Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Buonarroto, who saw whence the defect proceeded and knew the want of judgment of Giuliano, instantly sat down again laughing, and Bugiardini, having looked many times, now at Michelagnolo and now at the portrait, finally rose to his feet and exclaimed, “To me it appears that the thing is as I have drawn it, and that what I have done is true to the life.” “In that case it must be a defect of nature,” replied Michelagnolo, “go on, and do not spare either pencils or art.”
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

It is true that this is a point in which all men are given to err, but in Giuliano the propensity passed all bounds, either because the great pains and diligence which he bestowed in the execution of his labours caused him to set a high value on the result, or for some other reason. But however this may have been, Michelagnolo used to designate Giuliano “the blessed,” because he ever appeared to be so heartily content with what he produced, while he called himself “the unhappy,” because he could never fully satisfy himself with any of his works.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

At length and after having always remained such a person as we have described, Giuliano died at the age of seventyfive years, and was buried in the church of San Marco at Florence in the year 1556. [8] Giuliano was once relating to Bronzino the circumstance of his having seen a most beautiful woman, and after Bugiardini had extolled this lady to the skies, Bronzino inquired if he knew who she was; “No,” replied Giuliano, “but she is exquisitely beautiful; figure to yourself, in short, that she is a picture executed by my hand, and then you will have the truth, that will be enough.”
Source: Wikisource

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