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judgment and excellence proper to him, and went away with many thanks from
Giuliano. Not long after, the latter brought Il Tribolo his friend to see what Buonarroti had done, and told him all about it; but because Buonarroti had only sketched them in outline, without any shadow, Bugiardini could not carry them out; so Il Tribolo resolved to help him, and he made some rough models in clay, giving them all that rough force which Michelangelo had put into the drawing; and so he brought them to Giuliano. But this manner did not please Bugiardini's smooth fancy, and as soon as Il Tribolo was gone he took a brush and, dipping it in water, smoothed them all down. Il Tribolo, hearing about it from Giuliano himself, laughed at his honest simplicity, and the work was at last finished, so that none would have known that Michael Angelo had ever looked at it."
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235:. The fountains were the earliest fully sculptural fountain complexes set at the centre of garden spaces, and they set the example for the seamless development of fountains as major settings for figure sculpture, in a sequence that extended unbroken into the early 20th century. Against a retaining wall at Villa Castello, Tribolo positioned a
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who had been at a loss to draw a file of figures and "foreshorten them so that they should appear all in a row, or how he could find room for them in so narrow a place. Buonarroti, feeling compassion for the poor man, took up a piece of charcoal and sketched a file of naked figures with all the
121:, where they saw some Florentine exiles at an inn, the cautious Tribolo, "the most timorous man that I have ever known, kept on saying: 'Do not look at them or talk to them, if you care to go back to Florence'" In Venice, after several days' journey, it soon appeared that
98:, he was expected to function well as a member of a team; like Buontalenti's, his name has been overshadowed by greater personalities. For example, in the 17th and 18th centuries, connoisseurs attributed to
207:, Tribolo engineered a sequence of terraces with fountains that began at the upper end in the "wild" garden— where the civilizing Medici touch had not yet been felt— with a sculpture of
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near
Florence, Grand Duke Cosimo entrusted Tribolo from 1536 with the layout of a garden that was to illustrate, with an elaborate iconological program worked out by one of Cosimo's
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the tamed water passed in linear canals to two sculptural fountains placed along the central axis. The marble bases of both were sculpted by Il
Tribolo and his assistant
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144:'s grand entrance into Florence in 1536. Diplomatic errands were also required: on Cosimo's orders, Tribolo went to Rome to induce
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160:, where he apparently designed the new stables, and in the last year of his life laid out the first axial development of the
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Niccolò di
Raffaello began as an apprentice to a woodcarver but, while still in his teens, was taken up as an assistant by
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and wall fountains, a tribute to
Tribolo's bravura as a draughtsman and a sign of Michelangelo's influence on his style.
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with bronze birds from whose beaks water once spurted, sculpted by
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tells of his trip to Venice with "Tribolino" for whose son he had stood as godfather. In
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had no present work for Niccolò, but invited him to drop in again, at his convenience.
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to return to
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A symposium on the occasion of
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Doorway reliefs, (1525–27) Basilica di San
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Web Gallery of Art: Hercules and Antaeus fountain, Villa Castello
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on the central axis: it was completed under the direction of
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Introductory information on the garden of Villa Castello
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to Florence, working on his own. In his autobiography,
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by Ammanati, and Florentia (Florence) as a classical
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377:Poggio 2000: Fortini
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