The Life of Buonamico Buffalmacco

Buonamico di Cristofano, called Buffalmacco, painter of Florence, who was a disciple of Andrea Tafi, and celebrated for his jokes by Messer Giovanni Boccaccio in his Decameron, was, as is known, a very dear companion of Bruno and Calandrino, painters equally humorous and gay; and as may be seen in his works, scattered throughout all Tuscany, he was a man of passing good judgment in his art of painting. Franco Sacchetti relates in his three hundred Stories (to begin with the things that this man did while still youthful), that Buffalmacco lived, while he was a lad, with Andrea, and that this master of his used to make it a custom, when the nights were long, to get up before daylight to labour, and to call the lads to night-work. This being displeasing to Buonamico, who was made to rise out of his soundest sleep, he began to think of finding a way whereby Andrea might give up rising so much before daylight to work, and he succeeded; for having found thirty large cockroaches, or rather blackbeetles, in a badly swept cellar, with certain fine and short needles he fixed a little taper on the back of each of the said cockroaches, and, the hour coming when Andrea was wont to rise, he lit the tapers and put the animals one by one into the room of Andrea, through a chink in the door. He, awaking at the very hour when he was wont to call Buffalmacco, and seeing those little lights, all full of fear began to tremble and in great terror to recommend himself under his breath to God, like the old gaffer that he was, and to say his prayers or psalms; and finally, putting his head below the bedclothes, he made no attempt for that night to call Buffalmacco, but stayed as he was, ever trembling with fear, up to daylight. In the morning, then, having risen, he asked Buonamico if he had seen, as he had himself, more than a thousand demons; whereupon Buonamico said he had not, because he had kept his eyes closed, and was marvelling that he had not been called to night-work. "To night-work!" said Tafo, "I have had something else to think of besides painting, and I am resolved at all costs to go and live in another house." The following night, although Buonamico put only three of them into the said room of Tafo, none the less, what with terror of the past night and of those few devils that he saw, he slept not a wink; nay, no sooner was it daylight than he rushed from the house, meaning never to return, and a great business it was to make him change his mind. At last Buonamico brought the parish priest, who consoled him the best that he could. Later, Tafo and Buonamico discoursing over the affair, Buonamico said: "I have ever heard tell that the greatest enemies of God are the demons, and that in consequence they must also be the most capital adversaries of painters; because, besides that we make them ever most hideous, what is worse, we never attend to aught else than to making saints, male and female, on walls and panels, and to making men more devout and more upright thereby, to the despite of the demons; wherefore, these demons having a grudge against us for this, as beings that have greater power by night than by day they come and play us these tricks, and worse tricks will they play if this use of rising for night-work is not given up completely." With these and many other speeches Buffalmacco knew so well how to manage the business, being borne out by what Sir Priest kept saying, that Tafo gave over rising for night-work, and the devils ceased going through the house at night with little lights. But Tafo beginning again, for the love of gain, not many months afterwards, having almost forgotten all fear, to rise once more to work in the night and to call Buffalmacco, the cockroaches too began again to wander about; wherefore he was forced by fear to give up the habit entirely, being above all advised to do this by the priest. Afterwards this affair, spreading throughout the city, brought it about that for a time neither Tafo nor other painters made a practice of rising to work at night. Later, and no long time after this, Buffalmacco, having become a passing good master, took leave of Tafo, as the same Franco relates, and began to work for himself; and he never lacked for something to do.

Buonamico di Cristofano, known as Buffalmacco, was a Florentine painter and a pupil of Andrea Tafi. Messer Giovanni Boccaccio celebrated his jokes in the Decameron. As is well known, Buffalmacco was a close companion of Bruno and Calandrino, painters who were just as humorous and cheerful. His works, scattered throughout Tuscany, show that he had very good judgment as a painter. Franco Sacchetti tells a story in his three hundred Stories about Buffalmacco’s youth. As a boy, Buffalmacco lived with Andrea. During the long nights, his master used to rise before dawn to work and call the boys to work at night. Buonamico disliked being roused from his deepest sleep. So he began looking for a way to stop Andrea from getting up so long before daylight, and he succeeded. In a poorly swept cellar, Buonamico found thirty large cockroaches, or rather blackbeetles. Using fine, short needles, he fixed a small taper to each beetle’s back. When the time came for Andrea to rise, Buonamico lit the tapers. Then he sent the beetles one by one through a crack in Andrea’s door. Andrea woke at the very hour when he usually called Buffalmacco. Seeing the little lights, he began to tremble with fear. Terrified, he commended himself to God under his breath, like the old man he was, and said his prayers or psalms. Finally, he pulled the bedclothes over his head. He made no attempt to call Buffalmacco that night, but stayed where he was, trembling with fear until daylight. When he rose that morning, he asked Buonamico whether he too had seen more than a thousand demons. Buonamico said he had not, because he had kept his eyes closed. He added that he wondered why he had not been called to work at night. "Work at night!" said Tafo. "I have had something besides painting to think about, and I am determined to go and live in another house, whatever it takes." The following night, Buonamico sent only three beetles into Tafo’s room. Even so, Tafo did not sleep a wink, terrified by the previous night and the few devils he saw. Indeed, as soon as daylight came, he rushed from the house, intending never to return. It took a great deal of effort to make him change his mind. At last Buonamico brought the parish priest, who consoled Tafo as best he could. Later, Tafo and Buonamico discussed the affair. Buonamico said: "I have always heard that demons are God’s greatest enemies. So they must also be the worst enemies of painters. We always make them look hideous, and worse still, we do nothing but paint male and female saints on walls and panels. In this way we make people more devout and upright, to the demons’ annoyance. So the demons have a grudge against us. Since they have greater power by night than by day, they come and play these tricks on us. And they will play worse tricks if we do not give up rising to work at night altogether." With these and many other arguments, Buffalmacco managed the matter so well that Tafo stopped rising to work at night. The priest’s words supported him too. And the devils stopped going through the house at night with little lights. But after only a few months, Tafo had almost forgotten his fear. Eager to earn money, he began once more to rise and work at night, and to call Buffalmacco. The cockroaches began wandering about again too. So fear forced Tafo to give up the habit altogether, especially since the priest advised him to do so. As the story spread throughout the city, neither Tafo nor other painters made a practice of rising to work at night for a time. Not long afterward, Buffalmacco had become a very good master. As Franco also relates, he left Tafo and began working for himself. He never lacked work.

Now, Buffalmacco having taken a house, to work in and to live in as well, that had next door a passing rich woolworker, who, being a simpleton, was called Capodoca (Goosehead), the wife of this man would rise every night very early, precisely when Buffalmacco, having up to then been working, would go to lie down; and sitting at her wheel, which by misadventure she had planted opposite to the bed of Buffalmacco, she would spend the whole night spinning her thread; wherefore Buonamico, being able to get scarce a wink of sleep, began to think and think how he could remedy this nuisance. Nor was it long before he noticed that behind a wall of brickwork, that divided his house from Capodoca's, was the hearth of his uncomfortable neighbour, and that through a hole it was possible to see what she was doing over the fire. Having therefore thought of a new trick, he bored a hole with a long gimlet through a cane, and, watching for a moment when the wife of Capodoca was not at the fire, he pushed it more than once through the aforesaid hole in the wall and put as much salt as he wished into his neighbour's pot; wherefore Capodoca, returning either for dinner or for supper, more often than not could not eat or even taste either broth or meat, so bitter was everything through the great quantity of salt. For once or twice he had patience and only made a little noise about it; but after he saw that words were not enough, he gave blows many a time for this to the poor woman, who was in despair, it appearing to her that she was more than careful in salting her cooking. She, one time among others that her husband was beating her for this, began to try to excuse herself, wherefore Capodoca, falling into even greater rage, set himself to thrash her again in a manner that the woman screamed with all her might, and the whole neighbourhood ran up at the noise; and among others there came up Buffalmacco, who, having heard of what Capodoca was accusing his wife and in what way she was excusing herself, said to Capodoca: "I' faith, comrade, this calls for a little reason; thou dost complain that the pot, morning and evening, is too much salted, and I marvel that this good woman of thine can do anything well. I, for my part, know not how, by day, she keeps on her feet, considering that the whole night she sits up over that wheel of hers, and sleeps not, to my belief, an hour. Make her give up this rising at midnight, and thou wilt see that, having her fill of sleep, she will have her wits about her by day and will not fall into such blunders." Then, turning to the other neighbours, he convinced them so well of the grave import of the matter, that they all said to Capodoca that Buonamico was speaking the truth and that it must be done as he advised. He, therefore, believing that it was so, commanded her not to rise in the night, and the pot was then reasonably salted, save when perchance the woman on occasion rose early, for then Buffalmacco would return to his remedy, which finally brought it about that Capodoca made her give it up completely.

Buffalmacco rented a house where he could both work and live. Next door lived a very rich woolworker, a simpleton known as Capodoca (Goosehead). Every night, Capodoca’s wife rose very early, just as Buffalmacco finished working and went to bed. She sat at her spinning wheel, which she had unfortunately placed opposite Buffalmacco’s bed, and spun thread all night. Buonamico could hardly sleep a wink, so he began to think hard about how to put an end to the nuisance. Before long, he noticed that his troublesome neighbor’s hearth stood behind the brick wall dividing the two houses. Through a hole in the wall, he could see what she was doing at the fire. He thought of a new trick and used a long gimlet to bore a hole through a cane. Then he waited until Capodoca’s wife was away from the fire. He pushed the cane through the hole in the wall more than once, putting as much salt as he liked into her pot. As a result, when Capodoca came home for dinner or supper, he often could not eat or even taste the broth or meat. Everything was bitter from the great quantity of salt. Once or twice, Capodoca was patient and made only a small fuss. But when he saw that words were not enough, he often beat the poor woman over it. She was in despair, since she believed she was more than careful when salting her cooking. On one occasion, while her husband was beating her, she tried to defend herself. This made Capodoca even angrier, and he began thrashing her again. She screamed with all her might, and the whole neighborhood came running at the noise. Buffalmacco was among them. He heard what Capodoca accused his wife of doing and how she defended herself. Then he said to Capodoca: "In faith, my friend, we need a little reason here. You complain that the pot is too heavily salted morning and evening, but I’m amazed your good wife can do anything well. I don’t know how she stays on her feet during the day, considering that she sits at her wheel all night. I don’t believe she sleeps even an hour. Make her stop getting up at midnight. Then you’ll see that, once she has had enough sleep, she’ll have her wits about her during the day and won’t make such mistakes." Buffalmacco then turned to the other neighbors and convinced them how serious the matter was. They all told Capodoca that Buonamico was right and that he should follow his advice. Capodoca believed them and ordered his wife not to get up during the night. After that, the food was properly salted, except when the woman happened to rise early. Then Buffalmacco would use his remedy again. In the end, Capodoca made her give up rising early altogether.

Buffalmacco, then, among the first works that he made, painted with his own hand the whole church of the Convent of the Nuns of Faenza, which stood in Florence on the site of the present Cittadella del Prato; and among other scenes that he made there from the life of Christ, in all which he acquitted himself very well, he made the Massacre that Herod ordained of the Innocents, wherein he expressed very vividly the emotions both of the murderers and of the other figures; for in some nurses and mothers who are snatching the infants from the hands of the murderers and are seeking all the assistance that they can from their hands, their nails, their teeth, and every movement of the body, there is shown on the surface a heart no less full of rage and fury than of woe.

Among Buffalmacco's first works was the painting of the entire church of the Convent of the Nuns of Faenza. He painted it himself. The church stood in Florence on the site of the present Cittadella del Prato. There he painted scenes from the life of Christ, all of which he executed very well. Among them was the Massacre of the Innocents, which Herod had ordered. In it, he vividly expressed the emotions of both the murderers and the other figures. Some nurses and mothers snatch infants from the murderers' hands, using their hands, nails, teeth, and every movement of their bodies. Their faces show hearts filled with rage and fury no less than with grief.

Of this work, that convent being to-day in ruins, there is to be seen nothing but a coloured sketch in our book of drawings by diverse masters, wherein there is this scene drawn by the hand of Buonamico himself. In the doing of this work for the aforesaid Nuns of Faenza, seeing that Buffalmacco was a person very eccentric and careless both in dress and in manner of life, it came to pass, since he did not always wear his cap and his mantle, as in those times it was the custom to do, that the nuns, seeing him once through the screen that he had caused to be made, began to say to the steward that it did not please them to see him in that guise, in his jerkin; however, appeased by him, they stayed for a little without saying more. But at last, seeing him ever in the same guise, and doubting whether he was not some knavish boy for grinding colours, they had him told by the Abbess that they would have liked to see the master at work, and not always him. To which Buonamico answered, like the good fellow that he was, that as soon as the master was there, he would let them know; taking notice, none the less, of the little confidence that they had in him. Taking a stool, therefore, and placing another above it, he put on top of all a pitcher, or rather a water-jar, and on the mouth of that he put a cap, hanging over the handle, and then he covered the rest of the jar with a burgher's mantle, and finally, putting a brush in suitable fashion into the spout through which the water is poured, he went off. The nuns, returning to see the work through an opening where the cloth had slipped, saw the supposititious master in full canonicals; wherefore, believing that he was working might and main and was by way of doing different work from that which the untidy knave was doing, they left it at that for some days, without thinking more about it. Finally, having grown desirous to see what beautiful work the master had done, fifteen days having passed, during which space of time Buonamico had never come near the place, one night, thinking that the master was not there, they went to see his paintings, and remained all confused and blushing by reason of one bolder than the rest discovering the solemn master, who in fifteen days had done not one stroke of work. Then, recognizing that he had served them as they merited and that the works that he had made were worthy of nothing but praise, they bade the steward recall Buonamico, who, with the greatest laughter and delight, returned to the work, having given them to know what difference there is between men and pitchers, and that it is not always by their clothes that the works of men should be judged. In a few days, then, he finished a scene wherewith they were much contented, it appearing to them to be in every way satisfactory, except that the figures appeared to them rather wan and pallid than otherwise in the flesh-tints. Buonamico, hearing this, and having learnt that the Abbess had some Vernaccia, the best in Florence, which was used for the holy office of the Mass, said to them that in order to remedy this defect nothing else could be done but to temper the colours with some good Vernaccia; because, touching the cheeks and the rest of the flesh on the figures with colours thus tempered, they would become rosy and coloured in most lifelike fashion. Hearing this, the good sisters, who believed it all, kept him ever afterwards furnished with the best Vernaccia, as long as the work lasted; and he, rejoicing in it, from that time onwards made the figures fresher and more highly coloured with his ordinary colours.

The convent is now in ruins, and all that remains of this work is a colored sketch in our book of drawings by various masters. The scene was drawn by Buonamico himself. While Buffalmacco was working for the nuns of Faenza, his eccentric ways caused trouble. He was careless in both his dress and his way of life. He did not always wear his cap and mantle, as was customary in those days. Once, the nuns saw him through the screen he had put up. They told the steward that they did not like seeing him dressed that way, in his jerkin. The steward reassured them, however, and for a while they said nothing more. At last, seeing him always dressed the same way, they began to suspect that he was some mischievous boy who ground colors. Through the Abbess, they told him that they would like to see the master at work, not always him. Buonamico, being a good fellow, replied that he would let them know as soon as the master arrived. All the same, he took note of how little confidence they had in him. So he placed one stool on top of another and set a pitcher, or rather a water jar, on top. He put a cap on the mouth of the jar, hanging over the handle, and covered the rest with a burgher's mantle. Finally, he placed a brush in the spout in a suitable position and went away. When the nuns returned to look at the work, they saw the false master through an opening where the cloth had slipped. He was dressed in full professional attire. They believed he was working hard and producing something different from the work of the untidy scoundrel. So they let the matter rest for some days, without giving it another thought. At last, they grew eager to see what beautiful work the master had done. Fifteen days had passed, and Buonamico had not come near the place during that time. One night, thinking the master was absent, they went to see his paintings. One of the bolder nuns discovered the solemn master, who had not done a stroke of work in fifteen days. They were all left embarrassed and blushing. They then realized that he had treated them as they deserved and that his work was worthy of nothing but praise. So they told the steward to call Buonamico back. He returned to work with great laughter and delight. He had shown them the difference between men and pitchers, and that men's work should not always be judged by their clothes. Within a few days, he finished a scene that pleased them greatly. They found it satisfactory in every way, except that the figures' flesh tones seemed rather pale and bloodless. Buonamico heard their complaint. He had also learned that the Abbess had some Vernaccia, the best in Florence, for use in the holy office of the Mass. He told the nuns that the only way to remedy the defect was to mix the colors with some good Vernaccia. If he touched up the cheeks and the rest of the figures' flesh with colors mixed this way, he said, they would become rosy and lifelike. The good sisters believed every word. From then on, they kept him supplied with the best Vernaccia for as long as the work lasted. He enjoyed the wine and made the figures fresher and more colorful, using his ordinary colors.

This work finished, he painted some stories of S. James in the Abbey of Settimo, in the chapel that is in the cloister, and dedicated to that Saint, on the vaulting of which he made the four Patriarchs and the four Evangelists, among whom S. Luke is doing a striking action in blowing very naturally on his pen, in order that it may yield its ink. Next, in the scenes on the walls, which are five, there are seen beautiful attitudes in the figures, and the whole work is executed with invention and judgment. And because Buonamico was wont, in order to make his flesh-colour better, as is seen in this work, to make a ground of purple, which in time produces a salt that becomes corroded and eats away the white and other colours, it is no marvel if this work is spoilt and eaten away, whereas many others that were made long before have been very well preserved. And I, who thought formerly that these pictures had received injury from the damp, have since proved by experience, studying other works of the same man, that it is not from the damp but from this particular use of Buffalmacco's that they have become spoilt so completely that there is not seen in them either design or anything else, and that where the flesh-colours were there has remained nothing else but the purple. This method of working should be used by no one who is anxious that his pictures should have long life.

After finishing this work, he painted scenes from the life of S. James in the Abbey of Settimo. They were in the cloister chapel dedicated to that Saint. On its vaulted ceiling he painted the four Patriarchs and the four Evangelists. Among them, S. Luke blows on his pen with a strikingly natural gesture to make the ink flow. The five scenes on the walls show figures in beautiful poses. The whole work is executed with invention and judgment. As this work shows, Buonamico used to apply a purple ground to improve his flesh colors. In time, the purple produces a corrosive salt that eats away the white and other colors. So it is no wonder that this work is damaged and eaten away, while many much older works have survived very well. I once thought that damp had damaged these pictures. But by studying other works by the same man, I have since learned from experience that damp was not the cause. It was Buffalmacco's particular practice that damaged them so completely. No design or anything else can be seen in them, and only the purple remains where the flesh colors were. No one who wants their pictures to last should use this method.

Buonamico wrought, after that which has been described above, two panels in distemper for the Monks of the Certosa of Florence, whereof one is where the books of chants are kept for the use of the choir, and the other below in the old chapels. He painted in fresco the Chapel of the Giochi and Bastari in the Badia of Florence, beside the principal chapel; which chapel, although afterwards it was conceded to the family of the Boscoli, retains the said pictures of Buffalmacco up to our own day. In these he made the Passion of Christ, with effects ingenious and beautiful, showing very great humility and sweetness in Christ, who is washing the feet of His Disciples, and ferocity and cruelty in the Jews, who are leading Him to Herod. But he showed talent and facility more particularly in a Pilate, whom he painted in prison, and in Judas hanging from a tree; wherefore it is easy to believe what is told about this gay painter—namely, that when he thought fit to use diligence and to take pains, which rarely came to pass, he was not inferior to any painter whatsoever of his times. And to show that this is true, the works in fresco that he made in Ognissanti, where to-day there is the cemetery, were wrought with so much diligence and with so many precautions, that the water which has rained over them for so many years has not been able to spoil them or to prevent their excellence from being recognized, and that they have been preserved very well, because they were wrought purely on the fresh plaster. On the walls, then, are the Nativity of Jesus Christ and the Adoration of the Magi—that is, over the tomb of the Aliotti. After this work Buonamico, having gone to Bologna, wrought some scenes in fresco in S. Petronio, in the Chapel of the Bolognini—that is, on the vaulting; but by reason of some accident, I know not what, supervening, he did not finish them.

After the work described above, Buonamico painted two panels in distemper for the Monks of the Certosa of Florence. One is kept where the choir’s chant books are stored, and the other is downstairs in the old chapels. He also painted frescoes in the Chapel of the Giochi and Bastari in the Badia of Florence, beside the principal chapel. Although the chapel was later granted to the Boscoli family, Buffalmacco’s paintings remain there to this day. In these frescoes, he depicted the Passion of Christ with ingenious and beautiful effects. Christ shows great humility and gentleness as he washes the feet of his disciples. The Jews show ferocity and cruelty as they lead him to Herod. But Buonamico showed his talent and skill most particularly in Pilate, whom he painted in prison, and in Judas hanging from a tree. So it is easy to believe what people say about this cheerful painter. When he chose to work carefully and take pains, which rarely happened, he was not inferior to any painter of his time. His frescoes in Ognissanti, where the cemetery now stands, show that this is true. He painted them so carefully and took so many precautions that years of rain have not spoiled them or hidden their excellence. They have been preserved very well because he painted them entirely on fresh plaster. On the walls above the tomb of the Aliotti are the Nativity of Jesus Christ and the Adoration of the Magi. After completing this work, Buonamico went to Bologna. There he painted some fresco scenes on the vault of the Chapel of the Bolognini in S. Petronio. But some accident, I do not know what, prevented him from finishing them.

It is said that in the year 1302 he was summoned to Assisi, and that in the Church of S. Francesco, in the Chapel of S. Caterina, he painted all the stories of her life in fresco, which have been very well preserved; and there are therein some figures that are worthy to be praised. This chapel finished, on his passing through Arezzo, Bishop Guido, by reason of having heard that Buonamico was a gay fellow and an able painter, desired him to stop in that city and paint for him, in the Vescovado, the chapel where baptisms are now held. Buonamico, having put his hand to the work, had already done a good part of it when there befell him the strangest experience in the world, which was, according to what Franco Sacchetti relates, as follows. The Bishop had an ape, the drollest and the most mischievous that there had ever been. This animal, standing once on the scaffolding to watch Buonamico at work, had given attention to everything, and had never taken his eyes off him when he was mixing the colours, handling the flasks, beating the eggs for making the distempers, and in short when he was doing anything else whatsoever. Now, Buonamico having left off working one Saturday evening, on the Sunday morning this ape, notwithstanding that he had, fastened to his feet, a great block of wood which the Bishop made him carry in order that thus he might not be able to leap wherever he liked, climbed on to the scaffolding whereon Buonamico was used to stand to work, in spite of the very great weight of the block of wood; and there, seizing the flasks with his hands, pouring them one into another and making six mixtures, and beating up whatever eggs there were, he began to daub over with the brushes all the figures there, and, persevering in this performance, did not cease until he had repainted everything with his own hand; and this done, he again made a mixture of all the colours that were left him, although they were but few, and, getting down from the scaffolding, went off. Monday morning having come, Buonamico returned to his work, where, seeing the figures spoilt, the flasks all mixed up, and everything upside down, he stood all in marvel and confusion. Then, having pondered much in his own mind, he concluded finally that some Aretine had done this, through envy or through some other reason; wherefore, having gone to the Bishop, he told him how the matter stood and what he suspected, whereat the Bishop became very much disturbed, but, consoling Buonamico, desired him to put his hand again to the work and to repaint all that was spoilt. And because the Bishop had put faith in his words, which had something of the probable, he gave him six of his men-at-arms, who should stand in hiding with halberds while he was not at work, and, if anyone came, should cut him to pieces without mercy. The figures, then, having been painted over again, one day that the soldiers were in hiding, lo and behold! they hear a certain rumbling through the church, and a little while after the ape climbing on to the scaffolding; and in the twinkling of an eye, the mixtures made, they see the new master set himself to work over the saints of Buonamico. Calling him, therefore, and showing him the culprit, and standing with him to watch the beast at his work, they were all like to burst with laughter; and Buonamico in particular, for all that he was vexed thereby, could not keep from laughing till the tears came. Finally, dismissing the soldiers who had mounted guard with their halberds, he went off to the Bishop and said to him: "My lord, you wish the painting to be done in one fashion, and your ape wishes it done in another." Then, relating the affair, he added: "There was no need for you to send for painters from elsewhere, if you had the true master at home. But he, perhaps, knew not so well how to make the mixtures; now that he knows, let him do it by himself, since I am no more good here. And his talent being revealed, I am content that there should be nothing given to me for my work save leave to return to Florence." The Bishop, hearing the affair, although it vexed him, could not keep from laughing, and above all as he thought how an animal had played a trick on him who was the greatest trickster in the world. However, after they had talked and laughed their fill over this strange incident, the Bishop persuaded Buonamico to resume the work for the third time, and he finished it. And the ape, as punishment and penance for the crime committed, was shut up in a great wooden cage and kept where Buonamico was working, until this work was entirely finished; and no one could imagine the contortions which that creature kept making in this cage with his face, his body, and his hands, seeing others working and himself unable to take part.

It is said that in 1302 he was summoned to Assisi. There, in the Church of S. Francesco, he painted the whole story of S. Caterina’s life in fresco in her chapel. The paintings have been very well preserved, and some of the figures in them deserve praise. After finishing the chapel, he passed through Arezzo. Bishop Guido had heard that Buonamico was a cheerful fellow and a skilled painter. He asked him to stay in the city and paint the chapel in the Vescovado where baptisms are now held. Buonamico began the work and had already finished a good part of it when he had the strangest experience imaginable. According to Franco Sacchetti, it happened as follows. The Bishop had an ape, the funniest and most mischievous there had ever been. Once, the animal stood on the scaffolding and watched Buonamico work. The ape paid attention to everything and never took his eyes off him. He watched Buonamico mix colors, handle the flasks, beat eggs to make tempera paint, and do everything else. One Saturday evening, Buonamico stopped work. On Sunday morning, the ape climbed onto the scaffolding where Buonamico usually worked. He did this despite the great block of wood fastened to his feet. The Bishop made him carry it so that he could not leap wherever he pleased. On the scaffolding, the ape seized the flasks, poured their contents into one another, and made six mixtures. He beat up every egg there and began daubing all the figures with the brushes. He kept at it until he had repainted everything with his own hand. Then he mixed all the remaining colors together, though there were only a few, climbed down from the scaffolding, and went away. On Monday morning, Buonamico returned to work. He saw that the figures were spoiled, the contents of the flasks were all mixed up, and everything was upside down. He stood there in astonishment and confusion. After much thought, he finally concluded that someone from Arezzo had done it, out of envy or for some other reason. He went to the Bishop and told him what had happened and what he suspected. The Bishop was very disturbed, but he comforted Buonamico and asked him to resume work and repaint everything that had been spoiled. The Bishop believed Buonamico’s account because it seemed plausible. So he gave him six of his men-at-arms to hide with halberds whenever he was not working. If anyone came, they were to cut him to pieces without mercy. After the figures had been painted again, the soldiers were hiding there one day when they heard a rumbling through the church. A little later, they heard the ape climbing onto the scaffolding. In the blink of an eye, he had made his mixtures, and they saw the new master set to work on Buonamico’s saints. The soldiers called Buonamico, showed him the culprit, and stood with him watching the beast work. They all nearly burst with laughter. Buonamico in particular could not stop laughing until the tears came, even though he was annoyed. At last, he dismissed the soldiers who had stood guard with their halberds and went to the Bishop. He said to him: "My lord, you want the painting done one way, and your ape wants it done another." Then he told the Bishop what had happened and added: "There was no need to send for painters from elsewhere when you had the true master at home. But perhaps he did not know so well how to make the mixtures. Now that he knows, let him do it himself, since I am no longer any use here. And now that his talent has been revealed, I am content to receive nothing for my work except permission to return to Florence." When the Bishop heard the story, he was annoyed but could not keep from laughing. He laughed especially at the thought that an animal had played a trick on the greatest trickster in the world. After they had talked and laughed their fill over the strange incident, the Bishop persuaded Buonamico to begin the work a third time, and he finished it. As punishment and penance for his crime, the ape was shut in a large wooden cage. He was kept where Buonamico was working until the work was entirely finished. No one could imagine the contortions the creature kept making in his cage with his face, body, and hands. He could see others working but could not take part himself.

The work in this chapel finished, the Bishop, either in jest or for some other reason known only to himself, commanded that Buffalmacco should paint him, on one wall of his palace, an eagle on the back of a lion which it had killed. The crafty painter, having promised to do all that the Bishop wished, had a good scaffolding made of planks, saying that he refused to be seen painting such a thing. This made, shutting himself up alone inside it, he painted, contrary to what the Bishop wished, a lion that was tearing to pieces an eagle; and, the work finished, he sought leave from the Bishop to go to Florence in order to get some colours that he was wanting. And so, locking the scaffolding with a key, he went off to Florence, in mind to return no more to the Bishop, who, seeing the business dragging on and the painter not returning, had the scaffolding opened, and discovered that Buonamico had been too much for him. Wherefore, moved by very great displeasure, he had him banished on pain of death, and Buonamico, hearing this, sent to tell him to do his worst; whereupon the Bishop threatened him to a fearful tune. But finally, remembering that he had begun the playing of tricks and that it served him right to be tricked himself, he pardoned Buonamico for his insult and rewarded him liberally for his labours. Nay, what is more, summoning him again no long time after to Arezzo, he caused him to make many works in the Duomo Vecchio, which are now destroyed, treating him ever as his familiar friend and very faithful servant. The same man painted the niche of the principal chapel in the Church of S. Giustino, also in Arezzo.

When the work in the chapel was finished, the Bishop gave Buffalmacco another commission. He ordered him to paint an eagle on the back of a lion it had killed on a palace wall. He did this either in jest or for some other reason known only to himself. The crafty painter promised to do everything the Bishop wanted. He had a sturdy wooden scaffold built, saying he refused to be seen painting such a thing. Once it was built, he shut himself inside it alone. Contrary to the Bishop’s wishes, he painted a lion tearing an eagle to pieces. When the work was finished, he asked the Bishop’s permission to go to Florence for some colors he needed. He locked the scaffold and left for Florence, intending never to return to the Bishop. As time passed and the painter did not return, the Bishop had the scaffold opened. He discovered that Buonamico had outwitted him. Deeply offended, he banished Buonamico on pain of death. When Buonamico heard this, he sent word telling the Bishop to do his worst. The Bishop then threatened him fiercely. But at last the Bishop remembered that he had started the trickery and deserved to be tricked himself. He forgave Buonamico for the insult and rewarded him generously for his work. What is more, not long afterward, the Bishop summoned Buonamico back to Arezzo. He had him produce many works in the Duomo Vecchio, which have now been destroyed. He always treated him as a close friend and a very faithful servant. Buonamico also painted the niche of the main chapel in the Church of S. Giustino in Arezzo.

Some writers tell that Buonamico being in Florence and often frequenting the shop of Maso del Saggio with his friends and companions, he was there, with many others, arranging the festival which the men of the Borgo San Friano held on May 1 in certain boats on the Arno; and that when the Ponte alla Carraia, which was then of wood, collapsed by reason of the too great weight of the people who had flocked to that spectacle, he did not die there, as many others did, because, precisely at the moment when the bridge collapsed on to the structure that was representing Hell on the boats in the Arno, he had gone to get some things that were wanting for the festival.

Some writers say that Buonamico often visited Maso del Saggio’s shop in Florence with his friends and companions. There, he and many others were organizing a festival held by the men of Borgo San Friano. The festival took place on May 1 in boats on the Arno. The Ponte alla Carraia, then made of wood, collapsed under the weight of the people who had flocked to see the spectacle. Many died, but Buonamico did not. At the very moment the bridge fell onto the structure representing Hell on the boats in the Arno, he had gone to fetch some things needed for the festival.

Being summoned to Pisa no long time after these events, Buonamico painted many stories of the Old Testament in the Abbey of S. Paolo a Ripa d'Arno, then belonging to the Monks of Vallombrosa, in both transepts of the church, on three sides, and from the roof down to the floor, beginning with the Creation of man, and continuing up to the completion of the Tower of Nimrod. In this work, although it is to-day for the greater part spoilt, there are seen vivacity in the figures, good skill and loveliness in the colouring, and signs to show that the hand of Buonamico could very well express the conceptions of his mind, although he had little power of design. On the wall of the right transept which is opposite to that wherein is the side door, in some stories of S. Anastasia, there are seen certain ancient costumes and head-dresses, very charming and beautiful, in some women who are painted there with graceful manner. Not less beautiful, also, are those figures that are in a boat, with well-conceived attitudes, among which is the portrait of Pope Alexander IV, which Buonamico had, so it is said, from Tafo his master, who had portrayed that Pontiff in mosaic in S. Pietro. In the last scene, likewise, wherein is the martyrdom of that Saint and of others, Buonamico expressed very well in the faces the fear of death and the grief and terror of those who are standing to see her tortured and put to death, while she stands bound to a tree and over the fire.

Not long after these events, Buonamico was summoned to Pisa. There he painted many Old Testament scenes in the Abbey of S. Paolo a Ripa d'Arno, which then belonged to the Monks of Vallombrosa. The paintings covered three walls of the church’s two transepts, from ceiling to floor. They began with the Creation of man and continued through the completion of the Tower of Nimrod. Although the work is now mostly ruined, its figures show liveliness, and its coloring is skillful and beautiful. The paintings show that Buonamico could express his ideas very well, although his skill in design was limited. On the wall of the right transept opposite the side door, he painted scenes from the life of S. Anastasia. Some of the women in these scenes are painted with grace and wear charming and beautiful costumes and headdresses of the period. Equally beautiful are the figures in a boat, whose poses are well conceived. Among them is a portrait of Pope Alexander IV. Buonamico is said to have obtained the portrait from his master, Tafo, who had portrayed the Pope in a mosaic in S. Pietro. The final scene shows the martyrdom of S. Anastasia and others. As she stands bound to a tree above a fire, the faces of the onlookers vividly express their fear of death and their grief and terror at seeing her tortured and killed.

A companion of Buonamico in this work was Bruno di Giovanni, a painter, who is thus called in the old book of the Company; which Bruno (also celebrated as a gay fellow by Boccaccio), the said scenes on the walls being finished, painted the altar of S. Ursula with the company of virgins, in the same church. He made in one hand of the said Saint a standard with the arms of Pisa, which are a white cross on a field of red, and he made her offering the other hand to a woman who, rising between two mountains and touching the sea with one of her feet, is stretching both her hands to her in the act of supplication; which woman, representing Pisa, and having on her head a crown of gold and over her shoulders a mantle covered with circlets and eagles, is seeking assistance from that Saint, being much in travail in the sea. Now, for the reason that in painting this work Bruno was bewailing that the figures which he was making therein had not the same life as those of Buonamico, the latter, in his waggish way, in order to teach him to make his figures not merely vivacious but actually speaking, made him paint some words issuing from the mouth of that woman who is supplicating the Saint, and the answer of the Saint to her, a device that Buonamico had seen in the works that had been made in the same city by Cimabue. This expedient, even as it pleased Bruno and the other thick-witted men of those times, in like manner pleases certain boors to-day, who are served therein by craftsmen as vulgar as themselves. And in truth it seems extraordinary that from this beginning there should have passed into use a device that was employed for a jest and for no other reason, insomuch that even a great part of the Campo Santo, wrought by masters of repute, is full of this rubbish.

Buonamico’s companion in this work was Bruno di Giovanni, a painter named in the old book of the Company. Boccaccio also celebrated Bruno as a merry fellow. After the scenes on the walls were finished, Bruno painted the altar of S. Ursula in the same church. He depicted the saint with her company of virgins. In one hand, S. Ursula held a standard bearing the arms of Pisa, a white cross on a red field. She offered her other hand to a woman who rose between two mountains, with one foot touching the sea. The woman stretched out both hands to the saint in supplication. She represented Pisa, wore a gold crown and had a mantle covered with circles and eagles over her shoulders. She sought the saint’s help because she was in great distress at sea. While painting this work, Bruno lamented that his figures lacked the life of Buonamico’s. So Buonamico, in his mischievous way, set out to teach him to make figures that were not merely lively but actually spoke. He persuaded Bruno to paint words coming from the mouth of the woman pleading with the saint, along with the saint’s answer. Buonamico had seen this device in works Cimabue had made in the same city. This device pleased Bruno and the other dull-witted men of those times. It likewise pleases certain boors today, who are supplied with it by craftsmen as vulgar as themselves. Indeed, it seems extraordinary that a device used only as a joke should have come into common use. Even a great part of the Campo Santo, painted by respected masters, is full of this rubbish.

The works of Buonamico, then, finding much favour with the Pisans, he was charged by the Warden of the Works of the Campo Santo to make four scenes in fresco, from the beginning of the world up to the construction of Noah's Ark, and round the scenes an ornamental border, wherein he made his own portrait from the life—namely, in a frieze, in the middle of which, and on the corners, are some heads, among which, as I have said, is seen his own, with a cap exactly like the one that is seen above. And because in this work there is a God, who is upholding with his arms the heavens and the elements—nay, the whole body of the universe—Buonamico, in order to explain his story with verses similar to the pictures of that age, wrote this sonnet in capital letters at the foot, with his own hand, as may still be seen; which sonnet, by reason of its antiquity and of the simplicity of the language of those times, it has seemed good to me to include in this place, although in my opinion it is not likely to give much pleasure, save perchance as something that bears witness as to what was the knowledge of the men of that century:

Buonamico's work, then, found great favor with the Pisans. The Warden of the Works of the Campo Santo commissioned him to paint four fresco scenes. They depicted events from the beginning of the world to the construction of Noah's Ark. He also painted an ornamental border around the scenes, including a portrait of himself painted from life. The portrait appears in a frieze, among heads painted in the middle and at the corners. As I have said, his head is among them, wearing a cap exactly like the one shown above. In this work, God holds up the heavens and the elements, indeed, the whole body of the universe, with his arms. To explain the story in verse, as was customary in pictures of that age, Buonamico wrote a sonnet beneath it. He wrote it in capital letters with his own hand, as can still be seen. Because the sonnet is so old and its language reflects the simplicity of those times, I thought it worth including here. In my opinion, it is unlikely to give much pleasure, except perhaps as evidence of what men knew in that century:

And to tell the truth, it was very courageous in Buonamico to undertake to make a God the Father five braccia high, with the hierarchies, the heavens, the angels, the zodiac, and all the things above, even to the heavenly body of the moon, and then the element of fire, the air, the earth, and finally the nether regions; and to fill up the two angles below he made in one, S. Augustine, and in the other, S. Thomas Aquinas. At the head of the same Campo Santo, where there is now the marble tomb of Corte, Buonamico painted the whole Passion of Christ, with a great number of figures on foot and on horseback, and all in varied and beautiful attitudes; and continuing the story he made the Resurrection and the Apparition of Christ to the Apostles, passing well.

To tell the truth, Buonamico showed great courage in undertaking a painting of God the Father five braccia high. He included the hierarchies, the heavens, the angels, the zodiac, and everything above, down to the heavenly body of the moon. Then he painted the element of fire, the air, the earth, and finally the nether regions. To fill the two lower corners, he painted St. Augustine in one and St. Thomas Aquinas in the other. At the head of the same Campo Santo, where Corte's marble tomb now stands, Buonamico painted the whole Passion of Christ. He included a great number of figures on foot and on horseback, all in varied and beautiful poses. Continuing the story, he painted the Resurrection and Christ's appearance to the Apostles, doing so very well.

Having finished these works and at the same time all that he had gained Pisa, which was not little, he returned to Florence as poor as he had left it, and there he made many panels and works in fresco, whereof there is no need to make further record. Meanwhile there had been entrusted to Bruno, his great friend (who had returned with him from Pisa, where they had squandered everything), some works in S. Maria Novella, and seeing that Bruno had not much design or invention, Buonamico designed for him all that he afterwards put into execution on a wall in the said church, opposite to the pulpit and as long as the space between column and column, and that was the story of S. Maurice and his companions, who were beheaded for the faith of Jesus Christ. This work Bruno made for Guido Campese, then Constable of the Florentines, whose portrait he had made before he died in the year 1312; in that work he painted him in his armour, as was the custom in those times, and behind him he made a line of men-at-arms, armed in ancient fashion, who make a beautiful effect, while Guido himself is kneeling before a Madonna who has the Child Jesus in her arms, and is appearing to be recommended to her by S. Dominic and S. Agnes, who are on either side of him. Although this picture is not very beautiful, yet, considering the design and invention of Buonamico, it is worthy to be in part praised, and above all by reason of the costumes, helmets, and other armour of those times. And I have availed myself of it in some scenes that I have made for the Lord Duke Cosimo, wherein it was necessary to represent men armed in ancient fashion, and other similar things of that age; which work has greatly pleased his most Illustrious Excellency and others who have seen it. And from this it can be seen how much benefit may be gained from the inventions and works made by these ancients, although they may not be very perfect, and in what fashion profit and advantage can be drawn from their performances, since they opened the way for us to the marvels that have been made up to our day and are being made continually.

After finishing these works and spending all he had earned in Pisa, which was no small sum, he returned to Florence. He was as poor as when he had left. There he painted many panels and frescoes that need no further mention. Meanwhile, his great friend Bruno had been entrusted with some works in S. Maria Novella. Bruno had returned with him from Pisa, where they had squandered everything. Buonamico saw that Bruno had little skill in drawing or invention. So he designed everything that Bruno later painted on a wall in the church. The painting was opposite the pulpit and filled the space between two columns. It showed the story of S. Maurice and his companions, who were beheaded for their faith in Jesus Christ. Bruno made the work for Guido Campese, then Constable of the Florentines. Bruno had painted Guido’s portrait before Guido died in 1312. In this work, he painted Guido in armor, as was customary in those days. Behind him, Bruno painted a line of men-at-arms in old-fashioned armor, making a beautiful effect. Guido himself kneels before a Madonna holding the Child Jesus. S. Dominic and S. Agnes stand on either side of him, appearing to recommend him to her. Although the picture is not very beautiful, it deserves some praise when we consider Buonamico’s drawing and invention. It is especially worthy of praise for its costumes, helmets, and other armor of the time. I have made use of the picture in some scenes I painted for the Lord Duke Cosimo. In those scenes, I needed to show men armed in the old fashion and other similar things from that age. The work greatly pleased his most Illustrious Excellency and others who saw it. From this we can see how much benefit may be gained from the inventions and works of these earlier artists, although they may not be very perfect. We can also see how profit and advantage can be drawn from their work. They opened the way for us to the marvels made up to our day and still being made.

While Bruno was making this work, a peasant desiring that Buonamico should make him a S. Christopher, they came to an agreement in Florence and arranged a contract in this fashion, that the price should be eight florins and that the figure should be twelve braccia high. Buonamico, then, having gone to the church where he was to make the S. Christopher, found that by reason of its not being more than nine braccia either in height or in length, he could not, either without or within, accommodate the figure in a manner that it might stand well; wherefore he made up his mind, since it would not go in upright, to make it within the church lying down. But since, even so, the whole length would not go in, he was forced to bend it from the knees downwards on to the wall at the head of the church. The work finished, the peasant would by no means pay for it; nay, he made an outcry and said he had been cozened. The matter, therefore, going before the Justices, it was judged, according to the contract, that Buonamico was in the right.

While Bruno was making this work, a peasant wanted Buonamico to make him a Saint Christopher. They met in Florence and agreed on a contract. The price was to be eight florins, and the figure was to be twelve braccia high. Buonamico went to the church where he was to make the Saint Christopher. He found that the church was no more than nine braccia high or long. So he could not fit the figure properly either inside or outside. Since it would not fit upright, he decided to make it lying down inside the church. But even then, the whole figure would not fit. He was forced to bend its legs from the knees down onto the wall at the head of the church. When the work was finished, the peasant refused to pay. Instead, he raised an outcry and said he had been cheated. The matter therefore went before the Justices. According to the contract, they judged that Buonamico was in the right.

In S. Giovanni fra l'Arcore was a very beautiful Passion of Christ by the hand of Buonamico, and among other things that were much praised therein was a Judas hanging from a tree, made with much judgment and beautiful manner. An old man, likewise, who was blowing his nose, was most natural, and the Maries, broken with weeping, had expressions and aspects so sad, that they deserved to be greatly praised, since that age had not as yet much facility in the method of representing the emotions of the soul with the brush. On the same wall there was a good figure in a S. Ivo of Brittany, who had many widows and orphans at his feet, and two angels in the sky, who were crowning him, were made with the sweetest manner. This edifice and the pictures together were thrown to the ground in the year of the war of 1529.

In S. Giovanni fra l'Arcore, there was a very beautiful painting of the Passion of Christ by Buonamico. Among its much praised details was Judas hanging from a tree, painted with great judgment and in a beautiful style. An old man blowing his nose also looked very natural. The Maries, overcome with weeping, had such sad expressions that they deserved great praise. For artists of that age were not yet very skilled at representing emotions with a brush. On the same wall was a fine figure of S. Ivo of Brittany, with many widows and orphans at his feet. Two angels in the sky were crowning him, painted in the sweetest style. The building and its paintings were destroyed in 1529, the year of the war.

In Cortona, also, for Messer Aldobrandino, Bishop of that city, Buonamico painted many works in the Vescovado, and in particular the chapel and panel of the high-altar; but seeing that everything was thrown to the ground in renovating the palace and the church, there is no need to make further mention of them. In S. Francesco, however, and in S. Margherita, in the same city, there are still some pictures by the hand of Buonamico. From Cortona going once more to Assisi, Buonamico painted in fresco, in the lower Church of S. Francesco, the whole Chapel of Cardinal Egidio Alvaro, a Spaniard; and because he acquitted himself very well, he was therefore liberally rewarded by that Cardinal. Finally, Buonamico having wrought many pictures throughout the whole March, in returning to Florence he stopped at Perugia, and painted there in fresco the Chapel of the Buontempi in the Church of S. Domenico, making therein stories of the life of S. Catherine, virgin and martyr. And in the Church of S. Domenico Vecchio, on one wall, he painted in fresco the scene when the same Catherine, daughter of King Costa, making disputation, is convincing and converting certain philosophers to the faith of Christ; and seeing that this scene is more beautiful than any other that Buonamico ever made, it can be said with truth that in this work he surpassed himself. The people of Perugia, moved by this, according to what Franco Sacchetti writes, commanded that he should paint S. Ercolano, Bishop and Protector of that city, in the square; wherefore, having agreed about the price, on the spot where the painting was to be done there was made a screen of planks and matting, to the end that the master might not be seen painting; and this made, he put his hand to the work. But before ten days had passed, every passer-by asking when this picture would be finished, as though such works were cast in moulds,¹⁵ the matter disgusted Buonamico; wherefore, having come to the end of the work and being distracted with such importunity, he determined within himself to take a gentle vengeance on the impatience of these people. And this came to pass, for, when the work was finished, before unveiling it, he let them see it, and it was entirely to their satisfaction; but on the people of Perugia wishing to remove the screen at once, Buonamico said that for two days longer they should leave it standing, for the reason that he wished to retouch certain parts on the dry; and so it was done. Buonamico, then, having mounted the scaffolding, removed the great diadem of gold that he had given to the Saint, raised in relief with plaster, as was the custom in those times, and made him a crown, or rather garland, right round his head, of roaches; and this done, one morning he settled with his host and went off to Florence. Now, two days having passed, the people of Perugia, not seeing the painter going about as they had been used, asked the host what had become of him, and, hearing that he had returned to Florence, went at once to remove the screen; and finding their S. Ercolano crowned solemnly with roaches, they sent word of it immediately to their governors. But although these sent horsemen post-haste to look for Buonamico, it was all in vain, seeing that he had returned in great haste to Florence. Having determined, then, to make a painter of their own remove the crown of roaches and restore the diadem to the Saint, they said all the evil that can be imagined about Buonamico and the rest of the Florentines.

In Cortona, Buonamico also painted many works in the Vescovado for Messer Aldobrandino, the city’s bishop. These included the chapel and the panel for the high altar. But everything was destroyed when the palace and church were renovated, so there is no need to say more about them. Some pictures by Buonamico still remain in S. Francesco and S. Margherita in the same city. From Cortona, Buonamico returned to Assisi. There he painted the entire Chapel of Cardinal Egidio Alvaro, a Spaniard, in fresco in the lower Church of S. Francesco. He did the work very well, and the Cardinal rewarded him generously. Finally, after painting many pictures throughout the whole March, Buonamico stopped at Perugia on his way back to Florence. There he painted the Buontempi Chapel in the Church of S. Domenico in fresco, with scenes from the life of S. Catherine, virgin and martyr. On a wall in the Church of S. Domenico Vecchio, he painted another scene in fresco. It shows the same Catherine, daughter of King Costa, debating with certain philosophers and convincing them to embrace the Christian faith. This scene is more beautiful than any other Buonamico ever made, so it can truly be said that he surpassed himself. According to Franco Sacchetti, the people of Perugia were so moved by the painting that they commissioned Buonamico to paint S. Ercolano, the city’s bishop and protector, in the square. After they agreed on a price, a screen of planks and matting was set up around the site so that no one could see the master painting. Once the screen was in place, he began work. But before ten days had passed, every passerby was asking when the picture would be finished, as though such works were cast in molds.¹⁵ Buonamico grew disgusted. As he finished the work, distracted by their constant questions, he decided to take gentle revenge on their impatience. When the work was finished, Buonamico showed it to the people before unveiling it, and they were completely satisfied. But when they wanted to remove the screen at once, he asked them to leave it standing for two more days. He said he wanted to retouch certain parts after the plaster had dried, and they agreed. Buonamico climbed the scaffolding and removed the great gold diadem he had given the Saint. It had been raised in plaster relief, as was the custom at the time. In its place, he made a crown, or rather a garland, of roaches all around the Saint’s head. Then, one morning, he settled his bill with his host and left for Florence. Two days later, the people of Perugia no longer saw the painter going about as he had before. They asked his host what had become of him. When they heard he had returned to Florence, they went at once to remove the screen. They found their S. Ercolano solemnly crowned with roaches and immediately sent word to their governors. Although the governors sent horsemen to find Buonamico at once, it was all in vain. He had returned to Florence in great haste. The people of Perugia then decided to have one of their own painters remove the crown of roaches and restore the Saint’s diadem. They said every imaginable evil thing about Buonamico and the rest of the Florentines.

Buonamico, back in Florence and caring little about what the people of Perugia might say, set to work and made many paintings, whereof, in order not to be too long, there is no need to make mention. I will say only this, that having painted in fresco at Calcinaia a Madonna with the Child in her arms, he who had charged him to do it, in place of paying him, gave him words; whence Buonamico, who was not used to being trifled with or being fooled, determined to get his due by hook or by crook. And so, having gone one morning to Calcinaia, he transformed the child that he had painted in the arms of the Virgin into a little bear, but in colours made only with water, without size or distemper. This change being seen, not long after, by the peasant who had given him the work to do, almost in despair he went to find Buonamico, praying him for the sake of Heaven to remove the little bear and to paint another child as before, for he was ready to make satisfaction. This the other did amicably, being paid for both the first and the second labour without delay; and for restoring the whole work a wet sponge sufficed. Finally, seeing that it would take too long were I to wish to relate all the tricks, as well as all the pictures, that Buonamico Buffalmacco made, and above all when frequenting the shop of Maso del Saggio, which was the resort of citizens and of all the gay and mischievous spirits that there were in Florence, I will make an end of discoursing about him.

Back in Florence, Buonamico cared little about what the people of Perugia might say. He set to work and made many paintings. To avoid going on too long, I need not mention them. I will say only that he painted a fresco at Calcinaia of a Madonna holding the Child. But the man who commissioned it gave him excuses instead of payment. Buonamico was not used to being trifled with or fooled, so he decided to get his due by hook or by crook. One morning he went to Calcinaia and turned the child in the Virgin's arms into a little bear. He used colors mixed only with water, without size or distemper. Soon afterward, the peasant who had commissioned the work saw the change. Almost in despair, he went to Buonamico and begged him, for heaven's sake, to remove the little bear. He asked him to paint another child as before, saying he was ready to pay. Buonamico agreed amicably, and was paid without delay for both the first and the second job. A wet sponge was all he needed to restore the whole work. Finally, it would take too long to tell of all Buonamico Buffalmacco's tricks and all his paintings. This is especially true of his tricks while he spent time at Maso del Saggio's shop. The shop was a gathering place for citizens and all the merry and mischievous spirits in Florence. So I will end my account of him here.

He died at the age of seventy-eight, and being very poor and having done more spending than earning, by reason of being such in character, he was supported in his illness by the Company of the Misericordia in S. Maria Nuova, the hospital of Florence; and then, being dead, he was buried in the Ossa (for so they call a cloister, or rather cemetery, of the hospital), like the rest of the poor, in the year 1340. The works of this man were prized while he lived, and since then, for works of that age, they have been ever extolled.

He died at the age of seventy-eight. Because of his character, he had spent more than he earned and was very poor. During his illness, he was supported by the Company of the Misericordia in S. Maria Nuova, the hospital of Florence. After his death in 1340, he was buried in the Ossa, like the other poor people. The Ossa was the name given to a cloister, or rather a cemetery, at the hospital. His works were valued during his lifetime and have continued to be praised as works of that age.