were of the blood-royal of France; i' faith, I must make him a new fashion of arms.' And so, pondering within himself, he put the said buckler before him, and, having designed what seemed good to him, bade one of his disciples finish the painting, and so he did; which painting was a helmet, a gorget, a pair of arm-pieces, a pair of iron gauntlets, a cuirass and a back-piece, a pair of thigh-pieces, a pair of leg-pieces, a sword, a dagger, and a lance. The great man, who knew not what he was in for, on arriving, comes forward and says, 'Master, is it painted, that buckler?' Said Giotto, 'Of a truth, it is; go, someone, and bring it down.' The buckler coming, that would-be gentleman begins to look at it and says to Giotto, 'What filthy mess is this that thou hast painted for me?' Said Giotto, 'And it will seem to thee a right filthy business in the paying.' Said he, 'I will not pay four farthings for it.' Said Giotto, 'And what didst thou tell me that I was to paint?' And he answered, 'My arms.' Said Giotto,' And are they not here? Is there one wanting?' Said the fellow, 'Well, well!' Said Giotto, 'Nay, 'tis not well, God help thee! And a great booby must thou be, for if one asked thee, "Who art thou?" scarce wouldst thou be able to tell; and here thou comest and sayest, "Paint me my arms!" An thou hadst been one of the Bardi, that were enough. What arms dost thou bear? Whence art thou? Who were thy ancestors? Out upon thee! Art not ashamed of thyself? Begin first to come into the world before thou pratest of arms as if thou wert Dusnam of Bavaria. I have made thee a whole suit of armour on thy buckler; if there be one piece wanting, name it, and I will have it painted.' Said he, 'Thou dost use vile words to me, and hast spoilt me a buckler;' and taking himself off, he went to the justice and had Giotto summoned. Giotto appeared and had him summoned, claiming two florins for the painting, and the other claimed them from him. The officers, having heard the pleadings, which Giotto made much the better, judged that the other should take his buckler so painted, and should give six lire to Giotto, since he was in the right. Wherefore he was constrained to take his buckler and go, and was dismissed; and so, not knowing his measure, he had his measure taken."
It is said that Giotto, while working in his boyhood under Cimabue, once painted a fly on the nose of a figure that Cimabue himself had made, so true to nature that his master, returning to continue the work, set himself more than once to drive it away with his hand, thinking that it was real, before he perceived his mistake. Many other tricks played by Giotto and many witty retorts could I relate, but I wish that these, which deal with matters pertinent to art, should be enough for me to have told in this place, leaving the rest to the said Franco and others.
Finally, seeing that there remained memory of Giotto not only in the works that issued from his hands, but in those also that issued from the hand of the writers of those times, he having been the man who recovered the true method of painting, which had been lost for many years before him; therefore, by public decree and by the effort and particular affection of the elder Lorenzo de' Medici, the Magnificent, in admiration of the talent of so great a man his portrait was placed in S. Maria del Fiore, carved in marble by Benedetto da Maiano, an excellent sculptor, together with the verses written below, made by that divine man, Messer Angelo Poliziano, to the end that those who should become excellent in any profession whatsoever might be able to cherish a hope of obtaining, from others, such memorials as these that Giotto deserved and obtained in liberal measure from his goodness:
Ille ego sum, per quem pictura extincta revixit,
Cui quam recta manus, tam fuit et facilis. Naturæ deerat nostræ quod defuit arti;
Plus licuit nulli pingere, nec melius. Miraris turrim egregiam sacro ære sonantem?
Hæc quoque de modulo crevit ad astra meo. Denique sum Jottus, quid opus fuit illa referre?
Hoc nomen longi carminis instar erit.
And to the end that those who come after may be able to see drawings by the very hand of Giotto, and from these to recognize all the more the excellence of so great a man, in our aforesaid book there are some that are marvellous, sought out by me with no less diligence than labour and expense.
AGOSTINO AND AGNOLO OF SIENA
LIFE OF AGOSTINO AND AGNOLO OF SIENA,
SCULPTORS AND ARCHITECTS
Among others who exercised themselves in the school of the sculptors Giovanni and Niccola of Pisa, Agostino and Agnolo, sculptors of Siena, of whom we are at present about to write the Life, became very excellent for those times. These, according to what I find, were born from a father and mother of Siena, and their forefathers were architects, seeing that in the year 1190, under the rule of the three Consuls, they brought to perfection the Fontebranda, and afterwards, in the following year, under the same Consulate, the Customs-house of that city and other buildings. And in truth it is clear that very often the seeds of talent germinate in the houses where they have lain for some time, and throw out shoots which afterwards produce greater and better fruits than the first plants had done. Agostino and Agnolo, then, adding great betterment to the manner of Giovanni and Niccola of Pisa, enriched the art with better design and invention, as their works clearly demonstrate. It is said that the aforesaid Giovanni, returning from Naples to Pisa in the year 1284, stayed in Siena in order to make the design and foundation for the façade of the Duomo, wherein are the three principal doors, to the end that it might be all adorned very richly with marbles; and that then Agostino, being no more than fifteen years of age, went to be with him in order to apply himself to sculpture, whereof he had learnt the first principles, being no less inclined to this art than to the matters of architecture. And so, under the teaching of Giovanni, by means of continual study he surpassed all his fellow-disciples in design, grace, and manner, so greatly that it was said by all that he was the right eye of his master. And because, between people who love each other, there is no gift, whether of nature, or of soul, or of fortune, that is mutually desired so much as excellence, which alone makes men great and noble, and what is more, most happy both in this life and in the other, therefore Agostino, seizing this occasion of assistance from Giovanni, drew his brother Agnolo into the same pursuit. Nor was it a great labour for him to do this, seeing that the intercourse of Agnolo with Agostino and with the other sculptors had already, as he saw the honour and profit that they were drawing from such an art, fired his mind with extreme eagerness and desire to apply himself to sculpture; nay, before Agostino had given a thought to this, Agnolo had wrought certain works in secret.
Agostino, then, being engaged in working with Giovanni on the marble panel of the high-altar in the Vescovado of Arezzo, whereof there has been mention above, contrived to bring there the said Agnolo, his brother, who acquitted himself in this work in such a manner that when it was finished he was found to have equalled Agostino in the excellence of his art. Which circumstance, becoming known to Giovanni, was the reason that after this work he made use of both one and the other in many other works of his that he wrought in Pistola, in Pisa, and in other places. And seeing that he applied himself not only to sculpture but to architecture as well, no long time passed before, under the rule of the Nine in Siena, Agostino made the design of their Palace in Malborghetto, which was in the year 1308. In the making of this he acquired so great a name in his country, that, returning to Siena after the death of Giovanni, they were made, both one and the other, architects to the State; wherefore afterwards, in the year 1317, there was made under their direction the front of the Duomo that faces towards the north, and in the year 1321, with the design of the same men, there was begun the construction of the Porta Romana in that manner wherein it stands to-day, and it was finished in the year 1326; which gate was first called Porta S. Martino. They rebuilt, also, the Porta a Tufi, which at first was called Porta di S. Agata all'Arco. In the same year, with the design of the same Agostino and Agnolo, there was begun
