next, that part of the palace which faces north, towards the mountain, has in front of it a lawn as long as the palace, the stables, and the private garden altogether, and from this lawn one climbs by steps to the principal garden, a place enclosed by ordinary walls, which, rising in a gentle slope, stretches so well clear of the palace as it rises, that the mid-day sun searches it out and bathes it all with its rays, as if there were no palace in front; and at the upper end it stands so high that it commands a view not only of the whole palace, but also of the plain that is in front and around it, and likewise about the city. In the middle of this garden is a forest of very tall and thickly-planted cypresses, laurels, and myrtles, which, laid out in a circular shape, have the form of a labyrinth, all surrounded by box-hedges two braccia and a half in height, so even and grown with such beautiful order that they have the appearance of a painting done with the brush; in the centre of which labyrinth, at the desire of the Duke, Tribolo, as will be described below, made a very beautiful fountain of marble. At the principal entrance, where there is the first-mentioned lawn with the two fish-ponds and the avenue covered with mulberry-trees, Tribolo wished that the avenue should be so extended that it might stretch for a distance of more than a mile, covered and shaped in like manner, and might reach as far as the River Arno, and that the waters which ran away from all the fountains, flowing gently in pleasant channels at the sides of the avenue, and filled with various kinds of fishes and crayfish, might accompany it down to that river.
As for the palace—to describe what has still to be done as well as that which has been finished—he wished to make a loggia in front of it, which, passing by an open courtyard, was to have on the side where the stables are another palace as large as the old one, with the same proportion of apartments, loggie, private garden, and the rest; which addition would have made it a vast palace, with a most beautiful façade. After passing the court from which one enters into the large garden of the labyrinth, at the main entrance, where there is a vast lawn, after climbing the steps that lead to that labyrinth, there came a level space thirty braccia square, on which there was to be—and has since been made—a very large fountain of white marble, which was to spout upwards above ornaments fourteen braccia in height, while from the mouth of a statue at the highest point was to issue a jet of water rising to the height of six braccia. At either end of the lawn was to be a loggia, one opposite to the other, each thirty braccia in length and fifteen in breadth; and in the middle of each loggia was to be placed a marble table twelve braccia in length, and on the outside a basin of eight braccia, which was to receive the water from a vase held by two figures. In the middle of the above-mentioned labyrinth Tribolo had thought to achieve the most decorative effect with water by means of jets and a very beautiful seat round the fountain, the marble basin of which was to be, even as it was afterwards made, much smaller than that of the large principal fountain; and at the summit it was to have a figure of bronze spouting water. At the end of this garden, in the centre, there was to be a gate with some children of marble on both sides spouting water, with a fountain on either side, and in the corners double niches in which statues were to be placed, as in the others that are in the walls at the sides, at the opposite ends of the avenues that cross the garden, which are all covered with greenery distributed in various ways.
Through the above-mentioned gate, which is at the upper end of this garden, above some steps, one enters into another garden, as wide as the first, but of no great depth in the direct line, in comparison with the mountain beyond. In this garden were to be two other loggie, one on either side, and in the wall opposite to the gate, which supports the soil of the mountain, there was to be in the centre a grotto with three basins, with water playing into them in imitation of rain. The grotto was to be between two fountains placed in the same wall, and opposite to these, in the lower wall of the garden, were to be two others, one on either side of the gate; so that the fountains of this garden would have been equal in number to those of the other, which is below it, and receives its water from the first, which is higher. And this garden was to be all full of orange-trees, which would have had—and will have, whenever that may be—a most favourable situation, being defended by the walls and by the mountain from the north wind and other harmful winds.