He was as merciless against those who affected a haughty independence as he was full of indulgence and generosity to modest and faithful disciples. Lazy Urbano, "who would not work"[1]—and who was right, for when he did work it was to spoil, irremediably, through carelessness, the "Christ" of the Minerva—was, during an illness, the object of his paternal care.[2] He said that Michael Angelo was as "dear as the best father." Piero di Giannoto was "loved like a son." Silvio di Giovanni Cepparello, who left him to enter the service of Andrea Doria, was disconsolate and begged to be taken back. The touching story of Antonio Mini is an example of Michael Angelo's generosity towards his assistants. Mini, the one among his disciples who, according to Vasari, "was willing but had no aptitude," loved the daughter of a poor widow of Florence. At the request of his parents, Michael Angelo removed him from Florence. Antonio wished to go to France.[3] Michael Angelo made him a royal gift: "All the drawings, all the cartoons, the painting of 'Leda,'[4] and all the models which he had made for that work,
- ↑ Vasari describes Michael Angelo's assistants as follows: "Piero Urbano of Pistoia possessed intelligence, but would never take pains, while Antonio Mini, though willing, had not the aptitude, for hard wax does not take a good impression. Ascanio della Ripa Transone worked hard, but never realised anything in works or designs …"
- ↑ Michael Angelo grew anxious over his slightest ailments. He took an interest in a cut which Urbano had made on his finger. He saw that he carried out his religious duties. "Go to confession," he said, "work well, look after the house …" ("Letters," March 29, 1518).
- ↑ There had already been a question of Antonio Mini going to France, but with Michael Angelo, after his flight from Florence in 1529.
- ↑ The picture painted during the siege for the Duke of Ferrara, but which he refused to give to him because the Duke's ambassador had shown a lack of respect for him.
