Michelangelo had some reason to be jealous of Bandinelli, who exercised considerable influence at the Medicean court, and was an unscrupulous enemy both in word and deed.  A man more widely and worse hated than Bandinelli never lived.  If any piece of mischief happened which could be fixed upon him with the least plausibility, he bore the blame.  Accordingly, when Buonarroti’s workshop happened to be broken open, people said that Bandinelli was the culprit.  Antonio Mini left the following record of the event:  “Three months before the siege, Michelangelo’s studio in Via Mozza was burst into with chisels, about fifty drawings of figures were stolen, and among them the designs for the Medicean tombs, with others of great value; also four models in wax and clay.  The young men who did it left by accident a chisel marked with the letter M., which led to their discovery.  When they knew they were detected, they made off or hid themselves, and sent to say they would return the stolen articles, and begged for pardon.”  Now the chisel branded with an M. was traced to Michelangelo, the father of Baccio Bandinelli, and no one doubted that he was the burglar.

The history of Michelangelo’s Leda, which now survives only in doubtful reproductions, may be introduced by a passage from Condivi’s account of his master’s visit to Ferrara in 1529.  “The Duke received him with great demonstrations of joy, no less by reason of his eminent fame than because Don Ercole, his son, was Captain of the Signory of Florence.  Riding forth with him in person, there was nothing appertaining to the business of his mission which the Duke did not bring beneath his notice, whether fortifications or artillery.  Beside this, he opened his own private treasure-room, displaying all its contents, and particularly some pictures and portraits of his ancestors, executed by masters in their time excellent.  When the hour approached for Michelangelo’s departure, the Duke jestingly said to him:  ’You are my prisoner now.  If you want me to let you go free, I require that you shall promise to make me something with your own hand, according to your will and fancy, be it sculpture or painting.’  Michelangelo agreed; and when he arrived at Florence, albeit he was overwhelmed with work for the defences, he began a large piece for a saloon, representing the congress of the swan with Leda.  The breaking of the egg was also introduced, from which sprang Castor and Pollux, according to the ancient fable.  The Duke heard of this; and on the return of the Medici, he feared that he might lose so great a treasure in the popular disturbance which ensued.  Accordingly he despatched one of his gentlemen, who found Michelangelo at home, and viewed the picture.  After inspecting it, the man exclaimed:  ’Oh! this is a mere trifle.’  Michelangelo inquired what his own art was, being aware that men can only form a proper judgment in the arts they exercise.  The other sneered and answered:  ‘I am a merchant.’