Reunited at Palazzo Pitti, the mythical figure who was Bartolo’s arm for much of his life, is the picture of the dwarf Morgante, the most well-known of the five buffoons who resided at the court of Cosimo I de ‘Medici. “Thereupon, he depicted Bronzino to the Duke Cosimo, Morgante Nano, Ignudo, and the entire scene in two different ways, i.e., the front and the back of the painting, with that extravagant display of hideous appendages that has that dwarf: what painting in that genre is lovely and amazing” (Vasari, Bronzino’s life). Given that he was not permitted to hunt for larger game, the painting, which is painted on both sides, shows the dwarf as a “bird,” or bird hunter. In the two moments of action that follow, the character is seen from the front and the rear, respectively. Before going hunting, the character is shown holding an owl that is being used as bait to draw an acorn that is flying through the air. The genitalia are coated in two podaliric butterflies that were just found during the repair. proudly reveals the prey while turning to face the observer from behind. Painting a piece from several views on Bronzino, at the time of the litigation about the “comparison” (i.e., the argument over which art form is superior, painting vs. sculpture), provided the facts in response to those who argued that statuary was superior since it provided a greater variety of viewpoints. The picture is now on display at the Palatina Gallery’s Apollo room.
