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, 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.
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.
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.
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.
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