used to take
pleasure in this man's chattering and in the jokes that he was ever
making, he kept him almost always at his table; but one day Jacopo
wearied him--as such fellows more often than not do come to weary
their friends and patrons with their incessant babbling, so often
ill-timed and senseless; babbling, I call it, for reasonable talk it
cannot be called, since for the most part there is neither reason
nor judgment in such people--and Michelagnolo, who, perchance, had
other thoughts in his mind at the time and wished to get rid of him,
sent him to buy some figs; and no sooner had Jacopo left the house
than Michelagnolo bolted the door behind him, determined not to open
to him when he came back. L'Indaco, then, on returning from the
market-square, perceived, after having knocked at the door for a
time in vain, that Michelagnolo did not intend to open to him;
whereupon, flying into a rage, he took the figs and the leaves and
spread them all over the threshold of the door. This done, he went
his way and for many months refused to speak to Michelagnolo; but at
last, becoming reconciled with him, he was more his friend than
ever. Finally, having reached the age of sixty-eight, he died in
Rome.

Not unlike Jacopo was a younger brother of his, whose proper name
was Francesco, although he too was afterwards called L'Indaco by way
of surname; and he, likewise, was a painter, and more than passing
good. He was not unlike Jacopo--I mean, in his unwillingness to work
(to say the least), and in his love of talking--but in one respect
he surpassed Jacopo, for he was ever speaking evil of everyone and
decrying the works of every craftsman. This man, after having
wrought certain things in Montepulciano both in painting and in
clay, painted a little panel for the Audience Chamber of the Company
of the Nunziata in Arezzo, containing an Annunciation, and a God the
Father in Heaven surrounded by many angels in the form of children.
And in the same city, on the first occasion when Duke Alessandro
went there, he made a most beautiful triumphal arch, with many
figures in relief, at the gate of the Palazzo de' Signori; and also,
in competition with other painters who executed a number of other
works for the entry of the said Duke, the scenery for the
representation of a play, which was held to be very beautiful.
Afterwards, having gone to Rome at the time when the Emperor Charles
V was expected there, he made some figures in clay, a