of Antonio, and had sent it to him at Rome. He set it up in his study, which was very richly adorned with antiquities and other works of art; but the room was not designed for statues or for paintings, since the windows were too low, so that the light coming from beneath spoiled the effect they would have produced under more favourable conditions. It happened one day that Bindo was standing at his door, when Michel Agnolo Buonarroti, the sculptor, passed by; so he begged him to come in and see his study. Michel Agnolo followed, and on entering the room and looking round, he exclaimed: "Who is the master who made that good portrait of you in so fine a manner? You must know that that bust pleases me as much, or even more, than those antiques; and yet there are many fine things to be seen among the latter. If those windows were above instead of beneath, the whole collection would show to greater advantage, and your portrait, placed among so many masterpieces, would hold its own with credit." No sooner had Michel Agnolo left the house of Bindo than he wrote me a very kind letter, which ran as follows: "My dear Benvenuto, I have known you for many years as the greatest goldsmith of whom we have any information; and henceforward I shall know you for a sculptor of like quality. I must tell you that Master Bindo Altoviti took me to see his bust in bronze, and informed me that you had made it. I was greatly pleased with the work; but it annoyed me to notice that it was placed in a bad light;
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at this epoch Tuscan Consul in Rome. Cellini's bust of him still exists in the Palazzo Altcviti at Rome.
