e praise and everlasting fame.

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

[Illustration: GIULIANO BUGIARDINI: PORTRAIT OF A LADY

(_Florence: Pitti, 140. Panel_)]

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