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(Translator: Alfred Allinson)

TO EUG�NE M�NTZ

Buonamico di Cristofano detto Buffalmacco pittore Fiorentino, il qual fu discepolo d’ Andrea Tafi, e come uomo burlevole celebrato da Messer Giovanni Boccaccio nel suo Decamerone, fu come si sa carissimo compagno di Bruno e di Calendrino pittori ancor essi faceti e piacevole, e, come si può vedere nell’ opere sue sparse per tutta Toscana, di assai buon giudizio nell’ arte sua del dipignere.

(Vite de’ più eccellenti pittori, da Messer Giorgio Vasari.–“Vita di Buonamico Buffalmacco.”)[1]

[Footnote 1: “Buonamico di Cristofano, known as Buffalmacco, a Florentine painter, the same that was pupil of Andrea Tafi, and celebrated as a burlesque character by Messer Giovanni Boccaccio in his Decameron was as we know bosom friend of Bruno and Calendrino, also painters and of an even more witty and merry humour than himself, and as may be seen in his works scattered throughout Tuscany, of no mean judgement in his art of painting.” (Lives of the most Excellent Painters by Messer Giorgio Vasari.–“Life of Buonamico Buffalmacco.”)]

I

THE COCKROACHES

In his callow youth, Buonamico Cristofani, Florentine, surnamed Buffalmacco by reason of his merry humour, served his apprenticeship in the workshop of Andrea Tafi, painter and worker-in-mosaic. Now the said Tafi was a very knowledgeable master. Sojourning at Venice in the days when Apollonius was covering the walls of San Marco with mosaics, he had discovered by means of a trick certain secrets the Greek craftsmen were for keeping sedulously to themselves. Returning to his native city, he won so high a repute in the art of composing pictures by arranging together a countless number of little differently coloured cubes of glass, he could not supply all the demands addressed to him for works of the sort, and all day and every day, from matins to vespers, he was busy, mounted on a scaffold in some Church or other, depicting the dead Christ, or Christ in His glory, the Patriarchs and Prophets, or the history of Job or of Noah. And as he was likewise keen to paint in fresco, with pounded colours, in the manner of the Greeks, which was then the only one known, he refused himself all rest, and gave his apprentices none either. He used to tell them:

“They who like myself are in possession of noble secrets and excel in their art should keep both mind and hand ceaselessly active to carry out their enterprises, so as to win much wealth and leave a long memory behind them. And if I, old and broken down as I am, spare myself no trouble, you are bound to do your utmost to help me with all your strength, which is fresh, hearty and undiminished.”

And in order that his colours, his tesseræ of molten glass and his impastos might be all ready prepared by dawn of day, he forced the lads to rise in the middle of the night. Nothing could well be more hateful to Buffalmacco, who was in the habit of supping plentifully, and loved to run the streets at an hour when, as they say, all cats are grey. He went to bed late and slept sound, his conscience being clear enough after all. Accordingly, when Tafi’s shrill voice woke him up out of his beauty sleep, he would only turn round on his pillow and pretend to be deaf. But his master invariably persisted, and at a pinch would go into the apprentice’s room and very soon have the sheets dragged off the bed and a jug of cold water emptied over the sluggard’s head.

Poor Buffalmacco, shivering and half dressed, would away grumbling, to grind the colours in the dark, cold workroom, cudgelling his wits the while, grinding and cursing all the time, to think of some way of escaping such harsh and humiliating treatment in future. Long he sought in vain; but his mind was an active one, and one morning early a happy thought struck him.