riety of clothing, and of the barbed and
other armour of the time. I myself made use of it in some scenes
which I did for Duke Cosimo, in which it was necessary to represent
an armed man in the antique style and other similar things of that
age. This thing greatly pleased His Most Illustrious Excellency and
others who have seen it. From this it may be seen what an advantage
it is to draw materials from inventions and works made by these
ancients, for although they are not perfect, yet it is useful to know
in what manner they can be made of service, since they opened the
way to the marvels which have since been produced. Whilst Bruno was
engaged upon these works, a rustic desired him to do a St
Christopher, and they made an agreement at Florence, the terms being
that the price should be eight florins, and the figure should be
twelve braccia high. Accordingly Buonamico went to the church where
he was to do the St Christopher, and found that as its length and
breadth did not exceed nine braccia he could not manage to get the
figure in, so he determined, in order to fulfil the agreement, to
make the figure lying down, but as even then it would not entirely
come in, he was compelled to turn it from the knees downwards on to
another wall. When the work was completed the rustic refused to pay
for it, exclaiming that he had been cheated. The matter thus came
before the official of the Grascia, who judged that Buonamico was
justified by the terms of the contract.

At S. Giovanni in l'Arcore there was a very fine Passion of Jesus
Christ by Buonamico's hand, and among other much admired things it
contained a Judas hanging from a tree, done with much judgment and in
good style. There was also an old man blowing his nose very
naturally, and the Maries are represented with such a sad air in
weeping that they merit high praise for a time when men had not
acquired the facility of expressing the emotions of the soul with the
brush. In the same wall is a St Ivo of Brittany with many widows and
orphans at his feet--a good figure--and two angels in the air who
crown him, executed in the sweetest style. This building, together
with the paintings, was thrown down in the year of the war of 1529.
Again Buonamico painted many things in the Vescovado of Cortona for
M. Aldebrando, bishop of that city, especially the chapel and the
picture of the high altar; but as during the restoration of the
palace and church everything was thrown down, it is