LXXII
I had it brought at once into my studio, and began to chisel it. While I was rough-hewing the block, I made a model. But my eagerness to work in marble was so strong, that I had not patience to finish the model as correctly as this art demands. I soon noticed that the stone rang false beneath my strokes, which made me oftentimes repent commencing on it. Yet I got what I could out of the piece—that is, the Apollo and Hyacinth, which may still be seen unfinished in my workshop. While I was thus engaged, the Duke came to my house, and often said to me: "Leave your bronze awhile, and let me watch you working on the marble."
Then I took chisel and mallet, and went at it blithely. He asked about the model I had made for my statue; to which I answered: "Duke, this marble is all cracked, but I shall carve something from it in spite of that; therefore I have not been able to settle the model, but shall go on doing the best I can."
His Excellency sent to Rome post-haste for a block of Greek marble, in order that I might restore his antique Ganymede, which was the cause of that dispute with Bandinello. When it arrived, I thought it a sin to cut it up for the head and arms and other bits wanting in the Ganymede; so I provided myself with another piece of stone, and reserved the Greek marble for a Narcissus which I modelled on a small scale in wax. I found that the block had two holes, penetrating to the depth of a quarter of a cubit, and two good inches wide. This led me to choose the attitude which may be noticed in my statue, avoiding the holes and
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