t manner, and presenting a very fine
spectacle. "This picture," says Vasari, "can scarcely be called a very
fine one, but it is nevertheless worthy of consideration as well for the
design and invention of Buffalmacco, as for the variety of vestments,
helmets, and other armor used in those times; and from which I have
myself derived great assistance in certain historical paintings,
executed for our lord, the Duke Cosmo, wherein it was necessary to
represent men armed in the ancient manner, with other accessories
belonging to that period; and his illustrious excellency, as well as all
else who have seen these works, have been greatly pleased with them;
whence we may infer the valuable assistance to be obtained from the
inventions and performances of the old master, and the mode in which
great advantages may be derived from them, even though they may not be
altogether perfect; for it is these artists who have opened the path to
us, and led the way to all the wonders performed down to the present
time, and still being performed even in these of our days."

BUFFALMACCO AND THE COUNTRYMAN.

While Buonamico was employed at Florence, a countryman came and engaged
him to paint a picture of St. Christopher for his parish church; the
contract was, that the figure should be twelve braccia in length,[B] and
the price eight florins. But when the painter proceeded to look at the
church for which the picture was ordered, he found it but nine braccia
high, and the same in length; therefore, as he was unable to paint the
saint in an upright position he represented him reclining, bent the legs
at the knees, and turned them up against the opposite wall. When the
work was completed, the countryman declared that he had been cheated,
and refused to pay for it. The matter was then referred to the
authorities, who decided that Buffalmacco had performed his contract,
and ordered the stipulated payment to be made.

[Footnote B: The braccio, (arm, cubit) is an Italian measure which
varies in length, not only in different parts of Italy, but also
according to the thing measured. In Parma, for example, the braccio for
measuring silk is 23 inches, for woolens and cottons 25 and a fraction,
while that for roads and buildings is 21 only. In Siena, the braccio for
cloth is 14 inches, while in Florence it is 23, and in Milan it is 39
inches, English measure.]

The writer of these pages, in his intercourse with artists, has met with
incidents as com