Lives of the Most Excellent Painters, Sculptors, and Architects/Michelagnolo Buonarroti

by Giorgio Vasari

 

THE FLORENTINE, MICHELAGNOLO BUONARROTI, PAINTER,
SCULPTOR, AND ARCHITECT.

[born 1474—died 1563.]

While the best and most industrious artists were labouring, by the light of Giotto and his followers, to give the world ensamples of such, power as the benignity of their stars and the varied character of their fantasies enabled them to command, and while desirous of imitating the perfection of Nature by the excellence of Art, they were struggling to attain that high comprehension which many call intelligence, and were universally toiling, but for the most part in vain, the Ruler of Heaven was pleased to turn the eyes of his clemency towards earth, and perceiving the fruitlessness of so many labours, the ardent studies pursued without any result, and the presumptuous self-sufficiency of men, which is farther from truth than is darkness from light, he resolved, by way of delivering us from such great errors, to send to the world a spirit endowed with universality of power in each art, and in every profession, one capable of showing by himself alone what is the perfection of art in the sketch, the outline, the shadows, or the lights, one who could give relief to Paintings, and with an upright judgment could operate as perfectly in Sculpture; nay, who was so highly accomplished in Architecture also, that he was able to render our habitations secure and commodious, healthy and cheerful, well proportioned, and enriched with the varied ornaments of art.

The Almighty Creator was also pleased to accompany the above with the comprehension of the true Philosophy and the adornment of graceful Poesy, to the end that the world might select and admire in him an extraordinary example of blamelessness in life and every action, as well as of perfection in all his works: insomuch that he might be considered by us to be of a nature rather divine than human. And as the Supreme Ruler perceived that in the execution of all these sublime arts. Painting, Sculpture, and Architecture, the Tuscan genius has ever been raised high above all others, the men of that country displaying more zeal in study, and more constancy in labour, than any other people of Italy, so did he resolve to confer the privilege of his birth on Florence, as worthy above all other cities to be his country, and as justly meriting that the perfections of every art should be exhibited to the world by means of one who should be her citizen.

In the Casentino, therefore, and in the year 1474, a son was born, under a fated and happy star, to the Signor Lodovico di Lionardo Buonarroti Simoni, who as it is said, was descended from the most noble and most ancient family of the Counts of Canossa;^[1] the mother being also a noble as well as excellent lady. Lodovico was that year Podesta, or Mayor of Chiusi-e -Caprese, near the Sasso della Vernia, where St. Francis received the Stigmata, and which is in the diocese of Arezzo. The child was born on a Sunday, the 6th of March namely, at eight of the night, and the name he received was Michelagnolo, because, without further consideration, and inspired by some influence from above, the father thought he perceived something celestial and divine in him beyond what is usual with mortals, as was indeed afterwards inferred from the constellations of his nativity, Mercury and Venus exhibiting a friendly aspect, and being in the second house of Jupiter, which proved that his works of art, whether as conceived in the spirit or performed by hand, would be admirable and stupendous.

His office, or Podesteria, having come to an end, Lodovico returned to Florence, or rather to the Villa of Settignano, about three miles from that city, where he had a farm which he had inherited from his ancestors. The place is rich in stone, more especially in quarries of the macigno, which are constantly worked by stone-cutters and sculptors, for the most part natives of the place, and here Michelagnolo was given to the wife of a stone-cutter to be nursed. Wherefore, jesting with Vasari one day, Michelagnolo once said, “Giorgio, if I have anything good in me, that comes from my birth in the pure air of your country of Arezzo, and perhaps also from the fact that with the milk of my nurse, I sucked in the chisels and hammers wherewith I make my figures.”

Lodovico had many children, and as he possessed but slender revenues, he placed his sons as they grew up with wool and silk weavers. When Michelagnolo had attained the proper age he was sent to the school of learning kept by Messer Francesco of Urbino; but the genius of the boy disposing him to drawing, he employed his leisure secretly in that occupation, although reproached for it, and sometimes beaten by his father and other elders, they, perhaps, not perceiving his ability, and considering the pursuit he had adopted an inferior one and unworthy of their ancient family.

At this time Michelagnolo formed a friendship with Francesco Granacci, who, although also but a boy, had placed himself with Domenico Ghirlandajo to learn the art of painting; and being fond of Michelagnolo, Granacci supplied him daily with the designs of Ghirlandajo, who was then reputed one of the best masters, not in Florence only but through all Italy. The desire of Michelagnolo for art thus increased from day to day, and Ludovico, finding it impossible to divert him from his drawings, determined to try if he could not derive benefit from this inclination, and being advised by certain friends, he decided on placing him with Domenico Ghirlandajo.

Michelagnolo was now fourteen years old. His life has been written^[2] since this book of mine was first published, by one who affirms that, for want of sufficient intercourse with him, many things have been related by me which are not true, and others omitted which should have been told, more especially respecting this point of time; Domenico Ghirlandajo, for example, being accused of base envy by the said writer, and declared to have given Michelagnolo no assistance in his studies. Bui that this is indeed false may be shown by certain entries which Lodovico the father of Michelagnolo, wrote with his ov/n hand in one of Domenico’s books, which book is now in the possession of his heirs: the words in question are these:—“1488, I acknowledge and record, this 1st day of April, that I, Lodovico di Lionardo di Buonarroti have engaged Michelagnolo my son to Domenico and David di Tommaso di Currado, for the three years next to come, under the following conditions: That the said Michelagnolo shall remain with the above-named during all the said time, to the end that they may teach him to paint and to exercise their vocation, and that the abovenamed shall have full command over him, paying him in the course of these three years twenty-four florins, as wages, in the first six namely, in the second eight, and in the third ten, being in all ninety-six lira.” Beneath this entry is the following, also written by Lodovico: “The above-named Michelagnolo has received two florins in gold this sixteenth day of April. I, his father, Lodovico di Lionardo, having received twelve lira and twelve soldi on his account.” These entries I have copied from the book itself, to show that what I then wrote, as well as what I now propose to write, is the truth, nor do I know any one that has had more intercourse with Michelagnolo than myself, or who has been more truly his friend or a more faithful servant to him than I have been; neither do I believe that any man can show a greater number of letters by his hand than he has written to me, or any written with more affection. This digression I have made for the sake of truth, and it shall suffice for all the rest of the Life. We will now return to the history.

The ability as well as the person of Michelagnolo increased to such an extent, that Domenico was amazed thereat, since it appeared to him that Michelagnolo not only surpassed his other disciples, of whom he had a large number, but even equalled himself, who was the master. One day for example, as one of Domenico’s disciples had copied with the pen certain draped female figures by Ghirlandajo, Michelagnolo took that sheet, and with a broader pen he passed over one of those women with new lines drawn in the manner which they ought to have been in order to produce a perfect form. A wonderful thing it was then to see the difference of the two, and to observe the ability and judgment of one who, though so young, had yet so much boldness as to correct the work of his master. This sheet I now keep as a relic, having obtained it from Granacci, to put it in my book of designs with other drawings by Michelagnolo. And in the year 1550, being in Dome, I showed it to Michelagnolo, who knew it at once and was rejoiced to see it again, but remarked out of his modesty, that he knew more when he was a boy than at that time when he had become old.

Now it chanced that when Domenico was painting the great Chapel of Santa Maria Novella, he one day went out, and Michelagnolo then set himself to draw the scaffolding, with some tressels, the various utensils of the art, and some of those young men who were then working there. Domenico having returned and seen the drawing of Michelagnolo, exclaimed, “This boy knows more than I do,” standing in amaze at the originality and novelty of manner which the judgment imparted to him by Heaven had enabled a mere child to exhibit; for the work was, in truth, rather such as might have fully satisfied the artist, had it been performed by the hand of an experienced master. But if it was possible to Michelagnolo to effect so much, that happened. because all the gifts of nature were in him enhanced, and strengthened by study and exercise, wherefore he daily produced works of increased excellence, as began clearly to be made manifest in the copy which he made of a plate engraved by the German Martino,^[3] and which procured him a very great name. This engraving was one which had just then been brought to Florence, and represented St. Anthony tormented by devils. It is a copper-plate, and Michelagnolo copied it with a pen, in such a manner as had never before been seen. He painted it in colours also; and, the better to imitate the strange forms of some among those devils, he bought fish which had scales somewhat resembling those on the demons; in this painted copy also he displayed so much ability that his credit and reputation were greatly increased thereby. He likewise copied plates from the hands of many old masters, in such sort that the copies could not be distinguished from the originals, for Michelagnolo had tinged and given the former an appearance of age with smoke and other things, so that he had made them look old, and when they were compared with the original, no difference could be perceived. All this he did, that he might give his own copies in the place of the old works which he desired to possess from the hand of their authors, admiring in them the excellence of art and seeking to surpass them, when engaged in the execution of his own works; by which he acquired a very great name.

Lorenzo the Magnificent retained at that time the Sculptor Bertoldo at his garden on the Piazza, not so much as Curator and Guardian of the many fine antiquities collected there at great cost, as because Lorenzo desired to form a good School of Painters and Sculptors; wherefore he wished that the students should have for their chief, and guide the abovenamed Bertoldo, who had been a disciple of Donato. It is true that he was old and could not work, but he was an able and highly reputed artist, not only for the ability and diligence which he had shown in polishing the bronze pulpits of Donato his master, but also for the numerous casts in bronze of battle-pieces and other smaller works, which he had executed for himself, and in the treatment of which there was then no one in Florence who could surpass him. Having a true love for art, Lorenzo grieved that in his time there should be found no great and noble sculptors who could take rank with the many painters of high fame and merit then existing, and he resolved, as I have said, to form a School. To this end he requested Domenico Ghirlandajo to send to the garden any youth whom he might find disposed to the study of sculpture, when Lorenzo promised to provide for his progress, hoping thus to create, so to speak, such artists as should do honour to his city.

By Domenico, therefore, were presented to him among others, Michelagnolo and Francesco Granacci, as excellent for this purpose. They went to the garden accordingly, and found there Torrigiano, a youth of the Torrigiani family, who was executing in terra certain figures in full relief which Bertoldo had given him. Seeing this, and aroused to emulation, Michelagnolo began to attempt the same; when Lorenzo, perceiving his fine abilities, conceived great hope of his future success, and he, much encouraged, took a piece of marble, after having been there but a few days, and set himself to copy the head of an old Fawn from the antique. The nose of the original was much injured, the mouth was represented laughing, and this Michelagnolo, who had never before touched the chisel or marble, did in fact copy in such a manner, that the Magnifico was utterly amazed. Lorenzo, furthermore, perceived that the youth had departed to a certain extent from the original, having opened the mouth according to his own fancy, so that the tongue and all the teeth were in view; he then remarked in a jesting manner to the boy, ‘‘Thou shouldst have remembered that old folks never retain all their teeth, some of them are always wanting.” Michelagnolo, who loved that Signore, as much as he respected him, believed in his simplicity that Lorenzo had spoken in earnest, and no sooner saw his back turned than he broke out a tooth, filing the gum in such sort as to make it seem that the tooth had dropped out,^[4] he then waited impatiently the return of the Signor. When the latter saw what was done he was much amazed, and often laughed at the circumstance with his friends, to whom he related it as a marvel, resolving meanwhile to assist Michelagnolo and put him forward.

He sent for Lodovico, therefore, requesting the latter to entrust the youth to his care, and saying that he would treat him as a son of his own, to which Lodovico consented gladly; when Lorenzo gave orders that a room in his own house should be prepared for Michelagnolo, and caused him to eat at his own table with his sons and other persons of worth and quality. This was in the second year of Michelagnolo’s engagement with Domenico, and when the youth was fifteen or sixteen years old; he remained in the house of Lorenzo the Magnificent four years, to the death of Lorenzo namely, which took place in 1492. During all this time Michelagnolo received from the Magnifico an allowance of five ducats per month, and was furthermore presented for his gratification with a violet-coloured mantle; his father, likewise, had an office in the Customs conferred on him. But indeed all the young men who studied in the garden received stipends of greater or less amount from the liberality of that magnificent and most noble citizen, being constantly encouraged and rewarded by him while he lived.

At this time and by the advice of Politiano, Michelagnolo executed a Battle of Hercules with the Centaurs in a piece of marble given to him by Lorenzo, and which proved to be so beautiful, that whosoever regards this work can scarcely believe it to have been that of a youth, but would rather suppose it the production of an experienced master. It is now in the house of his family,^[5] and is preserved by Michelagnolo’s nephew Lionardo, as a memorial of him, and as an admirable production, which it certainly is. Not many years since, this same Lionardo had a basso-rilievo of Our Lady, also by Michelagnolo, and which he kept as a memorial of his uncle; this is of marble and somewhat more than a braccia liigh; our artist was still but a youth when it was done, and designing to copy the manner of Donatello therein, he has succeeded to such an extent that it might be taken for a work by that master, but exhibits more grace and higher powers of design than he possessed. That basso-rilievo was afterwards given by Lionardo to Duke Cosimo,^[6] by whom it is highly valued, and the rather as there is no other bassorilievo by his hand.

But to return to the garden of Lorenzo the Magnificent. Of this place, adorned with valuable antiques and excellent pictures, collected there for study and pleasure, Michelagnolo had the keys, and proved himself more careful as well as more prompt in all his actions than any of the other young men who frequented the place, giving proof of boldness and animation in all that he did. He laboured at the pictures of Massaccio in the Carmine also for many months, copying them with so much judgment that the artists were amazed thereat; but envy now increased with his fame; respecting this we find it related that Torrigiano, having formed an intimacy with Michelagnolo, and becoming envious of his distinction in art, one day, when jeering our artist, struck him so violent a blow in the face that his nose was broken and crushed in a manner from which it could never be recovered, so that he was marked for life; whereupon Torrigiano was banished Plorence as we have before related.

On the death of Lorenzo, Michelagnolo returned to his father’s house in great sorrow for his loss; here he bought a large piece of marble from which he made a Hercules, four braccia high, which was much admired, and after having remained for some years in the Strozzi Palace, was sent to France, in the year of the siege, by Giovan Battista della Palla. It is said that Piero de’ Medici, the heir of Lorenzo, who had been long intimate with Michelagnolo, often sent for him when about to purchase cameos or other antiques; and that, one winter, when much snow fell in Florence, he caused Michelagnolo to make in his court a Statue of Snow, which was exceedingly beautiful.^[7] His father, seeing him thus honoured for his abilities, and beginning to perceive that he was esteemed by the great, now began to clothe him in a more stately manner than he had before done.

For the Church of Santa Spirito, in Florence, Michelagnolo made a Crucifix in wood, which is placed over the lunette of the High Altar,.^[8] This he did to please the Prior, who had given him a room wherein he dissected many dead bodies, and, zealously studying anatomy, began to give evidence of that perfection to which he afterwards brought his design. Some weeks before the Medici were driven from Plorence, Michelagnolo had gone to Bologna, and thence to Venice, having remarked the insolence and bad government of Piero, and fearing that some evil would happen to himself, as a servant of the Medici: but finding no means of existence in Venice, he returned to Bologna, where he had the misfortune to neglect the countersign, which it was needful to take at the gate, if one desired to go out again; Messer Giovanni Bentivogli having then commanded that all strangers, who had not this protection, should be fined fifty Bolognese lira.^[9] This fine Michelagnolo had no means of paying, but he having, by chance, been seen by Messer Giovan Prancesco Aldovrandi, one of the sixteen members of the government, the latter, making him tell his story, delivered him from that peril, and kept him in his own house for more than a year.^[10] One day, Aldovrandi took him to see the Tomb of San Domenico, which is said to have been executed by the old sculptors, Giovanni Pisano^[11] and Maestro Niccolò delF Area: here, as it was found that two figures, of a braccio high, a San Petronio, and an Angel holding a candlestick namely, were wanting, Aldovrandi asked Michelagnolo if he had courage to undertake them, when he replied that he had; and having selected a piece of marble, he completed them in such sort that they are the best figures of the work, and he received thirty ducats for the two. He remained, as we have said, a year with Aldovrandi, and to have obliged him would have remained longer, the latter being pleased with his ability in design, and also with his Tuscan pronunciation in reading, listening with pleasure while Michelagnolo read the works of Dante, Petrarch, Boccaccio, and other Tuscan authors. But our artist, knowing that he was losing time at Bologna, returned to Florence,^[12] where he executed a San Giovanni in marble for Lorenzo di Pier Francesco de’ Medici; after which he commenced a Sleeping Cupid, also in marble and the size of life. This being finished was shown as a fine work, by means of Baldassare del Milanese to Pier-Francesco, who having declared it beautiful, Baldassare then said to Michelagnolo, “I am certain that, if you bury this Statue for a time, and then send it to Pome so treated, that it may look old, you may get much more for it than could be obtained hereand this Michelagnolo is said to have done, as indeed he very easily could, that or more, but others declare that it was Milanese who, having taken this Cupid to Borne, there buried it, and afterwards sold it as an antique to the Cardinal San Giorgio for two hundred crowns. Others again affirm that the one sold to San Giorgio was made by Michelagnolo for Milanese who wrote to beg that Pier-Francesco^[13] would give Michelagnolo thirty crowns, declaring that sum to be all he had obtained for it, thus deceiving both him and Michelagnolo.

Cardinal San Giorgio had, meanwhile, discovered that the Cupid had been made in Florence, and having ascertained the whole truth, he compelled Milanese to return the money and take back the Statue, which, having fallen into the hands of the Duke Valentino, was presented by him to the Marchioness of Mantua, who took it to that city, where it is still to be seen.^[14] San Giorgio, meanwhile, incurred no small ridicule and even censure in the matter, he not having been able to appreciate the merit of the work; for this consisted in its absolute perfection, wherein, if a modern work be equal to the ancient, wherefore not value it as highly? for is it not a mere vanity to think more of the name than the fact? But men who regard the appearance more than the reality, are to be found in all times.

The reputation of Michelagnolo increased greatly from this circumstance, and he was invited to Borne, where he was engaged by the Cardinal San Giorgio, with whom he remained nearly a year, but that Prelate, not understanding matters of art, did nothing for him.

At that time a Barber of the Cardinal, who had been a painter, and worked tolerably in fresco, but had no power of design, formed an acquaintance with Michelagnolo, who made him a Cartoon of St. Francis receiving the Stigmata, and this was painted by the Barber very carefully; it is now in the first Chapel of the Church of San Pietro, in Montorio.^[15] The ability of Michelagnolo was, however, clearly perceived by Messer Jacopo Galli, a Roman gentleman of much judgment, who commissioned him to make a Cupid, the size of life, with a Bacchus of ten palms high; the latter holds a Tazza in the right hand, and in the left he has the skin of a Tiger, with a bunch of grapes which a little Satyr is trying to nibble away from him. In this figure the artist has evidently brought to mingle beauties of a varied kind, labouring to exhibit the bold bearing of the youth united to the fulness and roundness of the female form;^[16] and herein did he prove himself to be capable of surpassing the statues of all other modern masters.

During his abode in Rome, Michelagnolo made so much progress in art, that the elevation of thought he displayed, with the facility with which he executed works in the most difficult manner, was considered extraordinary, by persons practised in the examination of the same, as well as by those unaccustomed to such marvels, all other works appearing as nothing in the comparison with those of Michelagnolo. These things caused the Cardinal Saint Denis, a Frenchman, called Rovano,^[17] to form the desire of leaving in that renowned city some memorial of himself by the hand of so famous an artist. He therefore commissioned Michelagnolo to execute a Pieta of marble in full relief; and this when finished, was placed in San Pietro, in the Chapel of Santa Maria della Febbre namely, at the Temple of Mars.^[18] To this work I think no sculptor, however distinguished an artist, could add a single grace, or improve it by whatever pains he might take, whether in elegance and delicacj, or force, and the careful perforation of the marble, nor could any surpass the art which Michelagnolo has here exhibited.

Among other fine things may be remembered—to say nothing of the admirable draperies — that the body of the Dead Christ exhibits the very perfection of research in .every muscle, vein, and nerve, nor could any corpse more completely resemble the dead than does this There is besides a most exquisite expression in the countenance, and the limbs are affixed to the trunk in a manner that is truly perfect; the veins and pulses, moreover, are indicated with so much exactitude, that one cannot but marvel how the hand of the artist should in a short time have produced such a work, or how a stone which just before was without form or shape, should all at once display such perfection as Nature can but rarely produce in the flesh.^[19] The love and care which Michelagnolo had given to this group were such that he there left his name—a thing he never did again for any work—on the cincture which girdles the robe of Our Lady; for it happened one day that Michelagnolo, entering the place where it was erected, found a large assemblage of strangers from Lombardy there, who were praising it highly; one of these asking who had done it, was told “Our Hunchback of Milan hearing which, Michelagnolo remained silent, although surprised that his work should be attributed to another. But one night he repaired to Saint Peter’s with a light and his chisels, to engrave his name as we have said on the figure, which seems to breathe a spirit as perfect as her form and countenance, speaking as one might think in the following words:—

Beauty and goodness, piety and grief,
Dead in the living marble. Weep not thus;
Be comforted, time shall awake the dead.
Cease then to weep with these unmeasured tears.
Our Lord, and thine, thy father, son, and spouse.
His daughter, thou his mother and sole bride.^[20]

From this work then Michelgnolo acquired great fame; certain dullards do indeed affirm that he has made Our Lady too young, but that is because they fail to perceive the fact that unspotted maidens long preserve the youthfulness of their aspect, while persons afflicted as Christ was do the contrary; the youth of the Madonna, therefore, does but add to the credit of the master.

Michelagnolo now received letters from friends in Florence advising him to return, since he might thus obtain that piece of marble which Pier Soderini, then Gonfaloniere the city, had talked of giving to Leonardo da Vinci, but was now preparing to present to Andrea dal Monte Sansavino, an excellent sculptor who was making many efforts to obtain it. It was difficult to get a statue out of it without the addition of several pieces, and no one, Michaelagnolo excepted, had the courage to attempt it; but he, who had long wished for the block, no sooner arrived in Florence than he made every effort to secure the same. Tliis piece of marble was nine braccia high, and unluckily, a certain Maestro Simone da Fiesole^[21] had commenced a colossal figure thereon; but the work had been so grievously injured that the Superintendents had suffered it to remain in the House of Works at Santa Maria del Fiore for many years, without thinking of having it finished, and there it seemed likely to continue.

Michelagnolo measured the mass anew to ascertain what sort of figure he could draw from it, and accommodating himself to the attitude demanded by the injuries which Maestro Simone had inflicted on it, he begged it from the Superintendents and Soderini, by whom it was given to him as a useless thing, they thinking that whatever he might make of it must needs be preferable to the state in which it then lay, and wherein it was totally useless to the fabric. Michelagnolo then made a model in wax, representing a young David, with the sling in his hand, as the ensigns of the Palace, and to intimate that, as he had defended his people and governed justly, so they who were then ruling that city should defend it with courage and govern it uprightly.

He commenced his labours in the House of Works, at Santa Maria del Fiore, where he formed an enclosure of planks and masonry, which surrounded the marble; there he worked perpetually, permitting no one to see him until the figure was brought to perfection. The marble having been much injured by Simone, did not entirely suffice to the wishes of Michelagnolo, wdio therefore permitted some of the traces of Simone’s chisel to remain; these may be still perceived,^[22] and certainly it was all but a miracle that Michelagnolo performed, when he thus resuscitated one who was dead.

When the Statue was completed, there arose much discussion as to how it should be transported to the Piazza de’ Signori, but Giuliano da Sangallo, and Antonio his brother, made a strong frame-work of wood, and, suspending the figure to this by means of ropes, to the end that it might be easily moved, they thus got it gradually forwards with beams and windlasses, and finally placed it on the site destined to receive the same. The knot of the rope which held the Statue was made in such sort that it ran easily, but became tighter as the weight increased, a beautiful and ingenious arrangement, which I now have in my book of designs: a secure and admirable contrivance it is for suspending great weights.^[23]

When the Statue was set up, it chanced that Soderini, whom it greatly pleased, came to look at it while Michelagnolo was retouching it at certain points, and told the artist that he thought the nose too short. Michelagnolo perceived that Soderini was in such a position beneath the figure, that he could not see it conveniently, yet to satisfy him, he mounted the scaffold with his chisel and a little powder gathered from the floor in his hand, when striking lightly with the chisel, but without altering the nose, he suffered a little of the powder to fall, and then said to the Gonfaloniere who stood below, “Look at it now.” I like it better now,” replied Piero; “you have given it life.” Michelagnolo then descended, not without compassion for those who desire to appear good judges of matters whereof they know nothing. The work fully completed, Michelagnolo gave it to view, and truly may we affirm that this Statue surpasses all others whether ancient or modern, Greek or Latin; neither the Marforio at Rome, the Tiber and the h^ile in the Belvedere, nor the Giants of Monte Cavallo, can be compared with it, to such perfection of beauty and excellence did our artist bring his work. The outline of the lower limbs is most beautiful. The connexion of each limb with the trunk is faultless, and the spirit of the whole form is divine: never since has there been produced so fine an attitude, so perfect a grace, such beauty of head, feet, and hands; every part is replete with excellence; nor is so much harmony and admirable art to be found in any other work. He that has seen this, therefore, need not care to see any production besides, whether of our own times or those preceding it. For this Statue, Michelagnolo received from Soderini the sum of four hundred crowns; it was placed on its pedestal in the year 1504, and the glory resulting to the artist therefrom became such as to induce the Gonfaloniere to order a David in bronze, which, when Michelagnolo had completed, was sent to France.^[24]

About the same time our artist commenced, but did not finish, two Medallions in marble, one for Taddeo ‘Taddei, which is now in his house;^[25] the other for Bartolommeo Pitti, which was presented to Luigi Guicciardini^[26] by Fra Miniato Pitti of Monte Oliveto his great friend, and whose acquaintance with Painting as well as with Cosmography and other sciences, is very extensive. ‘These works also obtained high approbation, as did likewise a marble Statue of St. Matthew, which Michelagnolo then sketched for the Superintendents of Works to Santa Maria del Fiore, and which, merely sketched as it is, gives clear evidence of the perfection to which the finished performance would have attained, and serves well to teach the Sculptor how figures are to be drawn from the marble in such sort that they shall not prove abortions, and also in a manner which leaves to the judgment all fitting opportunity for such alterations and ameliorations as may subsequently be demanded.^[27]

About this time Michelagnolo cast a Madonna in bronze for certain Flemish merchants called Moscheroni, persons of much account in their own land, and who paid him a hundred crowns for his work, which they sent into Flanders. The Florentine citizen, Agnolo Doni, likewise desired to have some production from the hand of Michelagnolo, who was his friend, and he being, as we have before said, a great lover of fine works in art, whether ancient or modern; wherefore Michelagnolo began a circular painting of Our Lady for him; she is kneeling, and presents the Divine Child, which she holds in her arms, to Joseph, who receives him to his bosom. Here the artist has finely expressed the perfection of delight with which the mother regards the beauty of her Son, and which is clearly manifest in the turn of her head and fixedness of her gaze: equally obvious is her wish that this contentment shall be shared by that pious old man who receives the babe with infinite tenderness and reverence. Nor did this suffice to Michelagnolo, since the better to display his art, he has assembled numerous undraped figures in the back-ground of his picture, some upriglit, some half recumbent, and others seated.^[28] The whole work is, besides, executed with so much care and finish, that of all his pictures, which indeed are but few, this is considered the best.^[29]

When the picture was completed, Michelagnolo sent it, still uncovered, to Agnolo Doni’s house, with a note demanding for it a payment of sixty ducats. But Agnolo, who was a frugal person, declared that a large sum to give for a picture, although he knew it was worth more, and told the messenger that forty ducats which he gave him was enough. Hearing this, Michelagnolo sent back his man to say that Agnolo must now send a hundred ducats or give the picture back; whereupon Doni, who was pleased with the work, at once offered the sixty first demanded. But Michelagnolo, offended by the want of confidence exhibited by Doni, now declared that if he desired to have the picture, he must pay a hundred and forty ducats for the same, thus compelling him to give more than double the sum first required.

When the renowned painter, Leonardo da Yinci, was painting in the Great Hall of the Council, as we have related in his Life, Piero Soderini, who was then Gonfaloniere, moved by the extraordinary ability which he perceived in Michelagnolo, caused him to be entrusted with one portion of that Hall,^[30] when our artist finished a façade (whereon he represented the War of Pisa), in competition with Leonardo. Por this work Michelagnolo secured a room in the Hospital of the Dyers at Sant’ Onofrio; and here he commenced a very large Cartoon, but would never permit any one to see it in progress. The work exhibited a vast number of nude figures bathing in the Piver Arno, as men do in hot days, and at this moment the enemy is heard to be attacking the Camp. The soldiers who were bathing, spring forth in haste to seize their arms, which many are portrayed by the divine hand of Michelagnolo as hurriedly doing. Some are affixing their cuirasses or other portions of their armour, while others are already mounted and commencing the battle on horseback.

Among the figures in this work was that of an old man who, to shelter himself from the heat, has wreathed a garland of ivy round his head, and, seated on the earth, is labouring to draw on his stockings, but is impeded by the humidity of his limbs. Hearing the sound of the drums and the cries of the soldiers, he is struggling violently to get one of the stockings on, the action of the muscles and distortion of the mouth evince the zeal of his efforts, and prove him to be toiling all over, even to the points of his feet. There were drummers, and other figures also, hastening to the Camp with their clothes in their arms, all displaying the most singular attitudes; some were standing, others kneeling or stooping forward, or half-suspended between all these positions; some were falling down, others springing high in the air and exhibiting the most difficult foreshortenings. There were innumerable groups besides, all sketched in different manners, some of the figures being merely outlined in charcoal, others shaded off, some with the features clearly defined, and lights thrown in, Michelagnolo desiring to show the extent of his knowledge in that vocation; and of a truth the artists were struck with amazement, perceiving, as they did, that the master had in that Cartoon laid open to them the very highest resources of art: nay, there are some who still declare that they have never seen anything equal to that work, either from his own hand or that of any other, and they do not believe that the genius of any other man will ever more attain to such perfection. Nor does this appear to be exaggerated, since all who have designed from and copied that Cartoon (as it was the habit for both natives and strangers to do), have finally become excellent in Art.

As proof of this, may be cited Aristotele da Sangallo, the friend of Michelagnolo, Ridolfo Ghirlandajo; Raffaello Sanzio da Urbino; Francesco GranUccio; Baccio Bandinelli; and the Spaniard, Alonzo Berughetta.^[31] These were followed by Andrea del Sarto; Franciabigio; Jacopo Sansovino; 11 Rosso; Maturino; Lorenzetto; and Tribolo, who was at that time but a child; with Jacopo da Pontormo, and Perino del Vaga, all of whom were excellent masters.

The Cartoon having thus become a study for artists, was removed to the great Hall of the Medici Palace, but this caused it to be left with too little caution in the hands of the artists; insomuch that, at the time of Giuliano’s sickness, and when no one was thinking of such things, it was torn to pieces, as we have before related,^[32] and scattered over different places, among others in Mantua, where certain fragments are still to be seen in the house of M. Uberto Strozzi, a Mantuan gentleman, by whom they are preserved with great reverence, as indeed they well deserve to be; for in looking at them one cannot but consider them rather of divine than merely human origin.^[33]

The fame of Michelagnolo had now, by his Pietà, by the Colossal Statue in Florence, and by his Cartoon, become so much bruited abroad, that in 1503, when our artist was about twenty-nine years old, he was invited to Pome with great favour by Julius II., who had succeeded Alexander VI. on the papal throne. Here His Holiness, who had caused one hundred crowns to be paid to Michelagnolo by his agents for travelling expenses, commissioned him to prepare his Sepulchral Monument, but he had been several months in Rome before he was directed to make any commencement. Finally, it was determined that a design which he had made for that Tomb, should be adopted, and this work also bore ample testimony to the genius of the Master, seeing that, in beauty, magnificence, superb ornament, and wealth of statues, it surpassed every other sepulchre, not excepting the Imperial tombs, or those of antiquity. Encouraged by this success, Pope Julius ultimately determined to rebuild the Church of San Pietro, for the purpose of worthily installing the monument above-mentioned within it, as has been related elsewhere.

Michelagnolo then set hand to his work with great spirit, repairing for that purpose, with two of his disciples, to Carrara, to superintend the excavation of the marbles, having first received one thousand crowns in Florence from Alamanno Salviati, on account of those works.

In those mountains, then, he spent eight months without receiving any additional stipend or supplies of any kind, amusing himself meanwhile by planning all manner of immense figures to be hewn in those rocks, in memorial of himself, as did certain of the ancients, invited thereto by the vast masses before him. Having finally selected all that he required, he loaded them on ships, which he despatched to Rome, where they filled the entire half of the Piazza, which is towards Santa Caterina, and the whole space between the church and the corridor leading to the Castello, where Michelagnolo had his studio, and where he prepared the Statues and all other things needful for the Tomb. And to the end that His Holiness might come conveniently to see the artist at work, there was a drawbridge constructed between the corridor and the studio, a circumstance which gave rise to so close an intimacy, that the favourable notice thus bestowed on Michelagnolo having awakened great envy among the artists of his own calling, occasioned him much vexation and even persecution. Of this work, Michelagnolo finished four Statues and commenced eight others, either during the life or after the death of Pope Julius; and as the arrangements made for this work give proof of extraordinary powers of invention, we will here describe the principal features thereof.

For the greater magnificence of the efiect, it was decided that the tomb should be wholly isolated, a passage remaining entirely around it, the fabric being eighteen braccia in extent on two sides, and twelve on the other two, the dimensions thus presenting a square and a half: a range of niches passed entirely around it, and these were interchanged by terminal figures, clothed from the middle upwards, and bearing the first cornice on their heads, while to every one was bound a captive in a strange distorted attitude, the feet of these prisoners resting on the projection of a socle or basement. These captives were intended to signify the Provinces subjugated by Pope Julius, and brought by him into the obedience of the apostolic Church. There were other statues, also bound, and these represented the Fine Arts and liberal Sciences, which were thus intimated to be subjected to death no less than was that Pontiff, by whom they had been so honourably protected. On the angles of the first cornice were four large figures, representing Active Life and Contemplative Life, with St. Paul and Moses.^[34]

Above the cornice the fabric gradually diminished, exhibiting a frieze of stories in bronze, with figures of angels in the form of boys, and other ornaments around them; and over all, at the summit of the work, were two figures, one of which, having a smiling aspect, represented Heaven, and bore a bier on the shoulder: the other represented Cybele, who appeared to be weeping at her misfortune of being compelled to remain in a world deprived of all genius by the death of so great a man, while Heaven was smiling, because his soul had passed to the celestial regions. The fabric was so arranged that a free passage remained between the niches, the spectator passing in or out by the ends of the quadrangular edifice, which was of an oval form, and resembled a temple in that part destined to receive the dead body of Julius. Finally, there were to be added forty statues in marble, to say nothing of the numerous stories, angels, and other ornaments, or of the richly carved cornices and architectural decorations.

To forward the progress of the work, moreover, Michelagnolo had arranged that a portion of the marbles should be sent to Florence, where it was his custom to pass a part of the summer, by way of avoiding the malaria of Rome, and where he did in fact complete the several pieces required for one entire side of the monument. In Rome also he finished two of the captives, which were indeed divine, with some other statues, so good that better have never been seen. But as these figures were not used for the Tomb, Michelagnolo afterwards gave the two captives above-mentioned to the Signor Roberto Strozzi, in whose house he lay sick, and by whom they were sent to King Francis. They are now at Cevan^[35],in France. Our artist likewise commenced eight Statues in Rome with five in Florence, and finished a figure of Victory, with a prisoner lying beneath her feet. This is now in the possession of Duke Cosimo, to whom the group was presented by Leonardo, the nephew of Michelagnolo, and who has placed it in the Great Hall of his Palace painted by Vasari.^[36]

The Moses, in marble, five braccia high, was also completed by Michelagnolo, and never will any modern work approach the beauty of this statue; nay, one might with equal justice affirm, that of the ancient statues none is equal to this. Seated in an attitude of imposing dignity, the Lawgiver rests one arm on the Tables, and with the other restrains the flowing beard, that, descending softly, is so treated as to exhibit the hair (which presents so great a ditflculty in sculpture) soft, downy, and separated, hair from hair, in such sort, as might appear to be impossible, unless the chisel had become a pencil. The countenance is of the most sublime beauty, and may be described as that of a truly sacred and most mighty prince; but to say nothing of this, while you look at it, you would almost believe the figure to be on the point of demanding a veil wherewith to conceal that face, the beaming splendour of which is so dazzling to mortal gaze. So well, at a word, has the artist rendered the divinity which the Almighty had imparted to the most holy countenance of that great Lawgiver. The draperies also are most effectively raised from the marble ground, and are finished with beautiful foldings of the edges: the muscles of the arms, with the anatomical development and nerves of the hands, are exhibited to the utmost perfection; and the same may be said of the lower limbs, which, with the knees and feet, are clothed in admirably appropriate vestments. At a word, the sculptor has completed his work in such sort that Moses may be truly affirmed more than ever now to merit his name of the friend of God.^[37] Nay, the Jews are to be seen every Saturday, or on their Sabbath, hurrying like a flight of swallows, men and women, to visit and worship this figure, not as a work of the human hand, but as something divine.^[38]

Having at length made all his preparations, and approached the conclusion of the same, Michelagnolo erected one portion of the Tomb, the shorter sides namely, at San Pietro in Vincola. It is said that while he was employed on that operation, a certain part of the marbles arrived from Carrara, where they had been suffered to remain, and as it was necessary to pay those who had delivered them, our artist repaired to the Pope, as was his custom. But finding His Holiness engaged with important intelligence just received from Bologna, he returned home, and paid with his own money, expecting to receive the order for it from the Pontiff immediately. He went to the palace a few days after therefore, but was again desired to wait and take patience, by a groom of the chambers, who affirmed that he was forbidden to admit him. A Bishop who stood near observed to the attendant that he was perhaps unacquainted with the person of the man whom he refused to admit; but the groom replied that he knew him only too well. “I, however,” he added, am here to do as my superiors command, and to obey the orders of the Pope.” Displeased with this reply, the master departed, bidding the attendant tell His Holiness when next he should inquire for Michelagnolo, that he had gone elsewhere. He then returned to his dwelling, and ordering two of his servants to sell all his moveables to the Jews, and then follow him to Plorence, he took post-horses that same night, and left Rome.

Arrived at Poggibonsi, a town on the road to the firstnamed city, in the Florentine territory, and consequently in a place of safety, the master made a halt; five couriers followed him one after another with letters from the Pope, and orders to convey him back, but no entreaty and no threat of the disgrace that would await him in case of refusal, would induce him to return. He was, however, finally prevailed on to write in reply, when he declared that His Holiness must excuse his returning to his presence, which he was resolved not to do, seeing that he, Julius, had driven him forth like a worthless person, which was a mode of treatment that his faithful service had not merited; he added that the Holy Father might seek elsewhere for some one who should serve him better.

Having reached Florence, Michelagnolo set himself to complete the Cartoon for the Great Hall, at which he worked during the three months of his stay in the city, Piero Soderini, the Gonfaloniere, being anxious to see it finished. The Signoria meanwhile received three Briefs, with the request that Michelagnolo might be sent back to Rome,^[39] but the latter, doubting what this eagerness of the Pope might portend, entertained, as it is said, some intention of going to Constantinople, there to serve the Grand Seigneur, who sought to engage him, by means of certain Franciscan Monks, for the purpose of constructing a bridge to connect Constantinople with Pera. But the Gonfaloniere labouring to induce Michelagnolo to repair to the Pope instead, and the master still refusing, Soderini at length prevailed on him to do so by investing him with the character of Ambassador from the Florentine Republic,^[40] and recommending him also to the care of his brother, the Cardinal Soderini, whom he charged to introduce Michelagnolo to His Holiness; he then sent the artist to Bologna, in which city Pope Julius had already arrived from Rome.

But there are some who ascribe Michelagnolo s departure from Rome, and his disputes with the Pope, to the following cause.^[41] The artist would never suffer any one to see his works while in progress, but he suspected that his people sometimes permitted strangers to inspect them in his absence, and one day when the Pope, having bribed Michelagnolo’s assistants, was entering the Chapel of his uncle Pope Sixtus, which he was causing our artist to paint, as will be related hereafter, the latter, who had that day hidden himself, because suspicious of his young men as we have said, rushed upon him with a plank of the scaffolding,^[42] and not perceiving whom it was that he was turning out, drove His Holiness forth in a fury. Let it suffice, however, that for one cause or another, Michelagnolo fell into discord with the Pope, and then, beginning to fear for his safety, departed from Rome as we have said.

Arrived at Bologna, his feet were scarcely out of the stirrups before he was conducted by the servants of the Pontiff to the presence of His Holiness, who was at the Palace of the Sixteen. He was accompanied by a Bishop, sent by Cardinal Soderini, who was himself too ill to fulfil that office. Having reached the presence, Michelagnolo knelt down before His Holiness, who looked askance at him with an angry countenance, and said, “Instead of coming to us, it appears that thou hast been waiting till we should come to thee,” in allusion to the fact that Bologna is nearer to Plorence than is Rome. But with a clear voice and hands courteously extended, Michelagnolo excused himself, having first entreated pardon, admitting that he had acted in anger, but adding that he could not endure to be thus ordered away; if he had been in error. His Holiness would doubtless be pleased to forgive him.

Now the Bishop who had presented Michelagnolo, thinking to aid his excuses, ventured to remark that such men as he were always ignorant, knowing and being worth nothing whatever, once out of their vocation; but this threw the Pope into such a rage that he fell upon the Bishop with a stick which he had in his hand, exclaiming, “’Tis thou that art the ignoramus, with the impertinencies thou art pouring forth, and which are such as we should ourselves not think of uttering; he then caused the Bishop to be driven out by the usher in waiting, with blows of his fist.*^[43] This offender having departed, the Pope, his rage thus cooled upon the prelate, bestowed his benediction on Michelagnolo, who was detained in Bologna by numerous gifts and promises. His Holiness ultimately giving him the commission for a Statue in bronze, being a Portrait of that Pontiff himself five braccia high. In this work, our artist displayed high powers of art, the attitude is majestic and graceful, the draperies are rich and magnificent, while the countenance exhibits animation, force, resolution, and an imposing dignity.

This Statue was placed in a niche over the Gate of San Petronio, and it is said that while Michelagnolo was engaged therewith, he received a visit from the distinguished goldsmith and painter Francia, who had heard much of his fame and works, but had never seen any one of them. Measures were accordingly taken for obtaining permission, and Francia had leave to see the statue above-mentioned. He was much struck by the knowledge of art displayed, but on being asked what he thought, he replied that it was a fine casting and a beautiful material. Plearing which, Michelagnolo supposed that he was praising the bronze, rather than the artist and i-emarked to Francia: “I am as much obliged for it to Pope Julius who gave it me, as you are to the shopkeepers, who supply you with your colours for painting;” he furthermore added angrily, in the presence of all the gentlemen standing near, that Francia was a dunce. It was on this occasion that Michelagnolo remarked to a son of Francia, who was a very beautiful youth: “The living figures made by thy father are handsomer than those that he paints.”

Among the gentlemen present at this visit, was one who asked Michelagnolo which was the larger, the statue of that Pope or a pair of oxen. “That depends on what the animals may be,” replied the artist; “for if they are Bolognese oxen it is certain that our Florentines are not such great brutes as those are.” The statue was finished in the clay model, before Pope J ulius left Bologna for Rome, and His Holiness went to see it, but, the right hand being raised in an attitude of much dignity, and the Pontiff not knowing what was to be placed in the left, inquired whether he were anathematizing the people or giving them his benediction; Michelagnolo replied, that he was admonishing the Bolognese to behave themselves discreetly, and asked Plis Holiness to decide whether it were not well to put a book in the left hand. “Put a sword into it,” replied Pope Julius, “for of letters I know but little.” The Pontiff left a thousand crowns in the Bank of M. Antonmaria da Lignano, for the purpose of completing the figure; and after Michelagnolo had laboured at it for sixteenth months, it was placed over the door of San Petronio, as we have before-mentioned when describing the size of the statue. The work was eventually destroyed by the Bentivogli, and the bronze was sold to the Duke Alfonso of Ferrara, who made a piece of artillery called the Julia; of the fragments: the head only was preserved, and this is now in the Duke’s Guardaroba.^[44]

The Pope having returned to Rome and Michelagnolo being still engaged with the Statue, Bramante, who was the friend and kinsman of RatFaello, and but little disposed to befriend Michelagnolo, availed himself of his absence to influence the mind of Julius, whom he saw to be much inclined to works of Sculpture, and hoping so to contrive that, on the return of Michelagnolo, Plis Holiness should no longer think of completing the Sepulchre, Bramante suggested that for a man to prepare his tomb during life was an evil augury and a kind of invitation to death. At a word, the Pontiff was persuaded to employ Michelagnolo on his return in the painting of that Chapel, which had been constructed in the Palace and at the Vatican, in memory of his uncle Pope Sixtus. Bramante and the other rivals of Michelagnolo, thinking they should thus detach him from his Sculpture, in which they saw that he was perfect, and throw him into despair, they being convinced that by compelling him to paint in fresco they should also bring him to exhibit works of less perfection, (he having but little experience in that branch of art), and thus prove himself inferior to Raphael.

Or even supposing him to succeed in the work, it was almost certain that he would be so much enraged against the Pope as to secure the success of their purpose, whi(jh was to rid themselves of his presence.

When Michelagnolo returned to Rome, therefore, he found Julius no longer disposed to have the Tomb flnished, but desiring that Michelagnolo should paint the ceiling of the Chapel. This was a great and difficult labour, and our artist, aware of his own inexperience, did all he could to excuse himself from undertaking the work, proposing at the same time that it should be confided to Raphael. But the more he refused the more Pope Julius insisted; impetuous in all his desires, and stimulated by the competitors of Michelagnolo, more especially by Bramante, he was on the point of making a quarrel with our artist, when the latter, finding His Holiness determined, resolved to accept the task. The Pope then ordered Bramante to prepare the scaffolding, which the latter suspended by ropes, perforating the ceiling for that purpose. Seeing this, Michelagnolo inquired of the architect how the holes thus made were to be filled in when the painting should be completed; to which Bramante replied that they would think of that when the time came, and that it could not be done otherwise. But Michelagnolo, perceiving that the architect was either incapable or unfriendly towards himself, went at once to the Pope, whom he assured that such a scaffolding was not the proper one, adding that Bramante did not know how to construct it; and Julius, in the presence of Bramante, replied, that Michelagnolo might construct it himself after his own fashion. The latter then erected his scaffolding on props in such a manner that the walls were not injured, and this method has since been pursued by Bramante and others, who were hereby taught the best way in which preparations for the execution of pictures on ceilings, and other works of the kind could be made, the ropes used by Bramante and which Michelagnolo’s construction had rendered needless, the latter gave to the poor carpenter, by whom the scaffolding was rebuilt, and who sold them for a sum which enabled him to make up the dowry of his daughter.

Michelagnolo now began to prepare the Cartoons for the ceiling, His Holiness giving orders to the effect that all the paintings executed on the walls by older masters in the time of Pope Sixtus, should be destroyed,^[45] it was furthermore decided that Michelagnolo should receive fifteen thousand ducats for the work, an estimation of its value which was made by Giuliano da San Gallo. But the extent of the work now compelled Michelagnolo to seek assistance; he therefore sent for men to Florence, resolving to prove himself the conqueror of all who had preceded him, and to show modern artists how drawing and painting ought to be done. The circumstances of the case became a stimulus to his exertions, and impelled him forward, not for his own fame only, but for the welfare of Art also. He had finished the cartoons, but deferred commencing the frescoes until certain of the Florentine painters who were his friends should arrive in Rome, partly to decrease his labour by assisting in the execution of the work, but also in part to show him the processes of fresco-painting, wherein some of them were well-experienced. Among these artists were Granacci, Giuliano Bugiardini, Jacopo di Sandro, and the elder Indaco, with Agnolo da Donnino, and Aristotile da Sangallo. These masters having reached the city, the work was begun, and Michelagnolo caused them to paint a portion by way of specimen, but what they had done was far from approaching his expectations or fulfilling his purpose, and one morning he determined to destroy the whole of it. He then shut himself up in the chapel, and not only would he never again permit the building to be opened to them, but he likewise refused to see any one of them at his house. Finally therefore, and when the jest appeared to them to be carried too far, they returned, ashamed and mortified, to Florence. Michelagnolo then made arrangements for performing the whole work himself, sparing no care nor labour, in the hope of bringing the same to a satisfactory termination, nor would he ever permit himself to be seen, lest he should give occasion for a request to show the work; wherefore there daily arose, in the minds of all around him, a more and more earnest desire to behold it. Now Pope Julius, always greatly enjoyed watching the progress of the works he had undertaken, and more than ever desired to inspect anything that was purposely concealed from him: thus it happened that he one day went to see the chapel, as we have related, when the refusal of Michelagnolo to admit him, occasioned that dispute which caused the master to leave Rome, as before described.

Michelagnolo afterwards told me the cause of this refusal, which was as follows: When he had completed about onethird of the painting, the prevalence of the north wind during the winter months had caused a sort of mould to appear on the pictures; and this happened from the fact that in Rome, the plaster, made of travertine and puzzolana, does not dry rapidly, and while in a soft state is somewhat dark and very fluent, not to say watery; when the wall is covered with this mixture, therefore, it throws out an efilorescence arising from the humid saltness which bursts forth; but this is in time evaporated and corrected by the air. Michelagnolo was, indeed, in despair at the sight of these spots, and refused to continue the work, declaring to the Pope that he could not succeed therein, but His Holiness sent Giuliano da Sangallo to look at it, and he, telling our artist whence these spots arose, encouraged him to proceed, by teaching him how they might be removed.

When the half was completed. Pope Julius, who had subsequently gone more than once to see the work (mounting ladders for that purpose with Michelagnolo’s aid), and whose temper was hasty and impatient, would insist on having the pictures opened to public view, without waiting until the last touches had been given thereto, and the chapel was no sooner thrown open than all Rome hastened thither, the Pope being the first; he had, indeed, not patience to wait until the dust caused by removing the scaffold had subsided. Then it was that Raffaello da Urbino, who was very prompt in imitation, having seen this work, instantly changed his manner, and to give proof of his ability, immediately executed the Prophets and Sybils in the Church of the Pace.^[46] Bramante also then laboured to convince Pope Julius that he would do well to confide the second half of the Chapel to Raffaello. Hearing of this, Michelagnolo complained to the Pope of Bramante, enumerating at the same time, without sparing him, many faults in the life, as well as errors in the works, of that architect; of the latter, indeed, he did himself become the corrector at a subsequent period.^[47] But Julius, who justly valued the ability of Michelagnolo, commanded that he should continue the work, judging from what he saw of the first half, that our artist would be able to improve the second materially; and the master accordingly finished the whole, completing it to perfection in twenty months, without having even the help of a man to grind the colours.^[48] It is true that he sometimes complained of the manner in which the Pope hastened forward the work, seeing that he was thereby prevented from giving it the finish which he would have desired to bestow; His Holiness constantly inquiring when it would be completed. On one occasion, therefore, Michelagnolo replied, “It will be finished when I shall have done all that I believe required to satisfy Art.” “And we command,” rejoined the Pontiff*, “that you satisfy our wish to have it done quickly;” adding finally, that if it were not at once completed, he would have him, Michelagnolo, thrown headlong from the scaffolding.

Hearing this, our artist, who feared the fury of the Pope, and with good cause, desisted instantly, without taking time to add what was wanting, and took down the remainder of the scaffolding, to the great satisfaction of the whole city, on All Saints’ day, when Pope Julius went into that Chapel to sing mass: but Michelagnolo had much desired to retouch some portions of the work a secco, as had been done by the older masters who had painted the stories on the walls; he would also gladly have added a little ultramarine to some of the draperies, and gilded other parts, to the end that the whole might have a richer and more striking effect. The Pope, too, hearing that these things were still wanting, and finding that all who beheld the Chapel praised it highly, would now fain have had the additions made, but as Michelagnolo thought reconstructing the scaffold too long an affair, the pictures remained as they were, although the Pope, who often saw Michelagnolo, would sometimes say, “Let the Chapel be enriched with bright colours and gold; it looks poor.” When Michelagnolo would reply familiarly, “Holy Father, the men of those days did not adorn themselves with gold; those who are painted here less than any, for they were none too rich; besides which, they were holy men, and must have despised riches and ornaments.”

For this work Michelagnolo received from the Pope, in various payments, the sum of three thousand crowns, and of these he may have spent twenty-five in colours. He worked with great inconvenience to himself, having to labour with the face turned upwards, and injuring his eyes so much in the progress of the work, that he could neither read letters nor examine drawings for several months afterwards, except in the same attitude of looking upwards. I can myself bear full testimony to the effects of such work, having painted the ceilings of five large apartments in the Palace of Duke Cosimo; and if I had not made a seat with a support for the head, and occasionally laid down to my work, I should never have been able to finish them; as it was, I weakened my sight, and injured my head so much that I still feel the bad e:&cts of that toil, and I wonder Michelagnolo endured it so well; but his zeal for his art increased daily, while the knowledge and improvement which he constantly perceived himself to make, encouraged him to such a degree that he grudged no labour, and was insensible to all fatigue. The division of the work in the Chapel is after this manmer: There are five corbels on each side thereof, and one on the wall at each end.^[49] On these are figures of the Prophets and Sybils; and in the centre of the ceiling is the History of the World from the Creation to the Deluge, with the Inebriation of Noah. On the lunettes are the Genealogy of Christ. In these compartments Michelagnolo has used no perspective foreshortenings, nor has he determined any fixed point of sight; but has rather accommodated the division to the figures, than the figures to the division; he has been satisfied with imparting the perfection of design to all his forms whether nude or draped, and this he has done effectually, insomuch that a finer work never has been, and never can be executed; nor will it be without diflS.culty that its excellence shall be imitated. Of a truth, this Chapel, as thus painted by his hand, has been and is the very light of our art, and has done so much for the progress thereof, that it has sufiiced to illumine the world, which had lain in darkness for so many hundreds of years. Nay, no man who is a painter now cares to seek new inventions, attitudes, draperies, originality, and force of expression, or variety in the modes of representation, seeing that all the perfection which can be given to each of these requisites in a work of this character by the highest powers of art are presented to him here, and have been imparted to this work by Michelagnolo. Every beholder who can judge of such things, now stands amazed at the excellence of the figures, the perfection of the foreshortenings, the astonishing roundness of the outlines, and the grace and flexibility, with the beautiful truth of proportion, which are seen in the exquisite nude forms here exhibited; and the better to display the resources of his art, Michelagnolo has given them of every age, with varieties of expression and form as well as of countenance and feature; some are more slender, others fuller; the beautiful attitudes also differ in all, some are seated, others are in motion, while others again are supporting festoons of oak-leaves and acorns, adopted as the impress and device of Pope Julius, and denoting that at that time, and under his government, there flourished the age of gold; seeing that Italy was not then in the condition of trouble and misery, which she has since endured. Between them the figures bear medallions in relief, to imitate bronze and gold, the subjects being stories taken from the Book of Kings.

In addition to all this, and furthermore to display the perfection of his art as well as the greatness of God, Michelagnolo likewise depicted a story exhibiting the division of the Light from the Darkness. The majesty of the Supreme Creator is displayed in the awful dignity of his attitude; Self-sustained, He stands with extended arms, and a countenance at once expressive of power and love. The second picture, evincing admirable judgment and ability, portrays the Almighty when He creates the Sun and Moon. His figure is here supported by numerous Angels in the form of Children, and there is infinite power of art displayed in the foreshortening of the arms and legs. Next follows the Benediction of the earth, and the Creation of the animal races. Here the Creator is represented as a foreshortened figure on the ceiling, and this form appears to turn with you into whatever part of the Chapel you may proceed. The same figure recurs in the story of the division of the Water from the Earth. Both are exceedingly beautiful, nay, they are such, and of invention so perfect, that no hand but that of the most divine Michelagnolo could have been worthy to produce them.

Then next comes the Creation of Adam. God the Father being here borne by a group of Angels, represented by little boys of very tender age entirely nude; yet these appear to sustain the weight, not of one %ure only, but of the whole world; so imposing is the majesty of that most venerable form, and such is the efiect produced by the peculiar manner of the movement imparted thereto; one arm is thrown around certain of the children„as if he were supporting himself thereby, and the other is extended towards Adam, a figure of extraordinary beauty, whether as regards the outline or details, and of such character that one might believe it to have been just newly created by the great Father of all, rather than the mere production of the mind and pencil even of such a man as Michelagnolo. The Story beneath this is the Creation of our mother Eve; and herein are the two nude forms of our first parents, the one held captive in a sleep so profound that it resembles death, the other just awakened to the most animated life by the Benediction of God; and the pencil of this most admirable artist here has shown clearly, not only the difierence between Sleep and wakeful vitality, but also the appearance of stability and firmness, which is presented, humanly speaking, by the Divine Majesty.

There next follows the Story of Adam, yielding to the persuasions of a figure, half woman and half serpent, and taking his death as well as our own in the forbidden fruit; he is furthermore exhibited in this picture as driven, with Eve, out of Paradise. And here, in the figure of the Angel, is displayed with grandeur and dignity, the execution of the mandate pronounced by an incensed Deity; while in Adam we have regret for his fault, together with the fear of death; and in the woman that shame, abasement, and desire to obtain pardon, which are expressed by the compression of the arms, the clasping of the hands, the sinking of the head towards the bosom, and the turn of her imploring countenance towards the avenging Angel: all showing, likewise, that her fear of God^s justice predominates over her hope in the Divine Mercy.

Not less beautiful is the Story of the Sacrifice of Cain and Abel, wherein there are figures in great variety of attitudes; one brings wood, another is bent down and seeking to kindle the fire into flame by his breath, some are cutting up the victim; and these figures are painted with all the care and forethought which distinguish the others. Equally conspicuous are the art and judgment of the master in the Story of the Deluge; wherein there are numerous dead corpses mingled with other figures, all betraying the terrors inspired by the fearful events of those days, and seeking in various manners to escape with their lives. Among these heads are many, the expression of which proves them to be in despair of redeeming their days from destruction; fear, horror, and disregard of all around them are legibly impressed on their features. In others again, compassion is seen to prevail over their fears, and they are aiding each other to attain the summit of a rock, by means of which they hope to escape the coming floods. There is one figure in particular, which is labouring to save another, already half dead, and the action of which is so perfect, that Nature herself could show nothing more life-like.

Nor vrould it be easy adequately to describe the Story of Noah, lying inebriated before his sons, one of whom derides the helplessness of the Patriarch, while the other two throw their mantles over him; this is a work of incomparable excellence; it could be surpassed by none but the master himself, and as if encouraged by what he there perceived himself to have accomplished, he subsequently prepared for yet greater efforts, proving his superiority in art, more than ever indisputably, by the figures of the five Sybils and seven Prophets, each of which is more than five braccia high; the variety of attitude, the beauty of the draperies, and every other detail, in short, exhibits astonishing invention and judgment; nay, to those who comprehend the full significance of these figures, they appear little less than miraculous. The Prophet Jeremiah is seated with the lower limbs crossed, and holding the beard with one hand, the elbow of that arm being supported by the knee, while the other hand is laid on his lap: the head is bent down in a manner which indicates the grief, the cares, the conflicting thoughts, and the bitter regrets which assail the Prophet, as he reflects on the condition of his people. There is evidence of similar power in the two boys behind him; and in the first Sybil, that nearest the door namely, in whom the artist has proposed to exhibit advanced age, and not content with enveloping the form in draperies, has been anxious to show that the blood'has become frozen by Time, and has furthermore placed the book which she is reading very close to her eyes; by way of intimating that her power of sight is weakened by the same cause.

After the first Sybil follows the Prophet Ezekiel, a very old man, whose attitude is singularly noble and beautiful; he too is much wrapped in draperies, and holding a scroll of his prophecies in the one hand, he raises the other, and turns his head at the same time, as in the act of preparing to utter high and holy truths; behind him are two Boys, who hold his books. The Sybil following Ezekiel is in an attitude exactly opposite to that of the Erethryan Sybil first described; she is holding her book at great distance, that is to say, and is about to turn a leaf; her limbs are crossed over each other, she is deeply pondering on what she is preparing to write, and a boy standing behind her is blowing at a brand of wood, with which he is about to light her lamp. The countenance of this figure has an expression of extraordinary beauty, the draperies and head dress are finely arranged, and the arms, which are of equal perfection with the rest of the person, are nude. Next to this Sybil is the Prophet Joel, who is profoundly absorbed in attention to a scroll which he holds in his hand, and is reading, with an expression of countenance which proves him to be perfectly satisfied with what he finds therein, and has all the effect that could be produced by the face of a living man, whose thoughts are firmly riveted on some question of moment.

Over the door of the Chapel is the aged Prophet Zacharias, who, seeking through the written page for something which he cannot find, remains with one foot lifted, and the other dropped down, while the anxiety and eagerness with which he seeks what he requires, and cannot discover, have paused him to forget the inconvenience of the painful attitude which he has taken. The figure has the aspect of a beautiful old age, the form is somewhat full, and the drapery, of few and simple folds, is admirably arranged. The Sybil opposite to Zacharias, and turning towards the Altar, is putting forward certain writings, and with the boys her attendants deserves equal praise with those before described. Put he who examines the Prophet Isaiah shall see features truly borrowed from nature herself, the real mother of art; one of the limbs is crossed over the other, he has laid one hand within a book, at the place where he has been reading, is resting the elbow of the other arm on the volume, and leaning his cheek on his hand, he replies to the call on his attention, made by one of the boys standing behind him, by a mere turn of the head, without disturbing himself further. From this figure, at a word, the observer, who studies it well in every part, may acquire all the rules demanded to constitute the guiding precepts of a good painter. The Sybil next to the Prophet Isaiah is of great age, but also of extraordinary beauty; her attitude, as she zealously studies the book before her, is singularly graceful, as are those of the boys who are ministering around her.

But not imagination herself could add anything to the beauty of a figure representing the Prophet Daniel, and which is that of a youth, who, writing in a great book, is copying certain passages from other writings, with indescribable eagerness of attention; the weight of the book is supported by a boy, who stands before the Prophet, and the beauty of that child is such that no pencil, by whatever hand it may be borne, will ever equal it. As much may be said for the Lybian Sybil, who, having completed the writing of a large book taken from other volumes, is on the point of rising with a movement of feminine grace, and at the same time shows the intention of lifting and putting aside the book, a thing so difficult that it would certainly have proved impossible to any other than the master of this work.

And what shall I say of the four pictures which adorn the angles of the Corbels on this ceiling? In the first is David, exerting all his boyish force in the conquest of the gigantic Philistine, and depriving him of his head, to the utter amazement of numerous Soldiers, who are seen around the Camp. Equally beautiful are the attitudes in the picture of Judith, which occupies the opposite angle, and wherein there is the lifeless body of Holofernes, so recently decapitated that it seems yet to palpitate with life. Judith meanwhile is placing the head of the General in a basket, which is borne by an old servant, on her head. The handmaid is tall of stature, and is stooping to facilitate the due arrangement of her burden by the hands of her mistress. She is endeavouring at the same time to uphold, and also to conceal, what she bears, being impelled to the last-mentioned act, by the sound arising in the tent from the body of Holofernes, which although dead, has drawn up an arm and a leg, thereby causing the sound in question. The face of the servant betrays her fear of some one entering from the Camp, as well as the terror caused her by the dead body, a picture which is certainly most remarkable.

But more beautiful and more divine than even this, or indeed than any of those yet described, is the Story of the Serpents of Moses, which Michelagnolo has placed above the left side of the Altar, and wherein there are represented the dropping of the Serpents on the people, their stings and the bites they inflict, as is also that Serpent of Brass, which Moses himself erected on a staff. In this picture the different modes in which death seizes the sufferers is rendered vividly apparent, many of those not yet dead are obviously hopeless of recovery; others die convulsed with the fear and horror which that acrid venom has caused them. Many are throwing up their arms in agony; some appear to be paralysed: unable to move, they await their coming doom; and in other parts are beautiful heads, giving utterance to cries of desperation, and cast backwards in the horrors of hopeless anguish.

Those who, looking towards the Serpent erected by Moses, perceive their pains to be alleviated, are also admirably depicted. They turn their eyes on their deliverer with infinite emotion, and one of these groups may more particularly be specified, that of a Woman namely, supported by one who sustains her in such a manner that the effectual assistance rendered by him w'ho gives aid is no less manifest than is the pressing need of her who endures that fear and pain. The story of Ahasuerus, reclining in his bed and causing the Chronicles to be read, has equal merit. The figures are very fine, and among them are three men, seated at a table eating, w’ho represent the deliberation of those who sought to free the Jewish people, and to compass the death of Haman. The figure of the latter is likewise seen foreshortened in a very extraordinary manner; the stake which supports his person, and the arm which he stretches before him appearing not to be painted, but really round, and in relief, as does also the leg, which he projects outward, and the portions of the body which are bent inward. This is indeed a figure which, among all beautiful and difficult ones, is certainly the most beautiful and most difiicult.^[50]

But it would lead me too far were I to describe all the admirable compositions to be admired in these stories. The Genealogy of the Patriarchs, for example, commencing with the sons of Noah, for the purpose of showing the descent of Our Saviour Christ, and in which we have an indescribable variety of figures, vestments, expressions, and phantasies of various kinds, original as well as beautiful. All bear the impress of genius, many of the figures exhibit the most remarkable foreshortenings, and every one of the details is most admirable. Who could behold without astonishment the powerful figure of Josiah, which is the last in the chapel, and where, by the force of art, the vaulting, which in fact does here spring forward, is compelled, by the bending attitude of that figure, to assume the appearance of being driven backwards and standing upright? such is the knowledge of design here displayed. Oh, truly fortunate age, and thrice happy artists! Well may I call you so, since in your day you have been permitted to dispel the darkness of your eyes by the light of so illustrious a luminary, and behold all that was difficult rendered clear to you by so wonderful and admirable a master! The renown of his labours renders you also known, and increases your honour, the rather, as his hand has removed that bandage which you had before the eyes of your minds, previously full of darkness, and has delivered the truth from that falsehood which was over-shadowing your intellect. Be thankful to Heaven therefore, and strive to imitate Michelagnolo in all things.

When this work was completed, all the world hastened from every part to behold it, and having done so, they remained astonished and speechless. The Pope rewarded Michelagnolo with rich gifts, and was encouraged by the success of this undertaking to project still greater works; wherefore, the artist would sometimes remark, in respect to the extraordinary favours conferred on him, that he saw well the Pope did esteem his abilities, and if he should now and then inflict some rudeness by a peculiar way of proving his amicable^[51] feeling towards him, yet he always cured the wound by gifts and distinguished favours. On one occasion, for example, when Michelagnolo requested leave from his Holiness to pass the festival of San Giovanni in Florence, and begged also to have some money for that purpose. Pope Julius said, “Well! but when will this chapel be finished T ‘‘ When I can. Holy Father,” replied our artist, and the Pope, who had a staff in his hand, struck Michelagnolo therewith, exclaiming, “When I can—when I can! Til make thee finish it, and quickly, as thou shalt see.” But the master had scarcely returned to his house to prepare for his journey to Florence, before the Pontiff sent Cursio,^[52] his chamberlain, with five hundred crowns to pacify him, having some fear lest Michelagnolo should play him a prank, as he did before. The chamberlain excused Pope Julius moreover, declaring that these things must all be considered favours and marks of kindness; and as Michelagnolo knew the disposition of the Pontiff, and was, after all, much attached to His Holiness, he laughed at what had happened, the more readily as things of this kind always turned to his profit, and he saw well that the Pope did his utmost to retain him as his friend.

The Chapel being finished. Pope Julius, before he felt the approaches of death, commanded the Cardinals Santi Quattro^[53] and Aginense, his nephews, to see that his Tomb (when he died) should be constructed after a simpler design than that at first adopted. And now Michelagnolo set himself anew to the work of that sepulchre with all the better will, as he hoped at length to bring it to a conclusion, unimpeded by those fatiguing obstacles which had hitherto assailed him; but he was tormented, on the contrary, with unceasing vexations and turmoils in that matter, which cost him more labour and trouble than any other work of his whole life; nay, for some time it caused him to be charged with ingratitude towards that Pontiff by whom he had been so highly valued and favoured. Having returned to the chapel, Michelagnolo worked at it continually, and arranged a part of the designs for the fronts of the fabric, but envious Portune would not permit this monument to have a conclusion in harmony with the magnificence of its commencement. Pope Julius died, and on the creation of Pope Leo that work was laid aside, for this Pontiff, no less enterprising and splendid in his undertakings than Julius, was anxious to leave in his native city of Florence, of which he was the first Pope, some great memorial of himself, and of that divine artist who was his fellow citizen. At a word, he desired to complete some one of those admirable constructions which only a great prince, such as he was, can attempt; and as he therefore commissioned Michelagnolo to execute the façade of the Church of San Lorenzo in Florence, which had been built by the House of Medici, the Tomb of Pope Julius was of necessity left unfinished, Leo not contenting himself with the counsels or even the designs of Michelagnolo, but requiring him to act as superintendent of the works. Yet the master did not yield without such resistance as was possible to him, alleging his engagements with the Cardinals Santi Quattro and Aginense, to whom he was already pledged in respect of the Tomb; but His Holiness replied that he was not to think of them, he (the Holy Father) having provided for that matter, and in effect he did procure the release of Michelagnolo by those prelates, promising them that he should continue his preparations for the Sepulchre, by working at the figures destined for it in Florence, as he had previously done. All this was, nevertheless, much to the dissatisfaction of the Cardinals, as well as Michelagnolo, who left Rome with tears in his eyes.

Much talk, nay innumerable discussions, arose on the subject of the works to be executed in Florence also, seeing that an undertaking like that of the Fagade of San Lorenzo ought certainly to have been divided among many persons; in regard to the architecture more especially, several artists repaired to Rome, applying to the Pope for the direction thereof. Baccio d’Agnolo, Antonio da San Gallo,^[54] Andrea and Jacopo Sansovino, with the graceful Raffaello da Urbino, having all made designs for that building: the latter did indeed afterwards visit Florence for a similar purpose.

But Michelagnolo determined to prepare the model himself, and not to accept any guide, or permit any superior in the matter of the architecture:^[55] this refusal of all aid was nevertheless the occasion of such delays that neither by himself nor by others was the work put into operation, and the masters above-named returned, hopeless of a satisfactory conclusion, to their accustomed avocations. Michelagnolo then repaired to Carrara, but first he was empowered to receive a thousand crowns from Jacopo Salviati, and presented himself for that purpose accordingly. FTow it chanced that Jacopo was at that moment shut up in his room, engaged on matters of importance with certain of the citizens, but Michelagnolo would not wait for an audience, and departed, without saying a word, for Carrara. Hearing of the master’s arrival in Florence, but not seeing him, Salviati sent the thousand crowns after him to Carrara, the messenger requiring that a receipt should he given to him. But Michelagnolo replied, that the money was for expenses on the Pope’s account and not his own, adding that the messenger might carry it hack if he chose to do so, hut that he, Michelagnolo, was not in the habit of giving receipts and acquittances for others; whereupon the man became alarmed, and returned to Jacopo Salviati without any receipt.

While Michelagnolo was at Carrara, where he was causing marbles to be excavated for the tomb of Pope Julius, which he proposed ultimately to complete, as well as for the fa9ade of San Lorenzo, he received from Pope Leo a letter to the effect that there were marbles, of equal beauty and excellence with those of Carrara, to be found in the Florentine dominions, at Serravezza namely, on the summit of the highest mountain in the Pietra Santa, called Monte Altissimo.^[56] Now Michelagnolo was already aware of that circumstance; but it seems he would not attend to it, perhaps because he was the friend of the Marchese Alberigo, Lord of Carrara, or it might have been because he thought the great distance to be passed over would cause loss of time, as indeed it did. He was nevertheless compelled to go to Serravezza, although protesting that the difficulty and expense would be greatly increased thereby, as proved to be the case in the beginning. But the Pope would not hear a word of objection. A road had then to be constructed for many miles through the mountains, and for this rocks were to be hewn away, while it was needful to drive piles, in marshy places, many of which intervened. Michelagnolo thus lost several years in fulfilling the Pope’s desire; but finally he procured five columns of fine proportion from these quarries, one of them being now on the Piazza of San Lorenzo, in Florence,^[57] the others lie on the shore. Another result of the matter was to make the Marchese Alberigo a bitter enemy of Michelagnolo, although the latter was so little to blame.

Other marbles, besides the columns above-named, were subsequently procured at Serravezza, where they have been now lying more than thirty years; but Duke Cosimo has given orders for the completion of the road, of which there are still two miles to make, over ground very difficult to manage, when the transport of marbles is in question; but there is also another quarry, which was discovered at that time by Michelagnolo, and which yields excellent marble, proper for the completion of many a noble undertaking. He has likewise found a mountain of excessively hard and very beautiful vari-coloured marble in the same place of Serravezza, and situate beneath Stazema, a villa constructed amidst those hills, where Duke Cosimo has formed a paved road more than four miles long, for the purpose of bringing the marbles to the sea-shore.

But to return to Michelagnolo, who had now again repaired to Florence. Losing much time, first in one thing and then in another, he made a model, among other things, for those projecting and grated windows with which are furnished the rooms at the angle of the Palace, in one of which Giovanni da Udine executed the paintings and stucco-work which are so much and so deservedly extolled.

He also caused blinds, in perforated copper, to be made by the goldsmith Piloto, but after his own designs, and very admirable they certainly are.^[58] Michelagnolo consumed many years, as we have said, in the excavation of marbles; it is true that he prepared models in wax and other requisites for the great undertakings with which he was engaged at the same time, but the execution of these was delayed until the monies, appropriated by the Pontiff for that purpose, had been expended in the wars of Lombardy; and at the death of Leo the works thus remained incomplete, nothing having been accomplished but the foundations of the Fa9ade, and the transport of a great column from Carrara to the Piazza di San Lorenzo.

The death of Pope Leo X. completely astounded the arts and artists, both in Rome and Florence; and while Adrian VI. ruled, Michelagnolo employed himself in the lastnamed city with the Sepulchre of Julius. But when Adrian was dead, and Clement VII. elected in his place, the latter proved himself equally desirous of establishing memorials to his fame in the arts of sculpture, painting, and architecture, as had been Leo and his other predecessors. It was at this time, 1525, that Griorgio Vasari, then a boy, was taken to Florence by the Cardinal of Cortona, and there placed to study art with Michelagnolo; but the latter having been summoned to Rome by Pope Clement, who had commenced the Library of San Lorenzo; with the New Sacristy, wherein he proposed to erect the marble tombs of his forefathers, it was determined that Giorgio should go to Andrea del Sarto, before Michelagnolo’s departure; the master himself repairing to the workshop of Andrea, for the purpose of recommending the boy to his care.

Michelagnolo then proceeded to Rome without delay, being much harassed by the repeated remonstrances of Francesco Maria, Duke of Urbino, who complained of the artist greatly; saying that he had received sixteen thousand crowns for the Tomb, yet was loitering for his own pleasure in Florence without completing the same: he added threats, to the effect that if Michelagnolo did not finish his work, he, the Duke, would bring him to an evil end.^[59] Arrived in Rome, Pope Clement, who would gladly have had the master’s time at his own command, advised him to require the regulation of his accounts from the agents of the Duke, when it seemed probable that they would be found his debtors, rather than he theirs. Thus then did that matter remain; but the Pope and Michelagnolo taking counsel together of other affairs, it was agreed between them that the Sacristy and New Library of San Lorenzo in Florence should be entirely completed.

The master thereupon, leaving Rome, returned to Florence, and there erected the Cupola which we now see, and which he caused to be constructed in various orders. He then made the Goldsmith Piloto prepare a very beautiful ball of seventy-two facettes. While he was erecting his cupola, certain of his friends remarked to him that he must be careful to have his lantern very different from that of Eilippo Brunelleschi: to which Michelagnolo replied, ‘‘I can make a different one easily; but as to making a better, that I cannot do.” He decorated the inside of the Sacristy with four Tombs,^[60] to enclose the remains of the fathers of the two Popes, Lorenzo the elder and Giuliano his brother, with those of Giuliano the brother of Leo, and of Lorenzo his nephew.^[61] Desiring to imitate the old Sacristy by Filippo Brunelleschi, but with new ornaments, he composed a decoration of a richer and more varied character than had ever before been adopted, either by ancient or modern masters: the beautiful cornices, the capitals, the bases, the doors, the niches, and the tombs themselves, were all very different from those in common use, and from what was considered measure, rule, and order, by Vitruvius and the ancients, to whose rules he would not restrict himself. But this boldness on his part has encouraged other artists to an injudicious imitation, and new fancies are continually seen, many of which belong to grottesche rather than to the wholesome rules of ornamentation.

Artists are nevertheless under great obligations to Michelagnolo, seeing that he has thus broken the barriers and chains whereby they were perpetually compelled to walk in a beaten path, while he still more effectually completed this liberation and made known his own views, in the Library of San Lorenzo, erected at the same place. The admirable distribution of the W'indows, the construction of the ceiling, and the fine entrance of the Vestibule, can never be sufficiently extolled. Boldness and grace are equally conspicuous in the work as a whole, and in every part; in the cornices, corbels, the niches for statues, the commodious staircase, and its fanciful divisions—in all the building, at a word, which is so unlike the common fashion of treatment, that every one stands amazed at the sight thereof.

About this time Michelagnolo sent his disciple, Pietro Urbano of Pistoja, to Rome, there to execute a figure of Christ on the Cross, which is indeed a most admirable work: it was afterwards erected beside the principal Chapel in the Minerva^[62] by M. Antonio Metelli.

Then followed the Sack of Eome and the exile of the Medici from Florence: and in this change, those who governed the City resolving to rebuild the fortifications, made Michelagnolo Commissary-general of the whole work.^[63] In that capacity he prepared numerous designs, adding much to the defences of the city, and more especially surrounding the hill of San Miniato with bastions: these he did not form in the usual manner, of turf, wood, and bundles of faggots, but first constructed a basement of oak, chestnut, and other strong materials, using rough bricks very carefully levelled: he had previously been despatched by the Signoria of Florence to Ferrara, there to inspect the fortifications of artillery and munitions of Duke Alfonso L, when he received many proofs of favour from that Noble, who begged the master to execute some work for him at his leisure; which Michelagnolo promised to do.

Having returned to Florence, he proceeded with the fortifications of the city, and although impeded by numerous engagements, he yet contrived to paint the picture of a Leda for the Duke of Ferrara. This work, which was in tempera, proved to be a divine performance, as will be related in due time. He also continued secretly to labour at the Statues for the Tombs in San Lorenzo. Michelagnolo remained about six months at San Miniato, hastening forward the defences of the Heights, seeing that the city would have been lost, had the enemy made himself master of that point; he consequently devoted the most zealous attention to the works. The before-mentioned Sacristy was also making progress, and Michelagnolo occupied a portion of his time in the execution of seven Statues for that place, some of which he completed wholly, others only in part. In these, as well as in the architecture of the Tombs, all are compelled to admit that he has surpassed every artist in all the three vocations. Among the Statues, either rough-hewn, or finished in marble by Michelagnolo for that Sacristy, is one of Our Lady. This is a seated figure with the limbs crossed, the Infant Christ being placed astride on the uppermost, and turning with an expression of ineffable sweetness towards the mother, as if entreating for the breast; while the Virgin, holding him with one hand and supporting herself with the other, is bending forward to give it him. The figures are not finished in every part, yet, in the imperfection of what is merely sketched, there clearly appears the perfection which is to be the final result.

But still more did he surprise all beholders by the Tombs of the Dukes Giuliano and Lorenzo de’ Medici, in which he appears to have proceeded on the conviction that Earth alone would not suffice to give an appropriate burial-place to their greatness, he would therefore have other powers of the world to take part, and caused the Statues to be placed over the Sarcophagus in such rich sort as to overshadow the same, giving to the one Day and Night namely, and to the other the DawR and the Twilight. All these Statues are beautiful, whether in form or attitude, while the muscular development is treated with so much judgment, that if the Art of Sculpture were lost, it might, by their means, be restored to all its pristine lustre. The Statues of those Princes, in their armour, also make part of the ornaments; Duke Lorenzo, thoughtful and reflective, with a form of so much beauty that eyes of mortal could see nothing better; and Duke Giuliano, haughty of aspect, but with the head, the throat, the setting of the eyes, the profile of the nose, the chiseling of the mouth, and the hair, so truly divine, as are also the hands, arms, knees and feet, with all besides indeed, accomplished by our artist in this place, that the spectator can never be satisfied with gazing, and finds it difficult to detach his eyes from these groups; and, of a truth, he who shall examine the beauty of the buskins and cuirass, must believe it to be celestial rather than of this world.^[64]

But what shall I say of the Aurora?—a nude female form, well calculated to awake deep melancholy in the soul, and to make the Art of Sculpture cast down her chisel. Her attitude shows her to have hastily risen from her bed, while she is still heavy with sleep; but in thus awakening, she had found the eyes of that great prince closed in death; wherefore she turns in bitter sorrow, bewailing, as an evidence of the great suffering she endures, her own unchangeable beauty. Or what shall I say of the Night?—a statue not rare but unique. Who, in any period of the world’s history, has ever seen statues, ancient or modern, exhibiting equal art? Not only is there here the repose of one who sleeps, hut the grief and regret of one who has lost a great and valued possession. This is the Night that obscures all those who for a certain time expected, I will not say to surpass, but to equal Michelagnolo. In this figure is all that somnolency which one remarks in the sleeping form, as moulded by Nature herself; wherefore many verses, both in Latin and the vulgar tongue, were made in praise of our artist’s work by most learned persons, as, for example, those which follow, and of which the author is not known.^[65]

The Night that here thou seest, in graceful guise
Thus sleeping, by an Angel’s hand was carved
In this pure stone; but sleeping, still she lives.
Awake her if thou doubtest, and she’ll speak.

To these words Michelagnolo, speaking in the name of Night, replied as below:—

Happy am I to sleep, and still more blest
To be of stone, while grief and shame endure;
To see, nor feel, is now my utmost hope,
Wherefore speak softly, and awake me not.

Certain it is, that if the enmity, which constantly exists between Fortune and Genius, had suffered this work to attain completion. Art might have proved to Nature that she is capable of far surpassing her on every point. While Michelagnolo was - thus labouring with the utmost zeal and love at such works, came the siege of Florence, which too effectually impeded the completion thereof; this took place in 1529, when he could do little or nothing more, the citizens having charged him with the care of the fortifications, as we have said. He had lent the Republic a thousand crowns; and, as he made one of the Council of War, called the Nine, he turned all his mind and thoughts to the perfecting and strengthening of the defences. But at length, and when the enemy’s troops had closed round the city, while all hope of aid was gradually disappearing, and the difiiculties of maintaining the place increased, Michelagnolo, who felt himself to be in a position not suited to him, resolved, for the safety of his person, to leave Florence and repair to Venice, without making himself known to any one by the way.^[66] He departed secretly, therefore, by the road of Monte Miniato, no one being informed of his purpose, and having with him only his disciple Antonio Mini, and the goldsmith Piloto, his faithful friend. They all bore a sum of money, each having fastened his portion into his doublet; and having reached Ferrara, the master halted to refresh himself.

Here the suspicions usual in time of war, and the league of the Emperor and Pope against Florence, caused the Duke Alfonso of Ferrara to keep strict watch, and he required to be secretly informed every day by the hosts of all the strangers whom they lodged; a list of all foreigners, with the countries to which they belonged, being carried to him daily. It thus happened, that although Michelagnolo desired to remain unknown, yet the Duke, made aware of his arrival by this means, greatly rejoiced thereat, because he had become his friend. That prince was a man of a high mind, and delighted in works of genius all his life long. He instantly despatched some of the principal persons of his Court to invite Michelagnolo, in the name of his Excellency, to the Palace, where the Duke then was; these Signori being ordered to conduct him thither with his horses and all his baggage, and to give him commodious apartments in the Palace. Michelagnolo, thus finding that he was no longer master of his movements, put a good face on the matter, and accompanied the Ferrarese nobles to the presence of their lord, but without removing his baggage from the hostelry. The Duke received him graciously, but complained of his reserve and secrecy; subsequently making him rich gifts, he did his utmost to prevail on him to settle in Ferrara; but to this Michelagnolo could not agree, when the Duke requested that he would at least not depart while the war continued, and again offered to serve him to the utmost of his power.

Unwilling to be outdone in courtesy, our artist thanked the Duke with the utmost gratitude, and turning to his two travelling companions, lie remarked that he had brought 12,000 crowns with him to Ferrara, and that if these could be of any service to the Duke, they were to consider his Excellency as much master of them as himself. The Duke then led the master through the Palace to amuse him as he had previously done at an earlier visit, showing him all the fine works in his possession, among others his own Portrait by the hand of Titian, which Michelagnolo greatly extolled: but the latter could not be prevailed on to accept rooms in the Palace, and insisted on returning to his inn. The host then received various supplies, secretly sent from the Duke for the better accommodation of our artist, and was forbidden to accept any remuneration when his guest should depart.

From Ferrara Michelagnolo repaired to Venice, where many of the most distinguished inhabitants desired to make his acquaintance; but he, who had never any very high opinion of their judgment in matters concerning his vocation, left the Giudecca, where he had taken up his abode, and where, as it is said, he prepared a design, at the entreaty of the Doge Gritti, for the Bridge of the Bialto, which was declared to be one of original invention and extraordinary beauty.^[67] He was meanwhile earnestly entreated to return to his native city, and not to abandon his works there; a safe conduct was likewise sent him, and, moved by love of his native place, he did eventually return, but not without danger to his life. At this time Michelagnolo finished the Leda, which he was painting, as I have said, at the request of the Duke Alfonso, and which was afterwards taken into France by his disciple Antonio Mini.^[68] He also repaired the Campanile of San Miniato, a tower which effectually harassed the enemy during the siege with its two pieces of artillery.

The Imperialists then assailed it with heavy cannon, and, having all but eflfected a breach, would soon have destroyed it utterly, had not Michelagnolo found means to oppose sacks of wool and thick mattresses to the artillery; but he did eventually defend it with success, and it is standing to this day.

We find it furthermore related that Michelagnolo at that time obtained the block of marble nine braccia high, which Pope Clement, in the contention between Baccio Bandinelli and himself, had promised to the former. This being now the property of the Commonwealth, he demanded it from the Gonfaloniere, who granted his request, although Baccio had already made his model and diminished the stone considerably by the commencement of his rough-hewn sketch. Michelagnolo now prepared a model on his part, which was considered a very fine one; but on the return of the Medici, the marble was restored to Bandinelli. The war having been brought to an end, Baccio Yalori, commissioner of the Pope, received orders to arrest and imprison some of the more zealous among the citizens, the Court itself causing Michelagnolo to be sought in his dwelling, but he, doubtful of their intentions, concealed himself in the house of a trusted friend, where he remained several days.^[69]

But when the first bitterness of resentment had subsided, Pope Clement, remembering the ability of Michelagnolo, commanded that he should be sought anew, but with orders that no reproaches should be addressed to him, nay, rather that he should have all his early appointments restored, and should proceed with the works of San Lorenzo, M. Giovambattista Figiovanni, an ancient servant of the house of Medici, and prior of San Lorenzo, being named superintendent of the work. Thus re-assured, Michelagnolo, to make a friend of Baccio Yalori, commenced a figure in marble of three braccia high; an Apollo namely, drawing an arrow from his quiver, but did not quite finish it; it is now in the apartments of the Prince of Florence, and although, as I have said, not entirely finished,^[70] is a work of extraordinary merit.

About this time there came to Michelagnolo a gentleman of the Duke Alfonso of Ferrara, who, having heard that the master had completed a beautiful work for him, and being unwilling to lose such a jewel, had sent the gentleman in question to secure it, who had no sooner arrived in Florence than he sought out our artist, to whom he presented the letters of his lord. Having received him courteously, the master then showed him the Leda; her arm thrown around the swan, and with Castor and Pollux proceeding from the egg; a large picture in tempera. The Duke’s messenger, expecting, from what he had heard of Michelagnolo, to see some great thing, but who was incapable of comprehending the excellence and power of art displayed in that figure, remarked to the master, “Oh, this is but a very trifling affair.” Whereupon our artist, knowing that none have better judgment in a matter than those who had long experience therein, inquired of him what his vocation might he. To which the gentleman, secretly smiling and believing himself not to he known for such to Michelagnolo, replied, “I am a merchant;” at the same time making a sort of jest of the question, and speaking with contemptuous lightness of the industry of the Florentines.

“Aye, indeed,” replied Michelagnolo, who had thoroughly understood the sense of his words; “then you will make a bad bargain for your master this time; he pleased to take yourself out of my sight.” In those days Antonio Mini, the disciple of Michelagnolo, had two sisters to marry, when the master presented the Leda to him, some few days after the conversation just rO' lated, with the greater part of the designs and cartoons which he had made, a most noble gift indeed. When Antonio afterwards took it into his head to go to France, therefore, he carried with him two chests of models, with a vast number of cartoons finished for making pictures, some of which had been painted, while others still remained to be executed. The Leda he there sold, by the intermission of certain merchants, to Francis the King of France; and it is now at Fontainebleau; but the cartoons and designs were lost, seeing that Antonio died before he had been long in France, when those treasures were stolen, and our country was thus deprived, to her incalculable injury, of those admirable works of art. The Cartoon of the Leda*^[71] has, however, returned to Florence, and is in the possession of Bernardo Vecchietti. There are four pieces of the Cartoons of the Chapel also, which have been brought back by the sculptor Benvenuto Cellini, and are now held by the heirs of Girolamo degli Albizzi.^[72]

Michelagnolo now thought it fitting and proper that he should repair to Borne, there to take the commands of Pope Clement, who, though much displeased, was yet the friend of distinguished men; His Holiness accordingly forgave all, and ordered him to return to Plorence with a commission to give the ultimate completion to the Library and the Sacristy of San Lorenzo. By way of facilitating the progress of the work moreover, the large number of Statues required for it were distributed among other masters. Tribolo received two; one was given to Bafiaello da Monte Lupo; and another to the Servite monk, Fra Giovan Agnolo, all sculptors;^[73] but Michelagnolo assisted each of them, making rough models in clay for them all. While these masters, therefore, were zealously occupied with their works, Michelagnolo proceeded with the Library, the ceiling of which was finished after his models by the Florentines Caroto and Tasso, both excellent carvers and masters in wood-work; the shelves for the books being executed at the same time by Battista del Cinque and Ciapino his friend, also good masters in their vocation; while, to give the work its final perfection, the famous Giovanni of Udine was invited to Florence; when he, assisted by his disciples and certain Florentine masters, adorned the Tribune with stucco-work;^[74] all these artists labouring zealously to bring the edifice to completion.

Michelagnolo, on his part, was anxious to have his statues also in readiness, but the Pope then summoned him to Rome, for the purpose of adorning the walls of the Chapel of Sixtus with pictures, as he had already done the ceiling for Pope Julius 11. On the first of these walls, or that behind the Altar, Pope Clement commanded him to paint the Last Judgment, proposing that in this picture he should display all that the art of design is capable of elfecting; while on the opposite wall, and over the principal door, the Pontiff directed that the Fall of Lucifer, and that of the Angels who sinned with him, should be depicted, with their Expulsion from Heaven and Precipitation to the centre of Hell. Of these subjects, it was found that Michelagnolo had long before made sketches and designs, one of them being afterwards put into execution, in the Church of the Trinità in Rome, by a Sicilian painter, who had been many months with Michelagnolo, and had served him in the grinding of his colours. The picture, which is in fresco, is in the Transept of the church, at the Chapel of San Gregorio namely; and although badly executed, there is nevertheless a certain force and variety in the attitudes and groups of those nude figures raining down from heaven; and of the others, which having fallen to the centre, are then turned into frightful and horrible forms of Demons, which certainly give evidence of extraordinary power of fancy and invention.

While Michelagnolo was thus busied with his painting of the Last Judgment, no day passed that he did not have contentions with the agents of the Duke of Urbino, who accused him of having received sixteen thousand crowns for the Tomb of Pope Julius II. He was much grieved at this charge, and though now become old, wished to finish the tomb, since so unlooked-for an opportunity had been presented to him of returning to Rome, whence indeed he desired never to depart, not being willing to remain in Florence, because he greatly feared the Duke Alessandro de’ Medici, whom he knew to be no friend of his; nay, when the latter had intimated to him, through the Signor Alessandro Vitelli, that he must repair to Florence, there to select a better site for the forts and citadel, Michelagnolo replied that he would not go thither, unless compelled to do so by Pope Clement.

An agreement being finally arrived at, in respect to the Tomb of Julius, the matter was arranged on this wise:^[75] the edifice was no longer to be an isolated fabric, but merely a single façade, executed as Michelagnolo should think best, he being held nevertheless to supply to it six Statues by his own hand. By this contract^[76] the Duke of Urbino allowed Michelagnolo to work during four months of the year for Pope Clement, whether in Florence or wherever else it might please the Pontiff to employ him; Michelagnolo now believed himself to have obtained quiet, but he was not allowed to continue his work of the Tomb in peace, because Pope Clement, eager to behold the ultimate effort and force of his art in the Chapel, kept him perpetually occupied with those paintings. Yet, while giving the Pontiff reason to suppose him fully employed with them, he did secretly work on the Statues for the Sepulchre.^[77]

In the year 1533, Pope Clement died,^[78] when the works proceeding at the Library and Sacristy in Florence, which, notwithstanding all the efforts made, were not yet finished, were at once laid aside. Michelagnolo then believed himself to be free and at liberty to give all his attention to the Tomb of Pope Julius, but Paul III. being created High Pontiff, no long time elapsed before our artist was summoned by His Holiness, who received him with great favour, declaring that he wished the master to enter his service and remain near his person; Michelagnolo excused himself, saying, he was engaged by contract to the Duke of Urbino until the Tomb should be completed; but Paul, much displeased, replied, “For thirty years have I had this wish, and now that I am Pope will you disappoint me? That contract shall be torn up, for I will have you work for me, eome what may.” Hearing this, Michelagnolo was tempted to leave Pome and find means for the completion of the Tomb elsewhere.^[79] Yet, prudent as he was, and fearing the power of the Pontiff, he resolved to try if he could not content him with words, and so keep him quiet (seeing that he was already so old), until some new change might ensue.

Pope Paul meanwhile, determined to have some important work executed by Michelagnolo, went one day to his house with ten Cardinals, and then demanded to see all the Statues for the Tomb of Julius; they appeared to him to be most admirable, more particularly the Moses, which, as the Cardinal of Mantua remarked, was sufficient of itself to do honour to the late Pontiff. The Cartoons and designs for the walls of the Chapel were next examined, these also amazed the Pope with their beauty, and he again pressed Michelagnolo to enter his service, promising to persuade the Duke of Urbino to content himself with three Statues by the hand of Michelagnolo, who might cause the remaining three to be executed after his own models by other good artists. And His Holiness did accordingly so arrange with the Duke’s agents, that a new contract was signed by that prince; but Michelagnolo proposed, of his own free will, to pay for the three Statues wanting, as well as for the masonry of the sepulchre, depositing one thousand five hundred and eighty ducats in the Bank of the Strozzi for that purpose. This he might have avoided, had it pleased him to do so; but having done that, he thought he had made sufficient sacrifices for so laborious and vexatious an undertaking as this Tomb had proved to be, and he then caused it to be erected, at San Pietro in Vincola, in the following manner.

The lower basement, with its carved decorations, has four pedestals, which project forwards to the extent required for giving room to a figure representing a Captive, which was originally to have been placed on each, but for which a terminal figure was now substituted; the lower part had thus a poor appearance, and a reversed corbel was therefore added at the feet of each. Between the termini are three niches, of which the two outermost have a circular form, and were to have received figures of Victory; instead of which, the one had now Leah, the daughter of Laban, as the representative of Active Life; in one hand she holds a mirror, to denote the circumspection which we should give to our actions; and in the other a garland, to intimate the virtues which adorn our lives while in this world, and render them glorious after death. The opposite niche received liebecca, the sister of Leah, as denoting Life in Contemplation;^[80] her hands are joined, her knees are bent, and her face is turned upwards as in ecstacy of spirit. These Statues were executed by Micbelagnolo himself in less than a year.

In the centre is the third niche, but this is of a square form, having been originally intended to serve as the entrance to the oval temple, wherein the quadrangular sarcophagus was to have been erected. In this niche there is now placed the beautiful and majestic Statue of Moses, of which we have said enough. Over the heads of the terminal figures, which serve as capitals, there are the Architrave, Frieze, and Cornice, which project over the termini and are richly carved in foliage, ovoli, denticulations, and other ornaments. Above the cornice is a second compartment without carving of any kind, but with termini of a different form, and other figures, standing immediately over those below, they stand in the place of pilasters with varied cornices. In the centre of this compartment, which is similar to and accompanies that below in all its parts, is an opening corresponding with the niche wherein is the Moses; and here, supported by the ressaults of the cornice, is a marble sarcophagus on which is the recumbent Statue of Pope Julius II. executed by the sculptor Maso dal Bosco.^[81] Immediately over this and within a niche is the figure of Our Lady holding the Divine Child in her arms, and executed, after the model of Michelagnolo, by the sculptor Scherano da Settignano. These are tolerably good statues; and in two other niches, also of a square form, are two larger statues, a Prophet and a Sybil namely, both seated; they are placed immediately over the figures representing Active Life and Life in Contemplation. These were made by Raffaello da Montelupo, as we have said in the Life of Baccio his father, but did not give satisfaction to Michelagnolo.

This part of the Tomb was surmounted by a richly decorated cornice, which formed the summit of the whole, and projected considerably over the whole front of the work.

At the ends of the same, and above the Termini, stand Candelabra of marble; and in the centre, or over the Prophet and Sybil, are the Arms of Julius 11. Within each of the niches, however, it has been necessary to make a window for the convenience of the monks who serve the church; the choir being behind this monument, these windows permit the voices to be heard in the church, and allow the divine offices to be seen. Upon the whole, then, the work has turned out to be a very good one, although wanting much of the magnificence promised by the first design.^[82]

Michelagnolo had now resolved, since he could not do otherwise, to enter the service of Pope Paul III,, who commanded him to continue the paintings ordered by Pope Clement, without departing in any manner from the earlier plans and inventions, which had been laid before His Holiness; for the latter held the genius of Michelagnolo in great respect; nay, the love and admiration which he felt for him were such that he desired nothing more earnestly than to do him pleasure. Of this there was a proof in the fact that Pope Paul desired to have his own Arms placed beneath the Statue of the Prophet Jonas, where those of Julius 11. had previously been. But when the master, not wishing to do wrong to Julius and Clement, declined to execute them there, saying that it would not be well to do so. His Holiness yielded at once, that he might not give Michelagnolo pain, acknowledging at the same time the excellence of that man who followed the right and just alone, without flattery or undue respect of persons; a thing to which the great are but little accustomed.

Michelagnolo now caused an addition to be made to the wall of the Chapel, a sort of escarpment, carefully built of well-burnt and nicely chosen bricks, and projecting half a braccio at the summit, in such sort that no dust or other soil could lodge on the work. But I do not propose to enter into details as regards the compositions or inventions of this story, because there have been so many prints, great and small, made from it that I need not waste my time in describing the same.^[83] Let it suffice to say that the purpose of this extraordinary master was no other than the representation by the pencil of the human form, in the absolute perfection of its proportions, and the greatest possible variety of attitude, with the passions, emotions, and affections of the soul, expressed with equal force and truth: it was sufficient to him to treat that branch of art wherein he was superior to all, and to lay open to others the grandeur of manner that might be attained in the nude form, by the display of what he could himself effect in the difficulties of design, thus facilitating the practice of art in its principal object, which is the human form. Keeping this end in view, he gave but slight attention to the attractions of colouring, or to the caprices and new phantasies of certain delicate minutiae, which some painters, and not perhaps without good show of reason, have been especially careful to cultivate. Many, indeed, who have not possessed Michelagnolo’s distinction in design, have sought by the variety of their tints and shades of colouring, by many fanciful and varied inventions, or, in short, by some other method of proceeding, to make their way to a place beside the first masters; but Michelagnolo, taking firm ground on the most recondite principles of art, has made manifest to all who know enough to profit by his teaching, the means by which they may attain perfection.

But to return to the story. Michelagnolo had brought three-fourths of the work to completion, when Pope Paul went to see it; and Messer Biagio da Cesena, the master of ceremonies, a very punctilious man, being in the Chapel with the Pontiff, was asked what he thought of the performance.

To this he replied, that it was a very improper thing to paint so many nude forms, all showing their nakedness in that shameless fashion, in so highly honoured a place; adding that such pictures were better suited to a bath-room, or a road-side wine-shop, than to the chapel of a Pope.

Displeased by these remarks, Michelagnolo resolved to be avenged; and Messer Biagio had no sooner departed than our artist drew his portrait from memory, without requiring a further sitting, and placed him in Hell under the figure of Minos, with a great serpent wound round his limbs,^[84] and standing in the midst of a troop of devils: nor did the entreaties of Messer Biagio to the Pope and Michelagnolo, that this portrait might be removed, suffice to prevail on the master to consent; it was left as first depicted, a memorial of that event, and may still be seen.^[85]

It chanced about this time that Michelagnolo fell from a no inconsiderable height of the scaffolding around this work and hurt his leg, yet in the pain and anger this caused him he would suffer no surgeon to approach his bed; wherefore the Florentine physician, Maestro Baccio Rontini, the friend of Michelagnolo, and a great admirer of his genius, who was a very eccentric person, taking compassion on his state, went one day to knock at the door of the house. Obtaining no reply, either from his neighbours or himself, he strove to make his way in by a secret entrance, and from room to room at length arrived at that wherein the master lay. He found him in a desperate state, but from that moment he would not leave his bed-side, and never lost sight of the patient until he had effectually cured the injured leg.

His malady overcome, and having returned to his work, the master laboured thereat continually for some months, when he brought it to an end, giving so much force to the figures of the same, that they verified the description of Dante,—“Dead are the dead, the living seem to live.” The sufferings of the condemned and the joys of the blessed are exhibited with equal truth; wherefore, this painting being given to view, Michelagnolo was found to have surpassed not only all the early masters who had painted in that Chapel, but himself also, having resolved, as respected the ceiling which had rendered him so celebrated, to be his own conqueror; here, therefore, he had by very far exceeded that work, having imagined to himself all the terrors of the last day with the most vivid force of reality. For the greater pain of those who have not passed their lives well, he has represented all the Passion of our Saviour Christ, as presenting itself to their view; the cross, the column, the lance, the sponge, the nails, and the crown of thorns, being all borne in the air by nude figures; whose difiicult and varied movements are executed with infinite facility. The seated figure of our Lord, with a countenance terrible in anger, is turned towards the condemned, on whom he thunders anathema, not without great horror on the part of Our Lady, who, wrapt in her mantle, is the witness of that destruction.

There are, besides, a vast number of figures. Prophets, and Apostles, surrounding the Saviour; those of Adam and St. Peter are more especially conspicuous, and they are believed to have been made so; the one as the first parent of those thus brought to judgment, the other as being the founder of the Christian religion. At the feet of Christ is a most beautiful figure of San Bartolommeo, holding forth the skin of which he was deprived; with a nude figure of San Lorenzo, and those of other saints male and female, to say nothing of the many other forms of men and women, some near and some at greater distance, who embrace each other and express their joy; they, by the grace of God and as the reward of their good works, having secured eternal blessedness. Beneath the feet of our Saviour are the seven Angels with the seven trumpets, described by St. John the Evangelist; and as they summon all to judgment, the terrible expression of their faces causes the hair to stand on end. Among the angels, there are two holding the Book of Life; while near them on one side, and not without admirable forethought, are the seven mortal sins in the form of demons; they are struggling to drag down to hell the souls which are flying, with beautiful attitudes and admirable foreshortenings, towards heaven.

Nor has our artist hesitated to show the world how, in the resurrection of the dead, these forms retake their flesh and bones from the earth itself, and how, assisted by others, already risen to life, they are soaring into the heavens, the blessed spirits above also lending them aid; every part exhibits the peculiarities that may be supposed best suited to such a work: the master having made sketches and endured fatigues of all kinds, as indeed may be clearly perceived throughout the whole. This is, perhaps, more particularly manifest in the barque of Charon, who stands in an attitude of furious anger, striking with his oars at the souls which are dragged into the boat by the devils; as Michelagnolo’s most beloved author, Dante, has described him, when he says,—

Charon, the demon, with the eyes of brass,
Calls the sad troops, and having gathered all,
Smites with raised oar the wretch that dares delay.

Nor would it be easy adequately to describe the variety displayed in the heads of those devils, which are truly monsters of hell. In the sinners also, the crimes they have committed, with their fear of eternal punishment for the same, are equally manifest; and, to say nothing of the beauty of this work, the harmony with which it is executed is so extraordinary that the pictures appear as if all painted in the same day, while the delicacy of their finish surpasses that of any miniature. But of a truth the number of the figures, with the grandeur and dignity of the composition, are such, while the expression of every passion proper to humanity is so fully and so wonderfully expressed, that no words could do the work justice. The proud, the envious, the avaricious, or the luxurious, are easily distinguished by one who examines with judgment, the master having given his attention to every point, and maintained the truth of Nature in each expression, attitude, and circumstance, of whatever kind; a ihing which, however great and admirable, was not impossible to Michelagnolo, who was ever prudent and observing. He had seen many men and lived much in the world, thereby acquiring the knowledge which philosophers seek to obtain from books and reflection.

The man of j udgment and one well versed in Art will here perceive the latter in all its force, and will discover thoughts and emotions in these figures such as were never depicted by any other than Michelagnolo himself. Here we may learn how the attitude may be varied even in the most extraordinary gestures of young men and old, male and female; and who can fail to perceive herein the greatness of his art, as well as the grace which had been imparted to him by Nature, when they move the hearts of the ignorant almost as they do those of men well versed in the matter? Foreshortenings are here seen which give the appearance of the most perfect relief, with a softness and delicacy of every part, showing what paintings may be when executed by good and true masters: but in some of these figures there are outlines turned by Michelagnolo in a manner that could have been effected by no other than himself. At a word, we have here the true Last Judgment, the real Condemnation, the effectual Resurrection. For our arts this work is, in short, the example of a great picture sent by God to men, thereby to show them how Fate proceeds, when spirits of the highest order are permitted to descend to this our earth, bearing Avithin them the grace and divinity of knowledge as innate, or a part of themselves. Those who had before believed themselves acquainted with Art, are led bound and captive by the work before us, and, gazing on the evidence of power in these contours, they tremble and fear as if some great Spirit had possessed himself of the art of design; examining these labours, their senses are bewildered at the mere thought of what other paintings executed, or to be executed, must needs appear, when brought into comparison with this paragon.

Truly fortunate may that man be esteemed, and happy are his recollections, who has been privileged to behold this wonder of our age. Thrice blessed and fortunate art thou, O Paul III., since Grod has permitted that under thy protection was sheltered that renown which the pens of writers shall give to his memory and thine own! How highly are thy merits enhanced by his art!^[86] A great happiness, moreover, has most assuredly been his birth for the artists of our time, since by the hand of Michelagnolo has been removed the veil of all those difficulties which had previously concealed the features of Painting, Sculpture, and Architecture: seeing that in his works he has given the solution of every difficulty in each one of those arts.

At this work Michelagnolo laboured eight years. He gave it to public view on Christmas day, and (as I think) in the year 1541. This he did to the amazement and delight, not of Pome only but of the whole world. For myself, I, who was at Venice that year, and went to Pome to see it, was utterly astounded thereby.^[87]

Now Pope Paul had caused a Chapel, called the Pauline, to be built by Antonio da Sangallo, as we have before related, in imitation of that erected by Nicholas V., and he now resolved that Michelagnolo should there paint two large stories; in one of them our artist accordingly depicted the Conversion of St. Paul: Our Saviour Christ is seen in the air above, with a multitude of angels, nude figures, exhibiting the most graceful movements. On the earth beneath them lies Paul, fallen from his horse, stunned and bewildered; some of the soldiers standing around are about to raise him up, while others, terrified by the voice and the majesty of Christ, are betaking themselves to flight: their movements and attitudes are of singular beauty; the horse likewise, endeavouring to fly from the place, appears to hurry after him the servant who is seeking to restrain the velocity of his course; the whole story indeed offers evidence of extraordinary power and design. In the second picture is the Crucifixion of St. Peter, a most beautiful figure bound naked to the Cross. The executioners have made a hole in the earth wherein they are about to fix the cross, that the martyr may remain crucified with his feet in the air; a picture full of fine thought and consideration.^[88]

The attention of Michelagnolo was constantly directed towards the highest perfection of art, as we have said elsewhere; we are therefore not here to look for landscapes, trees, buildings, or any other variety of attraction, for these he never regarded; perhaps because he would not abase his great genius to such matters. These were his last pictures, they were painted in his seventy-fifth year, and as he told me himself, at great cost of fatigue, seeing that painting, and more especially fresco, is not the work of those who have passed a certain age. Michelagnolo now arranged that Perino del Vaga, a most excellent painter, should decorate the ceiling with stucco-work and painting after his designs, and to this Pope Paul III. consented; but the work being delayed, nothing more was done, as indeed has been the case with many undertakings, which the irresolution of artists or the indifference of princes has caused to be left unfinished.

Pope Paul had begun to fortify the Borgo, and had called Antonio Sangallo, with many of the Roman nobles, to counsel in that matter, but knowing that Michelagnolo had directed the fortifications of San Miniato at Florence, he determined, after many disputes, to ask his opinion also. Thinking differently to Sangallo and most of the others, Michelagnolo nevertheless uttered his thoughts plainly, when Sangallo told him that sculpture and painting were his arts, and not fortification: to this Michelagnolo replied, that of sculpture and painting he knew but little; of fortification, on the contrary, the much he had thought of it, with what he had accomplished, had taught him more than had ever been known by Sangallo and all his house put together. He then proceeded, in the presence of all, to point out the errrors that had been committed.

One word calling forth another, the Pope was compelled to impose silence on every one; but no long time afterwards, Michelagnolo brought the whole fortification of the Borgo, designed in such sort as to throw light over all that remained to be done; and this, opening the eyes of each person concerned, caused the great gate of Santo Spirito, designed by Sangallo, and then near its conclusion, to be discontinued and to remain unfinished.

The active spirit of Michelagnolo could not endure to continue unoccupied; and not being able to paint any longer, he set himself to work on a piece of marble, whence he proposed to extract a Pieta, consisting of four figures larger than life; doing this for his amusement and pastime as he said, and because the use of the hammer kept him in health. Our Saviour Christ, as taken from the Cross, is supported by the Virgin Mother, who is powerfully aided by Nicodemus, a figure standing beneath, with the feet firmly fixed on the earth. One of the Maries also, perceiving that the powers of Our Lady are about to fail, comes also to her aid, as, overcome by her grief, she can no longer support the form of her Son. A dead body equal to this of Christ could not possibly be found; sinking with the limbs in perfect abandonment, the attitude is different from that of any other, not of Michelagnolo’s own execution only, but of any that has ever been made. The work is such as has rarely been extracted from a single stone, it is a truly beautiful as well as laborious one, but, as will be related hereafter, it suffered many mishaps,^[89] and ultimately remained unfinished; although Michelagnolo had intended this group to serve as his own monument, and to be placed at the altar near which he hoped to be laid to his final rest.

In the year 1546, it chanced that Antonio da San Gallo died; a Director for the fabric of San Pietro was required, and there were various opinions as to who should be entrusted with the office; at length, and, as I believe, inspired by God, His Holiness resolved to send for Michelagnolo. Being asked if he would undertake the work, the master replied that he would not, architecture not being his vocation; but when entreaties were found useless, the Pope commanded him to accept the trust, and to his infinite regret he was compelled to obey. One day among others that he had gone to the building accordingly, to see the model in wood prepared by Sangallo, and to examine the fabric, the whole party of the Sangallicans came to meet him, and in the best terms they could find, expressed their satisfaction at his appointment, remarking that the model before them was a field on which he need never want pasture. “You speak well,” replied Michelagnolo, intending to imply (as he declared to one who was his friend) that the pasture was good for sheep and oxen and other animals who know nothing of art.^[90] Nay, he would often publicly declare that Sangallo had left the building without lights, and had heaped too many ranges of columns, one above the other on the outside; adding, that with its innumerable projections, pinnacles, and divisions of members, it was more like a work of the Teutons than of the good antique manner, or of the cheerful and beautiful modern style; he furthermore affirmed that fifty years of time, with more than 300,000 crowns in the cost, might very well be spared, while the work might be completed with increased majesty, grandeur, and lightness, to say nothing of better design, more perfect beauty, and superior convenience.

He made a model also, to prove the truth of his words, and this was of the form wherein we now see the work to have been conducted; it cost twenty-five crowns, and was finished in a fortnight; that of Sangallo having exceeded four thousand, as we have said, and occupied several years in the making. From this and other circumstances, it was indeed easy to see that the Church had become an object of traffic and a means of gain, rather than a building to be completed; being considered, by those who undertook the work, as a kind of bargain to be turned to the best account.

Such a state of things could not fail to displease so upright a man as Michelagnolo; and, as the Pope had made him Superintendent against his will, he determined to be rid of them all. He therefore one day told them openly that he knew well they had done and were doing all they could, by means of their friends, to prevent him from entering on this ofSce, but that if he were to undertake the charge, he would not suffer one of them to remain about the building. These words thus publicly spoken, were taken very ill, as may readily be supposed, and awakened so much hatred against Michelagnolo, that this, increasing daily as the whole arrangement of the work was seen to be changed both within and without, permitted Michelagnolo to have no peace, his adversaries constantly inventing new methods of tormenting him, as will hereafter be seen.

At length the Pontiff issued a Motu-proprio, by which he appointed him Superintendent of the fabric, with full authority to do or undo, decrease, extend, or change as it should seem good to him, and furthermore commanding that the whole government of those who were employed should be in his hands. Thereupon Michelagnolo, seeing the confidence which the Pope placed in him, desired to prove himself worthy thereof, and had a clause inserted in the Motu-proprio, to the effect that he performed his office for the love of God, and would accept no reward, although the Perry of the river at Parma,^[91] which had formerly been given to him by the Pope, had been lost to him by the death of the Duke Pier-Luigi, and he had received only a Chancery of Rimini, which brought him in but a small revenue, in its stead. But that circumstance he did not regard; and although Pope Paul more than once sent him money as a stipend, he would never accept any, a fact to which Messer Alessandro Ruffini, then Chancellor of the Pope, and Messer Pier Giovanni Aliotti, Bishop of Forli, have borne witness.

The model of the Church made by Michelagnolo was finally approved by the Pope, and this, although it decreased the circumference of the building, yet did in fact give it greater space, to the satisfaction of all who have judgment, although some, who profess to be judges, but in reality are not, are far from being pleased therewith. It was now found that the four principal piers constructed by Bramante, and left unaltered by Antonio da Sangallo, which had to support the weight of the Tribune, were too weak. Michelagnolo therefore, partly filled them up; and near them he made two spiral staircases, with steps of ascent so easy and so slightly inclined, that the asses used for carrying the materials to the summit could mount and descend them, while men could go up on horseback to the platform of the arches. He formed the first cornice over the arches of travertine in a circular form, a beautiful work, of the most graceful effect, and quite different from the others; nor could there be anything better of that kind. He then commenced the two great recesses of the Transept; but whereas, by the order of Bramante, Baldassare, and Rafiaello, there were to be eight niches or tabernacles on the side towards the Campo Santo, as we have said, an arrangement followed by Sangallo, Michelagnolo reduced them to three, with three chapels, raising over them a vaulting of travertine, and a range of windows, giving full light, varied in their form, and of very magnificent efiect. But as these are finished, and are besides to be published by engravings, as are all the designs of Michelagnolo and of Saugallo likewise, I will not give myself the trouble of describing them, which is indeed unnecessary. Let it suffice to say, that where our artist made changes he caused all to be constructed with the utmost exactitude, adding a degree of strength which should leave no pretext for any other to disturb his plans. And this was the foresight of a prudent man, for it does not alway suffice to do well, unless further precaution be taken; seeing that the presumption and boldness of such as might be supposed—if you regard their words rather than their works—to know something, may cause many inconvenient changes.

Now the Roman people desired, under the favour of Pope Paul, to give some more decorous, beautiful, and convenient form to their Capitol, proposing to adorn it with columns, andfiights of steps, having balustrades and broad stairs; to say nothing of the ancient statues wherewith it was to be further decorated. For this the advice of Michelagnolo was requested, and he made them a rich and beautiful design; this comprised a fine front in travertine, on the side of the Senate-house, towards the east namely, with a double flight of steps, ascending to a platform, whence you enter the middle of the Great Hall, the rich and varied balustrades of those steps serving at once as a support and a bulwark. And, for the further decoration of the same, he added antique figures of recumbent River-gods, nine braccia high, the Tiber and the Nile namely; these he has raised on pedestals, and between them there is to be the statue, in a large niche, of Jupiter.^[92] On the south side, where is the Palace of the Conservators, and by way of bringing the building to a square form, there followed a rich and varied façade, with a Loggia of columns, and niches beneath, and here many antique statues are to be placed; doors, windows, and numerous ornaments are likewise in preparation, many of which are finished. A similar fa9ade is to be erected opposite to this, on the north side beneath the Ara Coeli; and on the west, there is to be a flight of steps of very easy ascent, the whole surrounded by a balustrade; and here will be the principal entrance, which is further to be adorned by a range of pedestals, whereon the magnificence of those statues, in which the Capitol is now so rich, will be displayed.

In the centre of the Piazza, and on a pedestal of an oval form, is erected the Horse of bronze so much talked of, whereon there sits the figure of Marcus Aurelius, which Pope Paul III. caused to be removed from the Piazza of the Lateran, where it had been placed by Sixtus IV. By all these alterations and additions the edifice has now been rendered so beautiful that it merits to be accounted among the finest of Michelagnolo s works, although it is at present only in course of completion, not by himself, but by M. Tommaso de Cavalieri, a Roman gentleman, who has been and is one of the most faithful friends of Michelagnolo, as will be related hereafter.

While Antonio da Sangallo lived. Pope Paul had permitted him to continue the building of the Farnese Palace; but the upper cornice on the outside was still wanting, and His Holiness now desired that this should be added by Michelagnolo, after his own design, and under his direction. That master, therefore, not wishing to disoblige the Pope, who esteemed and favoured him so much, made a model in wood, seven braccia long, and of the exact size which the cornice was to be. This he caused to be fixed on one of the angles of the Palace that the effect might be seen, when, as the Pontiff and all Rome with him were much pleased therewith, it was put into execution, and so much of it as we now see was completed, proving to be the most beautiful and varied cornice ever erected, either by the ancients or moderns. On the death of Sangallo, Pope Paul desired, as we have said, that Michelagnolo should undertake the charge of the whole Palace, where he constructed the great window with its beautiful columns of vari-coloured marble, which is over the principal entrance, adding a large escutcheon, also in marble, and bearing the arms of Paul III. the founder of that edifice.

He continued the great Court also, constructing two ranges of columns over those first erected, with the most beautiful windows, and a great variety of rich ornaments, ending with the great cornice; all of these works being so beautiful, that this Court, by the labour of Michelagnolo, has now become the finest in ail Europe. Our artist likewise enlarged the great Hall, and made arrangements for the vestibule, which he vaulted after a new manner, in the form of a half oval. It chanced that in this year an antique group of Hercules, in marble, standing on a mountain, and holding a bull by the horns, was discovered at the warm baths of Antoninus; a second figure, is assisting Hercules, the group is seven braccia square: around the hill are nymphs, herdsmen, and different animals. The whole work is certainly one of great beauty, the figures being in full relief: it was adjudged to have been intended for a fountain, and Michelagnolo advised that it should be placed in the second Court, where, being restored, it might be used for the same purpose. This advice pleased every one, and by command of the Signori Farnesi, the group is now receiving the most careful restoration to that effect.^[93]

It was at this time that Michelagnalo proposed the erection of a bridge, to cross the Tiber at the point where it would form a road from the Farnese Palace in the Trastevere, to another palace belonging to the same family; when a view might be obtained from the principal entrance on the Campo di Fiori across the Court, and comprising the Fountain, the Strada Julia, this bridge, and the beautiful gardens, even to the opposite gate which opens on the road of the Trastevere; a magnificent idea, and one fully worthy of that Pontiff, as well as of the genius and judgment of Michelagnolo.

In the year 1547, Bastiano Viniziano, the Monk of the leaden seal, departed this life; and as the Pope was then proposing to have the antique Statues of the Vatican restored, Michelagnolo favoured the Milanese sculptor, Gruglielmo della Porta, a youth of great promise, who had been recommended to him by Fra Bastiano, and with whom Michelagnolo was himself much pleased; he presented him to Pope Paul, therefore, from whom Guglielmo received a commission to restore two of the Statues in question,^[94] and Michelagnolo afterwards caused the office of the leaden seal to be conferred on Della Porta, who continued the restoration of the statues also, as we now see them in the palace; but, forgetful of all these benefits, Fra Guglielmo subsequently became one of the master’s most eager opponents.

The death of Pope Paul took place in the year 1549, v/hen Julius III. was elected High Pontiff; and Cardinal Farnese then commissioned Fra Guglielmo to construct a vast Sepulchre for his kinsman Paul III. That artist proposed to erect it under the first arch of the new Church beneath the Tribune.^[95] But this interfered with the plans of the architect, and was in effect not the proper place for the Tomb; wherefore, Michelagnolo judiciously advised that it should not be constructed there; this caused Fra Guglielmo, who thought our artist acted from envious motives, to conceive a bitter hatred against him, but time has proved Michelagnolo right, and the fault was all wdtli Guglielmo, who, having the opportunity for producing a fine work, failed to make use of it, as I shall mention further elsewhere, and can here plainly show. For it chanced that in the year 1550, I had gone to Rome by order of Pope Julius III., there to enter the service of that Pontiff, and the more gladly as I could thus be near Michelagnolo, when I took part in the council held respecting that matter of the Tomb, which Michelagnolo wished to have placed within one of those niches, where now stands the Column of the Possessed, and which was indeed its proper position. I had also laboured to secure from Pope Julius the selection of the opposite niche as the place of his own sepulchre, which was to correspond in manner with that of Paul III., but the opposition of Fra Guglielmo caused his own work to remain unfinished,^[96] while the construction of that of Pope Julius was likewise prevented; results which had all been predicted by Michelagnolo.

In the same year Pope Julius resolved to erect a marble chapel in San Pietro-a-Montorio, with two sepulchral monuments, the one for his uncle Antonio Cardinal di Monte, and the other for Messer Fabiano his grandfather, who had laid the foundation of greatness for that illustrious house. For these works Vasari made the designs and models, when Pope Julius, who admired the genius of Michelagnolo and loved Vasari, commanded that the former should fix the price to be paid for those labours, and Vasari entreated the Pontiff to prevail on Michelagnolo to take the work under his protection. Now Vasari had proposed that Simon Mosca should be employed to prepare carvings for this Chapel, and. that Paffaello di Montelupo should execute statues; but Michelagnolo advised that no carvings of foliage should be added, nor any decorations of that kind used among the architectural portions of the monuments, remarking that where there are marble statues there should be no other ornament. Vasari meanwhile was afraid the work would look poor; but when he afterwards saw it completed, he confessed that Michelagnolo had displayed judgment, nay, great judgment.

The master was also unwilling that Paffaello da Monte Lupo should have the commission for the statues, remembering that he had not acquitted himself well in those which he had executed under his own guidance for the Tomb of Pope Julius II. He therefore preferred to ‘see them confided to Bartolommeo Ammannati, whom Vasari was likewise seeking to put forward for that occasion, although Michelagnolo had a touch of personal dislike against him, as well as against Nanni di Baccio Bigio. But this displeasure, if we consider all things, had arisen from slight causes, these artists having offended from love of art rather than from, a desire to wrong him. Being youths that is to say, they had taken several drawings by Michelagnolo from his disciple Antonio Mini, but these were afterwards restored by the intervention of the Council of Eight, and the master himself had employed the intercession of his friend Messer Griovanni Norchiati, canon of San Lorenzo,^[97] to save the boys from any further punishment. Michelagnolo was once talking to Vasari about this matter when the latter told him laughingly, that he did not consider the young men so very blameable, and would himself have taken, not some drawings only, but all that he could have laid hands on, acting from the love of art and in the hope of improvement only, seeing that those who would make progress must proceed with force of will, and should be rewarded for their zeal rather than punished as are those who steal money or property of that kind. The matter was thus turned into a jest, and the work being commenced that year, Ammannato went with Vasari to Carrara, to prepare the marbles.

Vasari was at this time in the company of Michelagnolo daily, and one morning in the Jubilee year, the Pope in his kindness gave them both a holiday, to the effect that they might accompany a cavalcade which was riding forth to visit the Seven Churches, and might thus receive the absolution together. In doing this they had much useful and pleasing discourse, while going from one church to another, respecting the arts and other vocations, and Vasari wrote the whole dialogue, which he intends to publish at some future day, with other matters concerning art.^[98] In the same year. Pope Julius confirmed the Motu-proprio of Paul III. in respect to the fabric of San Pietro, and although the Sangallican faction found great fault with what Michelagnolo had ordered for the building, the Pontiff would at that time hear nothing of all they could say; Vasari having assured him that Michelagnolo had given life to the edifice (as was the truth), and persuading His Holiness to do nothing in respect to his design for San Pietro, without the full concurrence of the master, a promise to which Pope Julius, having once given it, constantly adhered. Nor would he suffer anything to be done without Michelagnolo’s advice either at the Yigna Julia or the Belvedere. The flight of steps now used was at that time constructed at the last-mentioned palace, in place of the semi-circular staircase previously existing there, and which, having ascended eight steps, turned inwards and ascended eight more, as designed by Bramante. This was erected in the great recess in the centre of the Belvedere, but Miclielagnolo now designed the beautiful quadrangular staircase with a balustrade of peperino marble, as we still see it.

It was in this same year that Vasari completed the printing of his book, comprising the Biography of the Painters, Sculptors, and Architects; but he had written the life of no surviving artist (although many were very old), Michelagnolo alone excepted. He now presented his work to that master, who received it very gladly, many facts derived from his own lips having been recorded therein, for he, being of so advanced an age, and having so much judgment as well as experience, was well able to afford much information. No long time afterwards, having read the book, Michelagnolo sent Vasari the following sonnet, which he had written, and which, in memory of his affection, I think it well to add in this place:—

If with the chisel and the colours, thou
Hast made Art equal Nature, now thy hand
Hath e’en surpassed her, giving us her beauties
Rendered more beautiful. For with sage thought
Now hast thou set thyself to worthier toils,
And what was wanting still, hast now supplied.
In giving life to others; thus depriving
Her boast of its last claim to rise above thee.
Is there an age whose labours may not hope
To reach the highest point? yet by thy word
All gain the limit to their toils prescribed.
The else extinguished memories thus revived
To new and radiant life, by thee, shall now
Endure, with thine own fame, throughout all time.

Vasari, having soon afterwards returned to Florence, remitted the charge of laying the foundations at San Pietro-aMontorio to Michelagnolo; but to Messer Bindo Altoviti, then Consul of the Florentines and a great friend of Vasari, the latter remarked that it would have been much better if the Tomb of Pope Julius had been erected in the Church of San Giovanni de’ Fiorentini, Giorgio added, that he had already spoken on the subject to Michelagnolo, who wished to promote the change, seeing that this would be a good opportunity for completing that Church. The proposal pleased Messer Bindo, who, being admitted to much familiarity by the Pope, pressed it zealously on His Holiness, urging that it would be much better to construct the Chapel and Tomb in the Church of San Giovanni than at Montorio, because the Florentines, impelled by the motive for action thus presented, would at length be induced to supply the monies needful for the completion of the Church; seeing, that if His Holiness would make the principal Chapel, there were merchants who would make six more, and so on by degrees, until all should be finished. The Pope changed his mind accordingly, although the model had been made and the price of the work agreed on; and going to Montorio, he sent for Michelagnolo. Thereupon Vasari, who was daily writing to the latter and obtaining intelligence of all that was going on there, in reply, received the following, dated August 1, 1550, wherein he notifies the Pontiff’s change of purpose, and these are the words themselves as they came from his own hand:—

“My dear Messer Giorgio,—With respect to the foundations at San Pietro Montorio, I write you nothing, seeing that the Pope will not hear of them, and I know you are well advised thereof by your man that is here. But I desire to tell you what follows, and that is, that yesterday morning the Pope having repaired to the said Montorio, sent for me: I met him on the bridge as he was returning, and had a long conversation with him in regard to the Tombs confided to you. At length he told me that he had determined not to construct them on the Mount, but in the Church of the Florentines, desiring to have my opinion and designs for the same; whereupon I encouraged him in that purpose, considering that the Church would thus be finished. Eespecting your last three letters, I have no pen that can reply to such high matters; but if I should rejoice to be what you make me, it would be principally that you might have a servant who should be worth something. Yet why should I marvel that you, being the restorer to life of dead men should add life to those who are still living? But to shorten my words, such as I am, I am wholly yours,

“Michelagnolo. Rome”

While these affairs were in course of arrangement and the Florentines in Borne were labouring to raise money, certain difficulties arose; there was nothing concluded and the matter began to cool. But Vasari and Ammannato had now caused all the marbles to he excavated at Carrara, whereupon they were sent to Rome, and Ammannato with them, Vasari writing by him to Buonarroto, desiring the latter to get an order from the Pope as to where the work was to be executed, and having received it, to let the foundations be laid. As soon as Miehelagnolo had read this letter, he spoke to our Lord the Pope, and wrote to Vasari as follows:—

“My dear Messer Giorgio,—As soon as Bartolommeo had arrived, I went to speak to the Pope, and seeing that he wished the Tombs to be at Montorio, I began to look out for a builder from San Pietro. But when Tantecose^[99] heard of it, he desired to choose one after his own mind; whereupon I withdrew, not wishing to struggle with one who commands the winds, and who is so light-minded a man that I think it better not to involve myself in any question with him. At all events, the Church of the Florentines is no longer to be thought of. Return as soon as you can; and, meanwhile, fare you well. Nothing further remains to say, 15th Oct. 1556.”

Miehelagnolo called the Bishop of Forlì^[100] Tantecose, because he liked to meddle with every kind of matter; being principal chamberlain to the Pope, he had under his care all the medals, jewels, cameos, small figures in bronze, and other things of similar kind, but he would fain have had everything depend on himself. Miehelagnolo avoided him carefully, finding the Bishop’s meddling always unfriendly to himself, and fearing lest the ambition of the prelate should involve him in some trouble. Be this as it may, the Florentines in Rome lost an excellent occasion for completing their Church. God knows when they may have such another, and the failure gave me indescribable vexation. I would not omit the mention of the matter, desiring to show how constantly Miehelagnolo sought to benefit those of his country as well as to assist his friends and brother artists.

Scarcely had Vasari returned to Rome, and the year 1551 had not well commenced, before the Sangallican faction had formed a plot against Miehelagnolo, making interest to prevail on the Pope to assemble all concerned in the building of San Pietro, declaring, with false calumnies, that they could show His Holiness how Michelagnolo was spoiling the edifice. He had constructed the recess of the King, where the three chapels are that is to say, and had placed three windows in the upper part; but these people, not knowing what he was proposing to do in the vaulting, with their feeble judgment had given the old Cardinal Salviati, and Marcello Cervino, who was afterwards Pope,^[101] to understand that San Pietro would be left with insufficient light. All being assembled accordingly, the Pope told Michelagnolo that the deputies declared that part of the church to be unduly deprived of light, when the master replied that he would like to hear those deputies speak. “We are the deputies,” replied Cardinal Marcello; and Michelagnolo rejoined, “Monsignore, in the vaulting above, and which is to be of travertine, there are to go three other windows.”— “You have never told us so,” returned the Cardinal; to which Michelagnolo responded, “I neither am nor will be obliged to tell either your lordship or any other person what I intend or ought to do for this work; your office is to procure money, and to take care that thieves do not get the same; the designs for the building you are to leave to my care.” Then turning to the Pope, he said, “Holy Father, if the labours I endure do not benefit my soul, I am losing my time vainly for this work to which the Pope, who loved him, replied, laying his hands on the shoulders of the master, “You will be a gainer both for your soul and in the body; do not doubt it.”

Having rid himself of those who desired to unseat Michelagnolo, the love of the Pope for that master increased daily, and he commanded that Vasari, as well as himself, should repair to the Vigna Julia, on the very day following that of the assembly above described. Here the Pontiff had much conversation with them, discussing all the admirable improvements since effected there, nor did he meditate or decide on any work of design without the opinion and judgment of Michelagnolo. And among other occasions, that artist once going thither, as he frequently did, with Vasari, they found the Pope, with twelve cardinals, by the Fountain of the Aqua Vergine, when His Holiness would compel Miclielagnolo to be seated near him, however humbly he excused himself, the Pontiff always doing every possible honour to his genius.

Pope Julius likewise made him prepare the model for a palace, which His Holiness wished to build near San Rocco, proposing to make the Mausoleum of Augustus serve as a part of the masonry; nor would it be possible to find the design of a fa9ade more varied, original, rich or beautiful than is this, seeing that Miclielagnolo, as may be remarked in all his works, would never restrict himself to any laws, whether ancient or modern, as regarded architecture, he being one who had ever the power to invent things no less beautiful than varied and original. This model is now in the possession of the Duke Cosimo de’ Medici, to whom, when he went to Rome, it was given by Pope Pius IV., and who has deposited it among his most valued possessions. This Pontiff regarded Michelagnolo so highly that he constantly defended him against all the Cardinals and others who sought to do him injury. He also required every other artist, however able or distinguished, to wait on Michelagnolo at his own house: nay, his consideration for our artist was so great that, fearing to demand too much, he refrained from asking many a work, which the master, notwithstanding his age, might very well have performed.

In the time of Pope Paul III. Michelagnolo had received a commission from that Pontiff to repair the foundations of the Bridge of Santa Maria, which had been weakened by time and the perpetual flow of the waters.

The piers had been carefully repaired, or rather refounded, ^by means of coffer-dams, and a great portion of the work had been concluded, at a great expense for timber and travertine. Under the pontificate of Julius III. there was question in the Council of bringing this bridge to an end: certain among those present proposing that the architect, Nanni di Baccio Bigio, should finish it by contract, they alleging that it would thus be done in a short time and at small cost. The Clerks of the Chamber pretended, moreover, that this would be a relief to Michelagnolo, who was now old, and cared so little for the matter that the work, at the rate it then proceeded, could never be brought to an end. The Pope was no lover of disputes, and not thinking of the consequences that might ensue, he gave the desired authorization, bidding them manage the matter as an affair of their own. The fabric, with all the materials collected, was then committed, without Michelagnolo knowing anything of what was going forward, to Nanni, who had full power to treat it as he pleased, when he not only neglected the precautions needful to the security of the foundations, but even removed and sold a great part of the blocks of travertine with which the bridge had been anciently strengthened and paved (a thing which greatly added to the stability and duration of the structure), supplying the place of those blocks with gravel, and materials of similar kind, so that there was no want of solidity in appearance. Nanni also made bulwarks and other external defences, causing the Bridge to be seemingly well restored, while in fact it had been much weakened and deteriorated. Five years afterwards, however, and when the flood of 1557 came down, the whole fabric fell to ruin, in such a manner as to prove the error of judgment which the Clerks of the Chamber had committed, and the injury which Rome had suffered from their disregard of Michelagnolo’s advice. He had indeed frequently predicted the ruin of the bridge to his friends, and I remember that when we were one day crossing it on horseback, he said, “Giorgio, this bridge shakes beneath us, let us be gone, that it may not fall while we are on it.”

But to return to a subject before touched on: when the work of Montorio was, to my great satisfaction, completed, I returned to Florence to the service of Duke Cosimo; this was in the year 1554. The departure of Vasari grieved Michelagnolo, as indeed it did Georgio, and as no day passed wherein the adversaries of the master did not labour to vex him, now in one way and now in another, so did these two not fail to write to each other daily. In the April of the same year Vasari gave Michelagnolo notice, that a son had been born to his nephew Leonardo, the child, whom Georgio had accompanied to his baptism, having been attended by a most honourable train of noble ladies, and receiving the name of Buonarroto. To this letter Michelagnolo replied by the following:—

“My dear Friend Giorgio,—I have felt much pleasure in reading your last, seeing that you still remember the poor old man, and also because you were present at the triumph of which you write, and have seen the birth of another Buonarroto. For this intelligence I thank you as much as I can or may, although I am displeased by so much pomp, seeing that no man should laugh when the whole world is in tears. I think, too, that Leonardo should not rejoice so much over the birth of one who is but beginning to live; such joy should be reserved for the death of one who has lived well. Do not be surprised if I have not replied immediately; and for the many praises you send me, if I could only deserve one of them, I should then think that in giving myself to you, soul and body, I might perhaps have given you something that might, in some small measure, repay the much wherein I am your debtor: but I must acknowledge you my creditor for more than I can ever pay, and being old I have now no hope of acquitting myself. In the next life we may nevertheless regulate our account, wherefore I pray you to take patience, and am wholly yours. Things here stand much as before.”^[102]

So early as the time of Paul III. Duke Cosimo had sent Tribolo to Pome to try if he could persuade Michelagnolo to return to Florence, there to finish the Sacristy of San Lorenzo; but the master had excused himself, saying that he was become old, might no longer endure the fatigue of labour, and could not leave Pome. Tribolo then inquired as to the steps for the Library of San Lorenzo, for which Michelagnolo had caused many of the stones to be prepared, but for which no model, nor any certain indication of the form in which they were to be constructed, could be found. It is true that there were some few sketches of a pavement and other things in terra^ yet the correct and final design of the work could not be ascertained. But not all the entreaties of Tribolo, although he brought in the name of the Duke, could move Michelagnolo to say more than that he did not remember.

The Duke then commanded Vasari to write to the master, since it was hoped that for love of him Michelagnolo would perhaps say something which might enable them to bring the work to conclusion. Vasari wrote to him accordingly as the Duke desired, adding, that of all which had to be done Vasari was to be the director, and would do everything with the utmost fidelity, taking care of every minutia, as of a work of his own. To this Michelagnolo replied by sending the plans for the work in a letter written by his own hand on the 28th of September, 1555.

“Messer Giorgio, my dear Friend,—About the Staircase whereof there has been so much said, believe that if I could remember how I had arranged it I should not require so many entreaties. There is a certain stair that comes into my thoughts like a dream; but I do not think it is exactly the one which I had planned at that time, seeing that it appears to be but a clumsy affair; I will describe it for you here nevertheless. I took a number of oval boxes, each about one palm deep, but not of equal length and breadth. The first and largest I placed on the pavement at such distance from the wall of the door as seemed to be required by the greater or lesser degree of steepness you may wish to give to the stair. Over this was placed another, smaller in all directions, and leaving sufficient room om that beneath for the foot to rest on in ascending, thus diminishing each step as it gradually retires towards the door; the uppermost step being exactly of the width required for the door itself. This part of the oval steps must have two wings, one right, the other left. The steps of the wings to rise by similar degrees, but not to be oval in form. The ascent by the middle flight, from the centre to the upper part, shall be for the Signore; the turn of the wings must be towards the wall.^[103] But from the centre downwards to the pavement, they shall be kept at the distance of about three palms, in such sort that the basement of the vestibule shall not be infringed upon in any part. What I am writing is a thing to be laughed at, but I know well that you will find something suitable to your purpose.”^[103]

In those days Michelagnolo wrote to Vasari, to the effect that, Julius III. being dead, and Marcellus being elected in his place, the faction adverse to himself was beginning to torment him anew. The Duke hearing this, and being displeased by those proceedings, made Giorgio write to Michelagnolo, bidding him leave Rome and come to Florence, where his Excellency would ask nothing more from him than*" occasional advice respecting his buildings and other works of art, but was ready to grant him whatever he might desire without wishing him to lay a hand upon anything.^[104] Messer Leonardo Marinozzi, private secretary to the Duke, was also' the bearer of a letter to that effect from his Excellency, as well as of one from Vasari. But Marcellus having died, and Pope Paul lY. being elected High Pontiff, Michelagnolo, who had gone to kiss the feet of the new Pope, had received the most amicable offers from His Holiness; and desiring to see the completion of San Pietro, while he also thought himself bound in a certain sort to that employment, the master wrote to the Duke, excusing himself for that he could not then enter his service; and to Vasari he sent the following words;—

“Messer Giorgio, my dear Friend,—I call God to witness how much against my will it was that I was put into the Fabric of San Pietro ten years since by Paul III.; had they subsequently continued to work at that edifice, as they then did, I should have now brought it to such a state that I might be permitted to think of returning home; but for want of money the work has been retarded, and that at a time when the most laborious and difficult part of it has come to be executed: insomuch, that to abandon it now would be no other than a great shame and sin, whereby I should lose the reward of all those toils which for the love of God I have endured for the last ten years. I make you this discourse in reply to your letter, and because I have a letter from the Duke which makes me not a little to marvel that his Lordship should write with so much kindness;^[105] thank God and his Excellency so much as I may and can. But I depart from my subject, I have indeed last my memory and understanding; writing is besides a great trouble to me, seeing that it is not my vocation. The conclusion is this: to make you comprehend what would follow if I were to abandon the above-named building and depart hence. Firstly, I should rejoice many a worthless scoundrel; and lastly, I should cause the ruin, or perhaps indeed the final suspension, of the edifice.”

Michelagnolo furthermore wrote to Vasari, telling him, for his excuse with the Duke, that having a house and many other comforts in Rome, worth some thousands of crowns, and suffering besides from many infirmities of age, he was unfit for the fatigues of travelling, as Messer Eraldo his physician, to whom, after God, he owed it that he was yet in life, could testify. He added, that for all these causes he was unable to leave Rome, and had, indeed, courage for nothing more than to die and be at rest. In other letters from his hand, which Vasari has kept, he begs the latter to excuse him to the Duke; and did himself also write to his Excellency, as I have said. Nay, had he been in a condition to travel, he would have repaired instantly to Florence; and the kindness shown to him by Duke Cosimo had moved him so deeply that I do not believe he would in that case have found resolution to depart again.

Meanwhile he pressed forward the works of San Pietro in various parts of the building, desiring to bring it to such a state that the arrangement thereof could no more be changed. About this time he was told that Pope Paul IV. bethought himself of having certain parts of the Paintings in the Chapel altered, His Holiness considering that the figures in the Last Judgment where shamefully nude. When Michelagnolo, therefore, received a message from the Pope to that effect, he replied: “Tell His Holiness that this is a mere trifle, and can be easily done; let him mend the world, paintings are easily mended.”

The office of the Chancery at Rimini was now taken from our artist, but he would not speak of the matter to His Holiness, who knew nothing about it, his Cupbearer having withdrawn it from Michelagnolo, with the intention of paying him a hundred crowns per month instead, by way of stipend, for his services at San Pietro; but when the first month of that stipend was sent to the master’s house, he refused to receive' the money. In the same year there happened to Michelagnolo the death of Urbino, his servant, or rather his companion, for such he had become.^[106] This man had entered his master’s service at Florence, in the year of the Siege, and after Antonio Mini, his disciple, had gone to France; he was a most zealous servant, and in the twenty-six years of his abode with his master the latter had made him rich, and had loved him so much, that although so old, he had nursed him in his sickness, and slept at night in his clothes beside him, the better to watch for his comforts. When Urbino died, therefore, Vasari wrote to Michelagnolo to console him, and the master replied in these words:—

“My dear Messer Giorgio,—I can but ill write at this time, yet to reply to your letter I will try to say something. You know that Urbino is dead, and herein have I received a great mercy from God, but to my heavy grief and infinite loss.The mercy is this, that whereas in his life he has kept me living, so in his death he has taught me to die, not only without regret, but with the desire to depart. I have had him twenty-six years, have ever found him singularly faithful, and now that I had made him rich, and hoped to have in him the staff and support of my old age, he has disappeared from my sight; nor hg,ve I now left any other hope than that of rejoining him in Paradise. But of this God has given me a foretaste, in the most blessed death that he has died; his own departure did not grieve him, as did the leaving me in this treacherous world, with so many troubles. Truly is the best part of my being gone with him, nor is anything now left me except an infinite sorrow. And herewith I bid you farewell.”

Under Paul IV., Michelagnolo was much employed in many parts of the fortifications of Rome; and for Salustio Peruzzi, to whom that Pontiff had entrusted the construction of the Great Gate of the Castello Sant’ Angelo, now half ruined, as we have related elsewhere, he undertook to distribute the statues required for that work, as well as to see and correct the models of the sculptors. At this time the French army approached Rome, and Michelagnolo, believing that he might himself come to an evil end, together with the City, resolved to depart with Antonio Franzese, of Castel Durante, whom Urbino had left him at his death to serve him. He fled secretly from Rome accordingly, retiring into the mountains of Spoleto, where he visited several abodes of the Hermits. At that time Vasari wrote to him, sending him a little work which the Florentine citizen. Carlo Lenzoni, had left at his death to Messer Cosimo Bartoli, who was to have it printed, and dedicated to Michelagnolo.^[107] It was just then finished, and Vasari, who despatched it to Michelagnolo, received the following in reply:—

“Messer Giorgio, my dear Friend,—I have received Messer Cosimo’s little book, and in this shall be an acknowledgment, which I beg you to present to him with my service.

“I have in these last days undertaken a visit in the Mountains of Spoleto, to the Hermits abiding there, at great cost of labour and money, but also to my great pleasure, insomuch that I have returned to Rome with but half my heart, for of a truth one finds no peace or quiet like that of those woods. More I have not to tell you. I rejoice that you are well and happy, and recommend myself to your friendly remembrance. This 18th day of Sept., 1556.”

Michelagnolo worked for his amusement almost every day at the group of four figures, of which we have before made mention; but he broke up the block at last, either because it was found to have numerous veins, was excessively hard, and often caused the chisel to strike fire, or because the judgment of this artist was so severe, that he could never content himself with anything that he did, a truth of which there is proof in the fact that few of his works, undertaken ill manhood, were ever completed; those entirely finished having been the productions of his youth. Such for example were the Bacchus, the Pietà of the Madonna della Febbre, the Colossal Statue at Florence, and the Christ of the Minerva, which are finished to such perfection, that a single grain could not be taken from them without injury;^[108] while the Statues of the Dukes Giuliano and Lorenzo,^[109] with those of Night, Aaron, Moses, and the two figures belonging to the latter, altogether not amounting to eleven statues, have still remained incomplete. The same may be said of many others; nay, Michelagnolo would often remark, that if he were compelled really to satisfy himself in the works to be produced, he should give little or nothing to public view. And the reason of this is obvious, he had proceeded to such an extent of knowledge in art, that the very slightest error could not exist in any figure, without his immediate discovery thereof; but having found such after the work had been given to view, he would never attempt to correct it, and would commence some other production, believing that the like failure would not happen again; this then was, as he often declared, the cause wherefore the number of pictures and statues finished by his hand was so small.

When he had broken the Pieta, as related above, he gave it to Francesco Bandini, and this happened about the time when the Florentine sculptor, Tiberio Calcagni, had been made known to Michelagnolo, by the intervention of that Bandini, and of Messer Donato Giannotti, for he being one day in the house of the master, where the broken Pieta still remained, inquired, after a long discussion, wherefore he had destroyed so admirable a performance? to this our artist replied, that he had been moved thereto by the importunities of Urbino his servant, who was daily entreating him to finish that work: there had besides been a piece broken off the arm of the Madonna; and these things, with a vein which had appeared in the marble and had caused him infinite trouble, had deprived him of patience, insomuch that he not only broke the group, but would have dashed it to pieces, if his servant Antonio had not advised him to refrain, and to give it to some one even as it was. Hearing this, Tiberio spoke to Bandini, who desired to have something from his hand; and by means of the latter, Antonio received the offer of two hundred crowns in gold, on condition that he should prevail on Michelagnolo, to permit that Tiberio, aided by the models of the master, should complete the group for Bandini, by which means the labour already expended on it would cease to be lost.

Michelagnolo presented them with the broken marbles accordingly, and they instantly carried them away, when the parts were put together by Tiberio, certain portions, I know not what, being added: but the death of Bandino, of Michelagnolo, and of Tiberio himself, caused the work to remain unfinished after all. It is now in the possession of Pierantonio Bandini, son of Francesco, and may be seen at his Yilla of Montecavallo.^[110] But to return to Michelagnolo, it now became needful to find some other block of marble, that he might daily have opportunity for amusing himself with his chisel; he took a much smaller piece therefore, wherein he commenced another Pieta, but in a different manner.^[111]

Now the architect, Piero Ligorio, had entered the service of Pope Paul IV., and, busying himself with the fabric of San Pietro, he disturbed Michelagnolo anew, going about declaring that the latter had fallen into second childhood. This offeRded our artist exceedingly, he would fain have then returned to Florence, and was much pressed to do so by Giorgio; but feeling that he had become old, for he had then attained his eighty-first year, he excused himself to Vasari, to whom, writing in his ordinary manner, he sent several spirited sonnets, setting forth that the end of his days was nearly come, that he must now be careful to direct his thoughts to suitable objects, that his letters must prove him to be at his eleventh hour, and that no thought arose in his mind which did not bear the impress of approaching death.

He added in one of his letters, “God has willed that the burden of my fife must be endured for some time longer.

I know you will tell me that, being old, I am unwise to attempt the making of sonnets, but since they say I am in my dotage, I do but perform my proper office. I see well the love you bear me, and do you, on your part, know to a certainty that I would gladly rest my weak frame by the bones of my father, as you exhort me to; but if I departed hence I should cause great injury to the fabric of St. Peter, which would be a shame as well as heavy sin; yet when all is so far completed that nothing can be changed, I hope still to do as you desire, if indeed it be not sinful to disappoint a set of rogues who are expecting me daily to leave the world.” With this letter there came the following sonnet:—

“Now in frail bark, and on the storm-tossed wave,
Doth this my life approach the common port.
Whither all haste to render up account
Of every act,—the erring and the just.
Wherefore I now do see, that by the love
Which rendered Art mine idol and my lord,
I did much err. Vain are the loves of man,
And error lurks within his every thought.
Light hours of this my life, where are ye now.
When towards a twofold death my foot draws near?
The one well-known, the other threatening loud.
Not the erst worshipped Art can now give peace
To him whose soul turns to that love divine.
Whose arms shall lift him from the Cross to Heaven.”

From this we see that Michelagnolo was drawing towards God and casting from him the cares of art, persecuted as he was by those malignant rivals, and by certain among the Commissioners for San Pietro, who would fain, as he said himself, be making themselves more than rightfully busy in the matter. ^[112] Vasari replied to Michelagnolo’s letter, by order of Duke Cosimo, in few words, but still encouraging him to return to his own country; to hi^ verses Giorgio replied by a sonnet of similar character. And Michelagnolo would now without doubt have left Rome very gladly, but he had become so weak, that although he had determined on doing so, as will be related hereafter, yet the spirit was more willing than the frame, and his debility kept him in Rome. Now it happened in June, 1557, that in the construction of the vaulting over the apsis (which was in travertine, and after Michelagnolo’s own designs), there was found to be an error, he not being able to visit San Pietro so frequently as before, and the principal builder having constructed the entire vaulting on one centre, instead of using several, as he ought to have done. Thereupon Michelagnolo, as being the friend and confidant of Vasari, sent him the designs for the vaulting as made by himself, and with the words beneath written at the foot of two of them.

“The chief builder took the measure of the arch, wliich you wiU find marked in red, for that of the whole vaulting, but when he came to the centre of the half-circle, which is at the summit of the same, he perceived his error as here seen in the design marked in black. But with this error it is that the work has been proceeding, insomuch that a large number of the stones will have to be displaced; for in the whole vaulting there is no masonry of bricks, all is in travertine, and the diameter of the arch, exclusive of the cornice which borders it, is twenty-two palms. This mistake has been committed because my advanced age prevents me from visiting the building so frequently as I could wish, although I had prepared an exact model of the work, as I do of every thing; and whereas, I thought that part of the fabric was finished, it will now not be completed during the whole winter. If a man could ever die of shame and grief, I should not be living now. I beg you to account to the Duke for my not being at this moment in Florence.”

On another of the designs, wherein Michelagnolo had drawn the plan of the building, he wrote as follows:—

“Messer Giorgio,—To the end that the difficulty of the vaulting may be the more clearly comprehended, it becomes needful to describe the construction from the ground upwards. It was necessary to divide it into three sections, corresponding with the windows beneath, which are separated by piers; and these sections you see proceeding in the form of pyramids towards the inner centre of the highest point of the vaulting, being in perfect harmony with the basement and sides thereof. But it was needful that the work should be regulated by a large number of centres for supporting the arches, which should have been constantly changed on all sides, and from point to point, for all which no fixed rule could be given; the circles and squares approaching the centre of their deepest part having to be diminished, and to cross each other in so many directions, and to proceed to so many points, that it is without doubt exceedingly difficult to find the true proportions for bringing all to perfection. Yet, having the model—which I make for all things, they ought not to have committed so great an error as to attempt constructing all those three sections with one centre for the arches; a mistake which has compelled the removal of many stones, which we have still the shame and expense of taking down. The entire vaulting, with its various sections and ornaments, are, like the lowermost part of the Chapel, wholly of travertine, a thing not customary in Rome.”

The Duke Cosimo, perceiving all these hindrances, no longer pressed Michelagnolo to return to Florence, declaring that the satisfaction of the master, and the continuation of San Pietro, were matters of greater interest to him than any other consideration, and begging that Michelagnolo would give himself no further anxiety. Whereupon, the latter wrote to Vasari, telling him that he thanked the Duke with all his heart for that great kindness, and adding, “God give me grace to serve him with this my poor person, for my memory and understanding are gone to await him elsewhere.” The date of this letter was August, of the year 1557. Thus Michelagnolo perceived that the Duke esteemed his life and honour more than his presence, which was nevertheless so highly acceptable to him: all these things, with many others which it is not necessary to repeat, we learned from letters written by his own hand.

Our artist was now much pressed to make his final arrangements known, and as he saw that little was done at the building (although he had partly advanced the internal frieze of the windows, and the double columns outside, Mdiich form the circle above the round Cornice^[113] whereon the Cupola is to be placed, as will be related hereafter), he was encouraged by his best friends, as the Cardinal di Carpi, Messer Donato Giannotti, Francesco Bandini, Tommaso de’ Cavalieri, and Lottino;^[114] nay, he was even constrained by them, to make at least a model of the Cupola; since, as he might perceive, the erection of the same was suffering delay.

Several months elapsed nevertheless, before he could resolve on anything; at length he made a beginning, and by degrees produced a small model in clay, to the end that after this, and by the aid of the plans and sections which he had likewise prepared, there might eventually be made a much larger one in wood. Such a model was accordingly constructed in somewhat less than a year, and under Michelagnolo’s guidance, by Maestro Giovanni Franzese, who worked at the same with much zeal and care. The dimensions and minute proportions of this smaller structure, measured by the ancient Foman palm, corresponded in every particular with those of the great Cupola, all the parts being executed with extreme nicety; the members of the columns, the bases, capitals, doors, windows, cornices, ressaults, and every other minutia, being represented in such sort that no better work of the kind could be effected. It may indeed be affirmed that, not in all Christendom, nor indeed through the whole world, is there a grander or more richly decorated structure than will be that now in question.

And since we have taken the time to notify objects of so much less importance, I think it will be our duty as well as profitable to our readers, to describe the design according to which Michelagnolo proposed to construct this Church and Cupola; wherefore, with such brevity as we may, we will give a simple narration thereof, to the intent that if, which may God not permit, this undertaking should continue to be impeded in the lifetime of the master, as it has hitherto been, and should have a similar fate after his death, so shall my writings, such as they may be, avail to assist the faithful executors of his designs, and restrain the malignity of those presuming persons who may desire to alter them,^[115] they may also enlighten and give pleasure as well as aid to those who love and delight in these vocations.

To commence then, I say that, according to the model made under the directions of Michelagnolo, the internal diameter will be a hundred and eighty-six palms from wall to wall, reckoning above the great circular cornice in travertine, which passes around the inside and rests on the four double piers, or pilasters; these rise from the floor with their carved capitals of the Corinthian Order, being with their architrave, frieze, and cornice, also in travertine. This cornice turning around the great recesses, reposes on the four large arches, those of the three niches, and that of the entrance namely, which form the Cross of the Church. From that point upwards commences the Cupola itself, which springs from a basement of travertine, with a platform six palms broad, forming a wall or passage around the building. That basement presents a circle in the manner of a well, the thickness thereof being thirty-three palms eleven inches, the height to the upper cornice eleven palms ten inches; the upper cornice is about eight palms, and it projects about six palms and a half. Through this basement there are made four entrances by which the ascent to the Cupola is commenced, and these are placed above the arches of the Tribunes, the thickness of the basement being divided into three parts. The innermost division measures fifteen palms, the outermost eleven palms, and that in the middle seven palms eleven inches, which make the thirty-three palms eleven inches before mentioned.

The middle portion of the basement is unencumbered and serves as a passage, its height is equal to twice its breadth, it has a coved ceiling, and in the line of the four entrances it has eight doors, each joined by four steps, one leads to the level of the cornice of the first basement, which is six and a half palms broad, another conducts to the inner cornice, eight and three quarters palms broad, which encircles the Cupola.

These doors give commodious access to the inside as well as outside of the edifice. The distance from one to another forms the segment of a circle of two hundred and one palms, and these being four, the entire circle is one of eight hundred and four palms. This basement, whereon repose the columns and pilasters, and which forms the interior frieze of the windows, is fourteen palms one inch high, and on the outside there is a slight cornice above and below, which does not project more than ten inches, and is entirely of travertine.

In the thickness of the third part, above that of the interior, and which we have described as being fifteen palms broad, there is a staircase four and a quarter palms broad in each quarter of the circle; it has two branches, the one turning one way and the other in the opposite direction; these staircases lead to the level of the columns, above which, and immediately over the centre of the basement, there rise eighteen^[116] large piers entirely of travertine, each adorned with two columns on the outside and two pilasters within, as will be mentioned hereafter, and between these the whole space is left for the windows which are to give light to the Cupola.

On the side looking towards the centre of the Cupola these great piers present a surface of thirty-six palms, but on the other side of nineteen and a half palms only,^[117] each has two columns on the exterior side, the dado at the foot of these measuring eight palms and three quarters, and eight and a half palms in height; the base is five palms eight inches broad, and.  .  .  .   palms eleven inches high; the shaft of the columns has forty-three and a half palms in height; the diameter is five palms six inches at the base, and above four palms nine inches: the Corinthian capital is six and a half palms high, or with the mouldings nine palms. Three quarters only of these columns are seen, the fourth being let into the corner, but in the centre there projects a pilaster, which forms an acute angle; between the pilasters is an entrance forming an arched doorway, five palms broad and thirteen palms five inches high, but above this level it is filled in with solid masonry even to the capitals of the columns and pilasters, being united with two other pilasters similar to those which form the acute angle beside the columns, and these decorate the sides of the sixteen windows constructed around the circle of the tribune, each window having a clear light twelve and a half palms wide, and about twenty-two palms high.

The windows are adorned on the outside by an architrave of varied character two palms and three quarters broad, and on the outside they are in like manner decorated with a similarly varied range of pediments and arches intermingled, being broader without and narrower within, for the purpose of increasing the light; they are lower also inside than out, to the end that they may throw light on the frieze and cornice. Each window is enclosed between pilasters corresponding in height to the columns on the outside, so that there are thirty-six columns without and thirty-six pilasters within;^[118] over the pilasters on the inside is the architrave, which is four palms five inches high, while the frieze is four palms and a half, the cornice being four palms and two thirds, with a projection of five palms; and over this is a range of balusters, to the end that one may walk around in security.^[119] For the more commodious ascent to the platform whence the columns ascend, there is another fiight of steps, with two branches, which rise to the summit of the columns, capitals, architrave, frieze, and cornice; so that this staircase, without interrupting the light of the windows, passes at the upper end into a spiral stair of the same breadth until it attains to the platform, whence the Cupola begins to turn.

All these arrangements, division^ and decorations are so varied, commodious, strong, and rich, the base gives such effectual support to the two vaults of the Cupola which are turned upon it, the whole work is so admirably conceived and so ably executed, that the eyes of one who understands and is capable of judging, can see nothing more graceful, more beautiful, or more ingenious. As to the masonry, and all that respects the stability of the work, every part has received the utmost strength and power of duration, while infinite judgment is displayed in the conduits for carrying off* water by concealed channels, and in every other minutia: at a word, the whole work, so far as it has hitherto proceeded, is brought to such perfection that all other edifices ^rink into nothing when compared therewith. Very deeply it is to be regretted that those in power have not put everything into Michelagnolo’s hands, to the end that before the death of this extraordinary man we might have had this immense and beautiful erection completed. Up to this point Michelagnolo has finished the masonry of the building, it now remains that we commence the vaulting of the Cupola, of which, since we have the model, we will continue to describe the arrangement as he has left it to us. The centres of the arches are directed on three points which form a triangle as below.

A B
C

The lowermost, or point C, determines the form, height, and width of the first half circle of the Tribune,^[120] which Michelagnolo has ordered to be constructed of well-baked bricks, the thickness given to the wall being four palms and a half above as well as below, leaving a space in the middle which is four palms and a half wide at the foot, and this is to be occupied by the stairs leading from the cornice, whereon are the balustrades, to the lantern; the arch of the interior of the second vaulting, which is broader below and narrower above, proceeds from the point B, which gives four palms and a half as the thickness of the lower part. The last arch which represents the outer side, and is also enlarged below while it is restricted above, departs from the point A.^[121] At the upper part this arclf' gives the entire space in which are the stairs, whose height is of eight palms, so that men can walk upright therein, the thickness of the vault being gradually diminished to the extent that, while it has four palms and a half at the foot, it has three palms and a half only at the head. The vaultings, exterior and interior, are so well conjoined and connected that one supports the other; of the eight parts into which it is divided at the base, four are left hollow above the arches, to diminish the weight, while the four others are bound and 'secured to the piers in such sort that their durability may well extend to all time.

The central stairs between the two vaultings are made in the following manner. Those which start from the point whence the vault springs have each two branches, and proceeding through one of the sections they cross each other inr the form of the letter X, until they attain the summit of the vaulting over the centre of the arch C. Having thus ascended the half of this arch by a direct line, the remainder is commodiously surrounded by a flight which turns easily, until the summit, whence the lantern commences, is attained; around this there is a smaller range of double pilasters and windows similar to those in the interior, all corresponding with that diminution of the compartments which takes place above the piers, as will be described below.

Over the flrst great cornice within the tribune commence those concave compartments into which the vaulting is divided and which are formed by sixteen projecting ribs; these have the width of two of those pilasters which separate the windows placed under the vault of the Cupola at their base, but they constantly diminish up to the opening for the lantern: they rest on a pedestal of breadth equal to their own and twelve palms high, based on the platform of the cornice which passes around the tribune; over this and between the ribs are eight large ovals, each twenty-nine palms high, while above them is a range of rectangular compartments twenty-four palms high and somewhat broader at the lower than the upper edge; but where the ribs approach each other more nearly, then come circles, fourteen palms high, over each square, so that there are eight ovals, eight squares, and eight circles; each range being less deeply concave, as well as smaller than that beneath it: a most rich and beautiful design. Michelagnolo proposing to form the ribs, and framework of all these compartments in carved work of travertine.^[122]

There remains that we mention the superficies and ornaments of the exterior vaulting, which rises from a basement twenty-five palms and a half high, reposing on a socle which has a projection of two palms, as have the mouldings at the head. The master proposed to cover the whole roof with lead, as was done for the old Church of San Pietro, he divided it into sixteen spaces, which commence at the point where the double columns end, and are placed between them; in the centre of each space he formed two windows, making, thirtytwo in all, and serving to light the staircases between the two vaultings: to these he added projecting corbels supporting the segment of a circle; the whole forming a kind of roof which serves to throw off the rain. In the line of the columns and in the centre of the space between them, the ribs were made to spring from that point where the cornice ends, they were broader at the base and narrower at the summit; sixteen in all, and of five palms in width. In the centre of each there was a channel formed, a palm and a half broad, and in this were stairs of about a palm high, by which an ascent can be made to the opening left for the lantern. These are to be of travertine, constructed in such sort as shall defend them from the effects of the frost and rain.

The design for the Lantern makes that structure diminish in the same proportion with all the other parts of the work, becoming gradually smaller in exact measure, and ultimately closing with a small temple having round columns, which stand in pairs, as do those below; they have pilasters behind them, and rest on a socle, so that one can pass around from pilaster to pilaster, looking down upon the windows, the the interior of the cupola, and the church. An architrave with frieze and cornice surrounds the whole, and projects over the two columns, immediately above which are spiral shafts and niches, rising together to the summit of the coping, which begins to contract at about one third of their height in the manner of a circular pyramid, until it reaches to where the ball and cross are to form the completion of the structure. I might here add numerous details, such as the precautions taken against earthquakes, the conduits for water, the various lights and other commodious arrangements, but I refrain, since the work is not yet finished, and it shall suffice me to have touched on the principal parts. All the details, moreover, are within reach of the reader’s eyes, and can be seen; this slight sketch will therefore be sufiScient to inform such as know nothing of the building.^[123]

The completion of this model was a great satisfaction, not only to the friends of Michelagnolo but to all Rome; he continued to direct the works until the death of Pope Paul IV.; and when Pius IV. was chosen in his place, that Pontiff, although employing Piero Ligorio, who was architect of the Vatican, to construct the little Palace in the wood of the Belvedere, yet made many offers of service and showed much kindness to Michelagnolo. The Motu-proprio of Paul III., Julius III., and Paul IV., in respect to the fabric of San Pietro, was confirmed by His Holiness, who likewise restored a portion of those allowances which our artist had lost during the Pontificate of Paul IV. He employed him in many of his own buildings, and during his reign the works of San Pietro likewise proceeded busily. Among other things Michelagnolo was required to prepare the design for a monument to the memory of the Pope’s brother, the Marquis of Marignano, which the Cavaliere Lione Lioni of Arezzo, an excellent sulptor and the friend of Michelagnolo, was commissioned to construct in the Cathedral of Milan, as will be related in its due place.

About the same time the Cavaliere Lioni made the Portrait of Michelagnolo, (a very close resemblance,) in a medal; on the reverse of which, and in compliment to the master, was a blind man led by a dog, with the following legend:—

docebo iniquos vias tvas, et impii ad te convertentur.

This pleased Michelagnolo greatly,^[124] and he presented Lioni with a model in wax of Hercules killing Antaeus, accompanied by several of his designs. Of Michelagnolo we have no other portrait except two in painting, one of which is by Bugiardino, and the other by Jacopo del Conte, with an alto-rilievo in bronze by Daniello Ricciarelli; but from that of the Cavaliere Lione there have been made so many copies, that I have myself seen a vast number both in Italy and other countries.

In the same year, Griovanni Cardinal de’ Medici, son of Duke Cosimo, went to Rome to receive the Hat from Pope Pius IV., when Vasari, who was his friend and servant, determined to go with him, remaining there willingly for a month to enjoy the society of Michelagnolo, whom he held very dear, and visited constantly. Vasari had taken with him, by order of his Excellency, the model in wood of the Ducal Palace of Florence, together with the Designs for the new Apartments, which had been built and painted by himself. These models and designs Michelagnolo desired to see, since, being old, he could not visit the works themselves; they were extensive, varied, and replete with divers inventions and phantasies, exhibiting Stories of Uranus, Saturn, Ops, Ceres, Jupiter, Juno, and Hercules; each apartment being adorned with histories, in numerous compartments, of one of those Gods. The apartments beneath these were decorated with stories from the Lives of Heroes belonging to the House of Medici, beginning with Cosimo the Elder,^[125] and proceeding through the times of Lorenzo, Leo X., Clement VII.; the Signor Giovanni,^[126] the Duke Alessandro, and, finally, of Duke Cosimo. There were portraits of these personages, moreover, with those of their sons, and of many among the renowned of old times, whether distinguished for statesmanship, in arms, or for their learning, and being almost all portraits taken from the life. A Dialogue written by Vasari, in which the whole of these paintings were explained, and the connexion of the fables in the upper rooms, with the histories in the lower apartments set forth, was read by Annibale Caro to Michelagnolo, who was much pleased with the same. This Dialogue, Vasari proposes to publish, when he shall find time to do so.^[127]

These things caused a discussion to arise respecting the Great Hall, which Vasari had desired to alter, because the ceiling thereof was too low, giving it a stunted appearance, and it had besides too little light. For these causes Vasari wished to raise it, but the Duke had not yet given him leave to do so: it was not that his Excellency feared the cost, but he dreaded the danger that there might be in lifting a roof thirteen braccia, yet, judicious as he was, he now agreed to have the opinion of Michelagnolo on the subject. The model of the Hall in its early condition was then laid before the master, as was also that of its improved state, with all the Stories designed as they were to be painted therein. Having examined all this, Michelagnolo was so much pleased that he became rather the partizan than the judge of the work, the rather as all the precautions taken for the security and promptitude of its execution were also apparent to his perceptions; and when Vasari returned to Florence, Michelagnolo wrote by him to the Duke, declaring that his Excellency ought to execute that undertaking, which he af&rmed to be worthy of his greatness.

Now Duke Cosimo himself also repaired that same year to Eome with his consort, the Duchess Leonora, when Michelagnolo went to see his Excellency, who received him with much favour, causing him, from respect to his great genius, to be seated near himself, and conversing with him very familiarly of all the works in painting and sculpture which he had commanded to be performed, and still proposed to execute in Florence, more especially of the Hall above-mentioned. Michelagnolo then encouraged Cosimo anew to that undertaking, expressing his regret that he was himself no longer young enough to do him service, for he did truly love that Prince. Among other things, the Duke told him how he had discovered the method of working porphyry, and as Michelagnolo did not believe that possible, his Excellency sent him the Head of Christ, executed in porphyry by the sculptor Francesco del Tadda (as we have said in the first chapter of our Theories), which astonished him greatly. Michelagnolo visited the Duke several times afterwards, during the stay of the latter in Rome, to the great satisfaction of both; and when the most illustrious Don Francesco de’ Medici, son of Duke Cosimo, was in Rome a short time afterwards, the master visited him likewise; being much pleased with the respect and affection shown to him by the noble Prince, who always spoke to him with uncovered head; so great was his reverence for that extraordinary man. To Vasari, Michelagnolo wrote, declaring, that it grieved him to be so old and infirm that he could do nothing for his Excellency, and he went about Rome looking for some fine piece of antiquity, that he might send the same to Florence as a present for that Signore.

About this time Pope Pius required from Michelagnolo a design for the Porta Pia, and the master made him three, all singularly beautiful. Of these the Pontiff chose the least costly, and this has been erected, to the great credit of the artist.^[128] Finding, moreover, that His Holiness would gladly have the other gates of Rome restored, he made numerous designs for the same, as he also did one, at the request of Pope Pius, for the new Church of Santa Maria degli Angeli constructed in the Baths of Diocletian, when that building was brought into the service of Christians. The design of Michelagnolo surpassed those of many other excellent architects, by the singular consideration displayed therein for the requirements of the Carthusian monks, who have now nearly completed the edifice. His Holiness, with all the prelates and those of the Court who have seen it, have indeed been amazed at the judgment with which he has availed himself of the whole skeleton of those Baths, whereof he has made a Church with so beautiful an entrance, that the expectation of the architects has been much surpassed, to the infinite honour of the master.^[129] He designed a Ciborium for the Sacrament also, which the Pope desired to have made for this church; it has been executed, for the most part, by Jacopo Ciciliano, an excellent artist in bronze, whose castings succeed so well and are so delicately fine, that they require but little chiseling, for in this respect Jacopo is a distinguished artist, and greatly pleased Michelagnolo.

Now the Florentines in Rome had often talked of beginning in good earnest to set about the Church of San Giovanni in the Strada Giulia. All the heads of the richest families among them assembled with that view, promising to contribute according to their means for that purpose, and a good sum of money was got together. A discussion then arose as to whether it were better to pursue the old plans or to have something newer and better; when it was at length determined that a new edifice should be raised on the old foundations; the care of the whole being committed to three persons, Francesco Bandini, Uberto Ubaldini, and Tommaso de’ Bardi. By these persons an application for a design was made to Michelagnolo, to whom they represented that it was a disgrace for the Florentines to have spent so much money without any profit, adding, that if his genius did not avail to finish the work, they should be wholly without resource. The master assured them, with the utmost kindness, that the design they required should be the first thing he would lay hand on; remarking, moreover, that in this his old age he was glad to be occupied with things sacred, and such as might contribute to the honour of God. He furthermore declared, that it rejoiced him to do something for his own people, to whom his heart was ever true.^[130]

At this time Michelagnolo had with him the Florentine sculptor Tiberio Calcagni, a youth who greatly desired to improve in his art, and who, having gone to Rome, had also given his attention to architecture. Being pleased with his manners, Michelagnolo had given him the Pieta which he had broken, as we have said, with a head of Brutus in marble, larger than life, which he had copied, at the request of his friend Messer Donato Giannotti, for the Cardinal Ridolfi, from a cornelian of the highest antiquity belonging to Messer Griuliano Cesarino; a beautiful thing it is, and this he now desired that Tiberio should finish.^[131] He could, indeed, no longer execute the more delicate parts of his architectural designs, and therefore employed Tiberio, who was a modest and well-conducted youth, to complete them under his direction. For this church, therefore, he now required him to take the ground-plan of the original foundation which he brought to Michelagnolo; the latter instantly caused him to inform the Commissioners, who did not expect to find anything yet accomplished, that he had fulfilled their wishes, showing them at the same time five plans of beautiful churches, which surprised them greatly. He then bade them choose one; but they refused, preferring to abide by his own decision. Yet, the master insisting that they should make a selection, they all with one accord declared for the richest; whereupon Michelagnolo is reported to have told them, that if they brought that design to completion they would do more than either Romans or Greeks had ever done in their best of times^[132] words which certainly never proceeded from his mouth, neither at that time nor at any other, seeing that he was always most reserved and modest.

It was finally determined that Michelagnolo should direct the work, while Tiberio should execute it, and the Commissioners, to whom our artist promised his best services for the church, were entirely satisfied with that arrangement. The plan was then given to Tiberio, that he might copy it in all parts, with due order; and the master commanded that a model in clay should be prepared, which he showed Tiberio how to fix up firmly. This, which was of eight palms, Tiberio completed in ten days, and it pleased all the Florentine community; wherefore they caused him afterwards to make one in wood, which is now in their Consolate,^[133] and a beautiful church it is as ever man beheld, grand, rich, and varied. The building was commenced accordingly; but when five thousand crowns had been expended thereon, the works ceased for lack of funds to Michelagnolo’s infinite vexation.*^[134] He then procured for Tiberio the commission to finish, under his direction, a Chapel which the Cardinal of Santa Fiore had commenced in the church of Santa Maria Maggiore; but this also remained unfinished at the death of the Cardinal, ^^of Michelagnolo, and of Tiberio himself; the early demise of the latter being an event much to be regretted.

Michelagnolo had been seventeen years in the Fabric of San Pietro, and the Commissioners had more than once attempted to remove him, but not succeeding, they laboured continually to throw obstacles in his way, hoping to weary his patience, seeing that he was now old, and could endure but little. At this time it chanced that Cesare da Castel Durante, overseer of the works, died; when Michelagnolo, to the end that the building should not suffer, and until he could find a successor after his own heart, sent Luigi Gaeta thither in his place, a very young man certainly, but not without experience. Some of the Commissioners had, however, been frequently trying to bring Nanni di Baccio Bigio into that undertaking, he having urged them much to do so,^[135] and promising great things; they now, therefore, thinking of managing everything in their own fashion, sent away Luigi Gaeta, when Michelagnolo, much displeased by this, would no longer go to San Pietro; and they, the Commissioners, then began to give out that a substitute must be provided, he being able to do no more, and having himself declared, as they said, that he would no longer trouble himself with that work. These things coming to Michelagnolo’s ears, he sent Daniello Ricciarelli of Yolterra, to the Bishop Ferratino, one of the Commissioners, who had told Cardinal Carpi that Michelagnolo had assured a servant of his that he would have no more to do with the building. Daniello now informed the Bishop that it was not Michelagnolo’s wish to give it up: but Ferratino replied that he was sorry the master had not made his purpose known, adding nevertheless that a substitute was needful, and that he would have gladly accepted Daniello himself, a reply with which Michelagnolo appeared to be satisfied. The bishop then gave the rest of the Commissioners to understand, in the name of Michelagnolo, that a substitute was to be appointed; but instead of presenting Daniello, he put forward Nanni Bigio in his place: the latter was accordingly accepted and installed, nor had any long time elapsed before he caused a scaffolding to be raised from the Pope’s stables which are on the side of the hill, to the great apsis which looks towards that side, declaring that too many ropes were consumed in drawing up the materials, and that it would be better to raise them by means of his scaffolding.

Being made acquainted with this proceeding, Michelagnolo repaired to the Pope, whom he found on the Piazza of the Capitol; and speaking somewhat loudly. His Holiness made him enter a room, when the master exclaimed, “Holy Father! a man of whom I know nothing has been placed by the Commissioners in San Pietro as my substitute, but if they and your Holiness are persuaded that I can no longer fulfil my office, I will return to take my rest in Florence, where I shall be near that great Prince who has so often desired my presence, and can finish my life in my own house; wherefore I beg the good leave of your Holiness to depart.”^[136] The Pope, whom that proposal did not please, sought to pacify the master with kind words, and bade him come to Araceli on the following day, to talk of the matter. Having there assembled the Commissioners, His Holiness inquired the cause of these things; and they, declaring that the building was in danger of being ruined by the errors * committed therein, which he knew was not the case, the Pope commanded Signor Gabrio^[137] Scierbellone to examine the structure, and require Nanni, who had made these assertions, to show where the errors might be found.

The master being examined accordingly, and Signor Gabrio finding all the reports to be false and malignant, Nanni was dismissed with few compliments, and in the presence of many nobles, being reproached at the same time with the destruction of the Bridge of Santa Maria, and with having promised to clean the Harbour of Ancona at small cost, whereas he had injured that Port more in one year than the Sea had ever done in ten. And this was the end of Nanni Bigio’s employment in San Pietro,^[138] where Michelagnolo had employed seventeen years merely in the care of so fixing the arrangement of all its parts, that they should not be altered; the envious persecutions to which he was subjected, making him fear that changes in the building might be effected after his death: but he has thus brought things to such a state, that the work has now a fair prospect of being securely completed.

By all this we see that God, who protects the good, has defended him while he lived, having extended his hand over the fabric and the master, even to his death. Then Pope Pius IV., who survived him, commanded the superintendents to alter nothing that Michelagnolo had arranged; while Pius V., his successor, continued with even greater authority, to command that the designs of Michelagnolo should be followed with unvarying exactitude, nay, when the architects Piero Ligorio, and Jacopo Vignola, were directing the fabric, he caused the former, who presumptuously proposed certain changes, to be dismissed with little honour, and the whole charge was then made over to Vignola.

That Pontiff was indeed as zealous for the honour of the edifice, as for the glory of the Christian faith; and in the year 1565, when Vasari went to pay his respects to His Holiness—as well as in the next year, when he was again summoned to Rome—the Pontiff* spoke of nothing but the regard that was to be paid to the designs left by Michelagnolo; and, to obviate all disorder, he commanded Vasari to repair to the Bishop Ferratino, in company with Messer Guglielmo Sangalletti, the private treasurer of His Holiness, on the part of Pope Pius, and to direct that prelate, who was chief of the builders, on all occasions to guide himself by the important records and memoranda which Vasari would give him; to the end that no malignant or presumptuous person should ever prevail to alter a single point of those arrangements made by the admirable genius of Michelagnolo. On this occasion, Messer Giovambattista Altoviti, a good friend of Vasari and of these arts, was also present, and when Ferratino had heard the discourse made to him by Vasari, he solemnly promised to observe, and see observed, every order and arrangement left by Michelagnolo, adding that he would himself be the protector, defender, and preserver of the labours performed by that great man.

Returning to Michelagnolo himself, I have to relate, that about a year before his death, Vasari secretly prevailed on Duke Cosimo, to move the Pope, through Messer Averardo his Ambassador, to the end that since Michelagnolo was now much debilitated. His Holiness should keep a careful eye on those by whom he was surrounded, and should cause him to be visited at his house, for the due preservation of his designs, cartoons, models, and other property, taking measures, in the event of any sudden accident, such as may well happen to the very old; and this, in order that whatever might belong to, or be needful for, the fabric of San Pietro, the Sacristy and Library of San Lorenzo, or the Fa9ade of the lastnamed Church, might not be taken away, as so frequently happens, nor were these precautions, which were all duly attended to, without a satisfactory result.^[139]

In the Lent of this year, Leonardo, the nephew of Michelagnolo, resolved to go to Rome, as though divining that his kinsman was now near the end of his life, and the promise of this visit was all the more welcome to the latter, as he was already suffering from a slow fever. He caused his physician, Messer Federigo Donato, to write to Leonardo, hastening his arrival; but his malady increased, notwithstanding the cares of those around him: still, retaining perfect self-possession, the master at length made his will in three words, saying he left his soul to God, his body to the earth, and his goods to his nearest relations. He recommended his attendants to bethink themselves, in the passage from this life, of the sufferings endured by Our Saviour Christ; and on the I7th of February, in the year 1563, and at 23 o’clock, according to the Florentine computation, (in 1564 after that of Rome,) he departed to a better life.^[140]

Michelagnolo found his chief pleasure in the labours of art; all that he attempted, however difficult, proving successful, because nature had imparted to him the most admirable genius, and his application to those excellent studies of design was unremitting. For the greater exactitude, he made numerous dissections of the human frame, examining the anatomy of each part, the articulations of the joints, the various muscles, the nerves, the veins, and all the different minutiae of the human form. Nor of this only, but of animals, and more particularly of horses, which he much delighted in, and kept for his pleasure, examining them so minutely in all their relations to art, that he knew more of them than do many whose sole business is the care of those animals. These labours enabled him to complete his works, whether of the pencil or chisel, with inimitable perfection, and to give them a grace, a beauty, and an animation, wherein (be it said without offence to any) he has surpassed even the antique. In his works he has overcome the difficulties of art, with so much facility, that no trace of labour appears in them, however great may be that which those who copy them find in the imitation of the same.

The genius of Michelagnolo was acknowledged in his lifetime, and not as happens in many cases, after his death only; and he was favoured, as we have seen, by Julius II., Leo X., Clement VII., Paul III., Julius III.,^[141] Paul IV., and Pius IV.; these Pontiffs having always desired to keep him near them, as indeed would Soliman, Emperor of the Turks, Francis, KiUj^ of France, the Emperor Charles V., the Signoria of Vemce, and lastly Puke Cosimo de’ Medici: all very gladly have done, each of those monarchs and potentates having offered him the most honourable appointments, for the love of his great abilities. These things do not happen to any except men of the highest distinction, but in him all the three arts were found in such perfection, as God hath vouchsafed to no other master, ancient or modern, in all the many years that the sun has been turning round.^[142]

His powers of imagination were such that he was frequently compelled to abandon his purpose, because he could not express by the hand those grand and sublime ideas, which he had conceived in his mind, nay, he has spoiled and destroyed many works for this cause; and I know too that some short time before his death he burnt a large number of his designs, sketches, and cartoons, that none might see the labours he had endured, and the trials to which he had subjected his spirit, in his resolve not to fall short of perfection. I have myself secured some drawings by his hand, which were found in Florence, and are now in my book of designs and these, although they give evidence of his great genius, yet prove also that the hammer of Vulcan was necessary to bring Minerva from the head of Jupiter. He would make his figures of nine, ten, and even twelve heads long, for no other purpose than the research of a certain grace in putting the parts together which is not to be found in the natural form, and would say that the artist must have his measuring tools, not in the hand but in the eye, because the hands do but operate, it is the eye that judges; he pursued the same idea in architecture also.

None will marvel that Michelagnolo should be a lover of solitude, devoted as he was to Art, which demands the whole man, with all his thoughts, for herself. He who resigns his life to her may well disregard society, seeing that he is never alone nor without food for contemplation; and whoever shall attribute this love of solitude to caprice or eccentricity, does wrong; the man who would produce works of merit should be free from cares and anxieties, seeing that Art demands earnest consideration, loneliness, and quietude; she cannot permit wandering of the mind. Our artist did nevertheless greatly prize the friendship of distinguished and learned men, he enjoyed the society of such at all convenient seasons, maintaining close intercourse with them, more especially with the illustrious Cardinal Ippolito de’ Medici, who loved him greatly. Having heard that an Arab horse which he possessed was much admired for its beauty by Michelagnolo, the Cardinal sent it to him as a present, with ten mules, all laden with corn, and a servant to take care of those animals, which the master accepted very willingly. The most illustrious Cardinal Pole was also a very intimate friend of Michelagnolo, who delighted in the talents and virtues of that Prelate. The Cardinals Farneseand Santa Croce, the latter afterwards Pope Marcellus, with the Cardinals Ridolfi and MafFeo, Monsignore Bembo, Carpi, and many other Cardinals and Prelates, were in like manner among his associates, but need not all be named here. Monsignore Claudio Tolomeiwas one of his intimates, and the Magnificent Messer Ottaviano de’ Medici was his gossip, Michelagnolo having been godfather to one of his sons. Another of his friends was Messer Bindo Altoviti, to whom he gave that cartoon of the Chapel, wherein Noah is represented as inebriated and derided by one of his sons, while the other two compassionately seek to veil the degradation of their father.

Messer Lorenzo Ridolfi, Messer Annibale Caro, and Messer Giovan Francesco Lottini, of Volterra, were likewise among the friends of Michelagnolo, but more then all the rest did he love Messer Tommaso de’ Cavalieri, a Roman gentleman, still young and much inclined to these arts. For him, and to promote his acquirement of drawing, he made superb cartoons, beautiful heads in red and black chalks, with a Ganymede carried to heaven by the Bird of Jove,^[143] a Tityas with the Vulture devouring his heart, the Chariot of the Sun with Phaeton therein falling into the river Po, and a Bacchanalia of Children, each and all of which are most admirable. Michelagnolo also made the Portrait of Messer Tommaso in a cartoon the size of life; he, who never painted the likeness of any one either before or after, seeing that he hated to take anything from the life, unless it presented the very perfection of beauty. These drawings were afterwards increased by those which Michelagnolo made for Sebastiano del Piombo, to the end that he might put them into colours, and which were obtained by Messer Tommaso, who has a great delight in these works,^[144] which are indeed most admirable, and well merit to be kept as he keeps them in the manner of relics, but he very liberally permits artists to use them at their pleasure. The friendships of Michelagnolo were all for deserving and noble persons, he having much judgment in all things, Messer Tommaso induced him to execute numerous drawings for his friends, among others an Annunciation in a new manner for the Cardinal di Cesis; this was afterwards painted by Marcello of Mantua, and placed in the marble Chapel constructed by that Cardinal in the Church of the Pace at Borne. Another Annunciation, also painted by Marcello, is in the Church of San Giovanni Laterano, and the design for this is in the possession or Duke Cosimo; given by Lionardo Buonarroti, after the death of his uncle, to his Excellency, who keeps it like a jewel, with a figure of Christ in the Garden, and other cartoons and sketches from the hand of Michelagnolo.^[145] The Duke also possesses a statue five braccia high, representing the Goddess of Victory, with a captive lying beneath her;^[146] he has besides a group of four Captives, merely rough hewn, but which may well serve to teach all men how statues may be extracted from marble without injury to the stone.

The method of proceeding is to take a figure of wax, or other firm material, and lay it in a vessel of water, which is of its nature level at the surface; the figure being then gradually raised, first displays the more salient parts, while the less elevated still lie hidden, until, as the form rises, the whole comes by degrees into view. In the same manner are figures to be extracted by the chisel from the marble, the highest parts being first brought forth, till by degrees all the lowest parts appear; and this was the method pursued by Michelagnolo, in these figures of the Captives,^[147] which his Excellency would fain see adopted as models by his academicians.

Michelagnolo loved the society of artists, and held much intercourse with many among them, as, for example, with Jacopo Sansovino, II Bosso, Pontormo, Daniello da Volterra, and the Aretine Giorgio Vasari, to whom he showed infinite kindness. It was by him indeed that Vasari was led to the study of architecture, Michelagnolo intending some day to make use of his services, and gladly conferring with him on matters connected with art. Those who affirm that he was not willing to instruct others are wrong, he would assist all with whom he was intimate or who asked his counsels. I have been present many times when this has happened, but I say no more, not desiring to proclaim the defects of others.^[148] It is true that he was not fortunate with those whom he took into his house, having chanced upon disciples wholly incapable of imitating their master. The Pistolese, Pietro Urbino, had ability but would never give himself the trouble to work. Antonio Mini was sufficiently willing, but had not quickness of perception, and when the wax is hard it does not take a good impression. Ascanio della Pipa took great pains, but no results have been displayed, whether in designs or finished works; he spent several years over a picture of which Michelagnolo had given him the cartoon, and, at a word, the hopes conceived of him have vanished in smoke. I remember that Michelagnolo, having compassion on Pipa’s hard labours, would sometimes help him with his own hand, but it was all to little purpose. Had he found a disciple to his mind, he would have made studies of anatomy, and written a treatise on that subject, even in his old age, as he often said to me, desiring to do this for the benefit of artists, who are frequently misled by want of knowledge in anatomy. But he distrusted his power of doing justice to his conceptions with the pen, having little practice in speaking, although in his letters he expressed his thoughts well and in few words. He delighted in the reading of our Italian poets, more especially of Dante, whom he honoured greatly and imitated in his thoughts as well as copied in his inventions. Like Petrarch also, he was fond of writing madrigals and making sonnets, many of which are very serious, and have since been made subjects of commentary. Messer Benedetto Varchi, for example, has read an admirable lecture^[149] before the Florentine Academy, on that beginning: —

Non ha l'ottimo artista alcun concetto
Ch'un marmo solo in se non circonscriva.

Michelagnolo sent a large number of these verses to the most illustrious Marchesana di Pescara, receiving replies both in verse and prose from that lady, of whose genius he was as much enamoured as she of his. She went more than once from Viterbo to Rome to see him, and Michelagnolo designed for her a Pieta, with two Angels of infinite beauty; an admirable work, as is also a figure of Christ on the Cross, raising his head to heaven, and commending his spirit to his Father;^[150]* and one of Our Saviour at the Well with the Woman of Samaria, both executed for the Marchesana. He delighted in. the reading of scripture, like a good Christian as he was, and greatly honoured the writings of Fra Girolamo Savonarola, whom he had heard in the pulpit. He was an ardent admirer of beauty for the purposes of art; and from the beautiful he knew how to select the most beautiful, a quality without which no master can produce perfection; but he was not liable to the undue influence of beauty, as his whole life has proved. In all things Michelagnolo was exceedingly moderate; ever intent upon his work during the period of youth, he contented himself with a little bread and wine, and at a later period, until he had finished the Chapel namely, it was his habit to take but a frugal refreshment at the close of his day’s work; although rich, he lived like a poor man; rarely did any friend or other person eat at his table, and he would accept no presents, considering that he would be bound to any one who offered him such: his temperance kept him in constant activity, and he slept very little, frequently rising in the night because he could not sleep, and resuming his labours with the chisel.

For these occasions he had made himself a cap of pasteboard, in the centre of which he placed his candle, which thus gave him light without encumbering his hands. Vasari had often seen this cap; and, remarking that Michelagnolo did not use wax-lights, but candles made of unmixed goat’s tallow, which are excellent, he sent the master four packets of the same, weighing forty pounds. His own servant presented them respectfully in the evening, but Michelagnolo refused to accept them; whereupon the man replied; “Messere, I have nearly broken my arms in bringing them from the bridge hither, and have no mind to carry them back; now, there is a heap of mud before your door which is thick enough to hold them upright, so I’ll e’en stick them up there, and set them all a-light.” But, hearing that, the master bade him lay down the candles, declaring that no such pranks should be played before his house.

He has told me that, in his youth, he frequently slept in his clothes, being wearied with his labours he had no mind to undress merely that he might have to dress again. Many have accused him of being avaricious, but they are mistaken; he has proved himself the contrary, whether as regards his works in art or other possessions. He presented rich productions of various kind, as we have seen, to Messer Tommaso de’ Cavalieri and Messer Bindo, with designs of considerable value to Fra Bastiano: while to his disciple, Antonio Mini, he gave designs, cartoons, the picture of the Leda, and all the models in clay or wax that ever he had made, but which were left in France as we have said. To Grherardo Perini, a Florentine gentleman and his friend, he gave, three plates of most beautiful heads, which have fallen since his death into the hands of the most illustrious Don Francesco, Prince of Florence, by whom they are kept as the gems which they truly are. For Bartolommeo Bellini he made the Cartoon of a Cupid kissing his motherYenus; a beautiful thing, now at Florence, in the possession of Bellini’s heirs. For the Marquis del Vasto, moreover, he made the Cartoon of a Noli me tangere; and these two last-mentioned works were admirably painted by Pontormo, as we have before related. The two Captives he gave to Signor Puberto Strozzi; and the Pieta, in marble, which he had broken, to Antonio, his servant, and Francesco Bandini.

Who is it then that shall tax this master with avarice, seeing that the gifts he thus made were of things for which he might have obtained thousands of crowns; to say nothing of a fact which I well know, that he has made innumerable designs, and inspected buildings in great numbers, without ever gaining one scudo for the same? But to come to the money which he did gain: this was made, not by offices nor yet by trafficking or exchanges, but by the labour and thought of the master. I ask also, can he be called avaricious who assisted the poor as he did, who secretly paid the dowry of so many poor girls, and enriched those who served him? As witness Urbino, whom he rendered very rich; this man, having been- long his disciple, had served him many years when Michelagnolo one day said to him, “When I die what wilt thou do?” ‘‘Serve some one else,” replied Urbino. “Thou poor creature! ” returned Michelagnolo, “I must save thee from that;” whereupon he gave him two thousand crowns at one time, a mode of proceeding befitting the Caesars and high Princes of the world. To his nephew also, he has more than once given three and four thousand crowns at a time, and has finally left him ten thousand crowns, besides the property in Rome.

Michelagnolo had remarkable strength of memory, insomuch that, after having once seen a work of any other artist he would remember it so perfectly that, if it pleased him to make use of any portion thereof, he could do so in such a manner that none could perceive it. In his youth he was once supping with some painters his friends, when they amused themselves with trying who could best produce one of those figures without design and of intense ugliness, such as those who know nothing are wont to scratch on the walls. Here his memory came to his aid, he remembered precisely the sort of absurdity required, and which he had seen on a wall; this he reproduced as exactly as if he had had it before his eyes, surpassing all the painters around him: a very difficult thing for a man so accomplished in design, and so exclusively accustomed to the most elevated and finished works of mastery as was Michelagnolo.

He proved himself resentful, but with good reason, against those who had done him wrong, yet he never sought to avenge himself by any act of injury or violence; very orderly in all his proceedings, modest in his deportment, prudent and reasonable in discourse, usually earnest and serious, yet sometimes amusing, ingenious, and quick in reply; many of his remarks have been remembered and well merit to be repeated here, but I will add only a few of these recollections. A friend once speaking to him of death, remarked that Michelagnolo’s constant labours for art, leaving him no repose, must needs make him think of it with great regret. “By no means,” replied Michelagnolo, “for if life be a pleasure, yet, since death also is sent by the hand of the same master, neither should that displease us.” To a citizen who observed him standing at Or San Michele, to look at the San Marco of Donato, and who inquired what he thought of that statue, he replied, that he had never seen a face looking more like that of a good man; adding, “If St. Mark looked thus we may safely believe what he has written.” Being once shown the drawing of a boy who was recommended to his favour, and told, by way of excuse for defects, that he had not been long learning, he answered, ‘‘It is easy to perceive that.” A similar remark escaped him when a painter who had depicted a Pieta was found to have succeeded badly; “It is indeed a pity,” observed the master.

When Michelagnolo heard that Sebastiano Veniziano was to paint a Monk in the Chapel of San Pietro a Montorio, he declared that this would spoil the work; and being asked wherefore, replied, that “as the monks had spoiled the world, which was so large, it could not be surprising that they should spoil that Chapel which was so small.” A painter had executed a work with great labour, and spent much time over it, but acquired a good sum when it was finished; being asked what he thought of the artist, Michelagnolo replied, “While he is labouring to become a rich man, he will always continue a poor painter.” A friend of his who had taken orders, arrived in Rome, wearingt he garb of a pilgrim, and meeting Michelagnolo, saluted him, but the latter pretended not to know him, compelling the monk to tell his name at length, when Michelagnolo, feigning surprise at his dress, remarked, “Oh, you really have a fine aspect; if you were but as good within as you seem without, it would be well for your soul.” The same monk had recommended a friend of his own to Michelagnolo, who had given him a statue to execute, and the monk then begged him to give something more; this also our artist good-naturedly did, but it was now found that the pretended friend had made these requests only in the certainty that they would not be granted, and suffered his disappointment to be seen; whereupon Michelagnolo declared that such gutter-minded men were his abhorrence; and, continuing to take his metaphors from architecture, he added, “channels that have two mouths rarely act well.”

Being asked his opinion of an artist who, having copied the most renowned antique marble statues and imitated the same, then boasted that he had surpassed the ancients, he made answer to this effect:—“He who walks on the traces of another is but little likely to get before him; and an artist who cannot do good of himself, is but poorly able to make good use of the woi’ks of others.” A certain painter, I know not who, had produced a picture wherein there was an ox that was better than all besides, when, being asked why the artist had made that animal more life-like than the rest, Michelagnolo replied, “Every painter draws himself well.” Passing one day by San Giovanni, in Florence, he was asked his opinion of the doors, and said, “They are so beautiful that they deserve to be used as the gates of Paradise.” Seeing a prince who changed his plans daily, and was never in one mind, he remarked to a friend, “The head of this Signore is like a weather-cock; it turns round with every wind that touches it.” Going to see a work in sculpture which was about to be fixed in its place, the sculptor took great pains to arrange the lights, that the work might be seen well, when Michelagnolo said:—“Do not trouble yourself; the principal question is, how it will bear the light of the Piazza,”—meaning to imply that when a work is given to public view, the people judge it, w^hether good or bad. There was a great prince in Pome who desired to pass for a good architect, and had caused certain niches to be made wherein he meant to place figures; each recess was three times the height of its depth, with a ring at the summit, and here the prince had various statues placed, but the}’" did not turn out well. He then asked Michelagnolo what he could put into the niches. “Hang a bunch of eels in that Ping,” replied the master.

With the Commissioners of San Pietro there was associated a gentleman who professed to understand Vitruvius, and to criticize the works accomplished. “You have now a man in the building who has great genius,” remarked some one to Michelagnolo; “True,” replied our artist, “but he has a bad judgment.” A painter had executed a story, for which he had taken so many parts from drawings and other pictures, that there was nothing in it which was not copied: this being shown to Michelagnolo, and his opinion requested, he made answer, “It is very well; but at the day of Judgment, when every body shall retake its own limbs, what will this Story do, for then it will have nothing remaining?”—a warning to those who would practise art that they should do something for themselves. Passing once through Modena, he saw many beautiful figures which the Modanese sculptor. Maestro Antonio Bigarino, had made of terra-cotta, coloured to look like marble, which appeared to him to be most excellent productions; and as that sculptor did not know how to work in marble, he said, “If this earth were to become marble, woe to the antiques.”

Michelagnolo was told that he ought to resent the perpetual competition of Nanni di Baccio Bigio, to which he replied: “He who strives with those who have nothing gains but little.” A priest, who was his friend, said to him, “’Tis a pity that you have not married, that you might have left children to inherit the fruit of these honourable toils when Michelagnolo replied, “I have only too much of a wife in my art, and she has given me trouble enough; as to my children, they are the works that I shall leave; and if they are not worth much, they will at least live for some time. Woe to Lorenzo Ghiberti, if he had not made the gates of San Giovanni; for his children and grandchildren have sold or squandered all that he left; but the gates are still in their place.” Vasari was sent one night by Pope Julius III. to the house of Michelagnolo for a design, and the master was then working at the Pieta in marble which he afterwards broke, knowing by the knock, who stood at the door, he descended with a lamp in his hand, and having ascertained what Vasari wanted, he sent Urbino for the drawing, and fell into conversation on other matters. Vasari meanwhile turned his eyes on a Leg of the Christ on which Michelagnolo was working and endeavouring to alter it; but to prevent Vasari from seeing this, he suffered the lamp to fall from his hand, and they remained in darkness. He then called to Urbino to bring a light, and stepping beyond the enclosure in which was the work, he remarked: “I am so old that death often pulls me by the cape, and bids me go with him; some day I shall fall myself, like this lamp, and the light of life will be extinguished.”

With all this he took pleasure in the society of men like Menighella, a rude person and common-place painter of Valdarno, but a pleasant fellow; he came sometimes to see Michelagnolo, who made him a design of San Eocco and Sant’ Antonio, which he had to paint for the country people; and this master, who would not work for kings without entreaty, often laid aside all other occupation to make designs of some simple matter for Menighella, ‘‘ dressed after his own mind and fashion,” as the latter would say. Among other things Menighella received from him the model of a Crucifix, which was most beautiful; he formed a mould from this also, whence Menighella made copies in various substances, and went about the country selling them. This man would sometimes make Michelagnolo laugh till he cried, more especially when he related the adventures he met with; as, for example, how a peasant, who had ordered the figure of San Francesco, made complaints that the painter had given him a grey dress, he desiring to have a finer colour, when Menighella put a pluvial of brocade on the back of the Saint, which gladdened the peasant to his heart.

He favoured, in like manner, the stone-cutter Topolino, who imagined himself an excellent sculptor, although, in fact, a very poor creature. He passed much time at the quarries of Carrara, sending marbles to Michelagnolo, nor did he ever despatch a cargo without adding three or four little figures from his own hand, at the sight of which Michelagnolo would almost die of laughing. At length, and after his return, he had rough-hewn a figure of Mercury in marble, which he was on the point of finishing, v/hen he begged Michelagnolo to go and see it, insisting earnestly that he should give his true opinion of the work. ‘‘ Thou art a fool to attempt figures, Topolino,” said the master; “for dost thou not see that, from the knee to the foot, this Mercury of thine wants a full third of a braccio of its due length? and thou hast made him a dwarf and a cripple?” “Oh, that is nothing,” replied Topolino, “if it has no other fault I shall find a remedy for that, never fear me.” The master laughed again at his simplicity and departed; when Topolino, sawing his Mercury in two below the knee, fastened a piece of marble nicely between the parts, and having thus added the length required, he gave the figure a pair of buskins, the fastenings of which passed beyond the junctures. He then summoned the master once more; and Michelagnolo could not but wonder as well as laugh, when he saw the resolutions of which those untaught persons are capable, when driven by their needs, and which would certainly never be taken by the best of masters.

While Michelagnolo was concluding the Tomb of Julius II., he permitted a stone-cutter to execute a terminal figure, which he desired to put up in San Pietro in Vincola, directing him meanwhile by telling him daily, “Cut away here,”— “level there,”—“chisel this,” — “polish that,” until the stone-cutter had made a figure before he was aware of it; but when he saw what was done, he stood lost in admiration of his work. “What dost thou think of it?” inquired Michelagnolo. “I think it very beautiful,” returned the other, “and am much obliged to you.” “And for what?” demanded the artist. “For having been the means of making known to me a talent which I did not think I possessed.”

But now, to bring the matter to a conclusion, I will only add, that Michelagnolo had an excellent constitution, a spare form, and strong nerves. He was not robust as a child, and as a man he had two serious attacks of illness, but he was subject to no disease, and could endure much fatigue. It is true that infirmities assailed him in his old age, but for these he was carefully treated by his friend and physician, Messer Realdo Colombo. He was of middle height, the shoulders broad, and the whole form well-proportioned. In his latter years he constantly wore stockings of dog-skin for months together, and when these were removed, the skin of the leg sometimes came with them. Over his stockings he had boots of Cordovan leather, as a protection against the swelling of those limbs, to which he then became liable. His face was round, the brow square and ample, with seven direct lines in it; the temples projected much beyond the ears, which were somewhat large, and stood a little off from the cheeks; the nose was rather flattened, having been broken with a blow of the fist by Torrigiano, as we have related in the Life of that artist; the eyes were rather small than large, of a dark colour, mingled with blue and yellowish points; the eye-brows had but few hairs; the lips were thin, the lower somewhat the larger, and slightly projecting; the chin well-formed, and in fair proportion to the rest of the face; the hair black, mingled with grey, as was the beard, which was divided in the middle, and neither very thick nor very long.

This master, as I said at the beginning, was certainly sent on the earth by God as an example for the men of our arts, to the end that they might profit by his walk in life, as well as learn from his works what a true and excellent artist ought to be. I, who have to thank God for an infinite amount of happiness, such as is rarely granted to those of our vocation, account it among the greatest of my blessings that I was born while Michelagnolo still lived,^[151] was found worthy to have him for my master, and being trusted by him, obtained him for my friend, as every one knows, and as the letters which he has written to me clearly prove. To his kindness for me I owe it that I have been able to write many things concerning him, which others could not have related, but which, being true, shall be recorded. Another privilege, and one of which he often reminded me, is, that I have been in the service of Duke Cosimo. “Thank God for this, Giorgio,” has Michelagnolo said to me; “for to enable thee to build and paint, in execution of his thoughts and designs, he spares no expense, and this, as thou seest well, by the Lives thou hast written, is a thing which few artists have experienced.”

Michelagnolo was followed to his tomb by a concourse of all the artists, and by his numerous friends, receiving the most honourable sepulture from the Florentine nation, in the Church of Sant’ Apostolo, within a sepulchre of which church he was laid, in the presence of all Rome, His Holiness expressing an intention to command that a monument should be erected to his memory in St. Peter’s.^[152]

Leonardo, the nephew of Michelagnolo, did not arrive in Rome until all was over, although he travelled post in the hope of doing so. When Duke Cosimo heard what had happened, he resolved that, as he had not been able to do the master honour in his life, he would cause his body to be brought to Florence, where his obsequies were to be solemnized with all possible splendour; but the remains of the ^ artist had to be sent out of Rome in the manner of a bale, such as is made by merchants, that no tumult might arise in the city, and so the departure of the corpse be prevented.

But before the body could arrive, the news of the master^s death having been noised abroad, the principal painters, sculptors, and architects assembled in their Academy, on the requisition of their Prorector, who was at that time Don Vincenzio Borghini, they being obliged by their rules to solemnize the obsequies of all their brethren. They had done this most affectionately, and to the satisfaction of every one, in the case of Fra Giovan-Agnolo Montorsoli, who was the first that had died after the creation of the Academy; and it was now fitting and proper that they should resolve on what was to be done for the due honouring of Buonarroto, who had been unanimously elected first Academician and head of them all. To this proposal all replied, that, being obliged, as they were, to the genius of that great man, they desired that nothing should be omitted which could contribute to do him honour, but that everything should be accomplished in the best manner possible. That decided, and to avoid the daily assemblage of so many men, which was very inconvenient to them, as well as for the more effectual arrangement of the preparations, four persons, all of eminent reputation and distinguished in their arts, were chosen to direct the same. These were the painters Agnolo Bronzino and Giorgio Vasari, with the sculptors Benvenuto Cellini and Bartolommeo Ammannato; who were appointed to consult among themselves, and with the Prorector, as to all the arrangements to be made; they being empowered to dispose of everything belonging to the Academy: this charge they undertook the more willingly, as they saw that all the artists, young and old, came forward readily with offers to prepare, each in his several vocation, such pictures and statues as were needed for the ceremony.

It was first resolved that the Prorector and Syndics should lay all before the Duke in the name of the Academy, requesting from his Excellency such countenance and aid as they might require, the first thing to be asked being permission for the solemnization of those obsequies in the Church of San Lorenzo, which belongs to the illustrious house of Medici, and where are the greater part of Michelagnolo’s works in Florence. His Excellency was also requested to permit Messer BenedettoVarchi to pronounce the funeral oration, to the end that the greatness and excellence of Michelagnolo might be suitably set forth in the eloquence of so distinguished a man as was Varchi, but who, being in the particular service of his Excellency,^[153] could not undertake that offi.ce without his permission, although they were certain that he would not of himself refuse to do so, being most kindly of nature as well as much attached to the memory of Michelagnolo. All this duly settled, and the Academicians having dispersed, the Prorector wrote to the Duke as follows:—

“The Academy and Company of Painters and Sculptors having resolved, if it please your Excellency, to do honour in some sort to the memory of Michelagnolo, not only from a consideration of what is due to the genius of him who was, perhaps, the greatest master that has ever lived, and one more particularly their own, he belonging to their common country, but also as being moved by a sense of the benefit accruing to the arts from the perfection of his works, and by the obligation laid upon them to prove their gratitude to his memory, do hereby repeat this their desire, expressed to your most illustrious Excellency in their former epistle, and do entreat from you, as their sure resource, a certain amount of assistance. I then, being requested by them and being (as I think) bound thereto, by the fact that, with your Excellency’s good pleasure, I am again of their company this year under the title of your Prorector, am moved to compliance, as the undertaking appears to me worthy of upright and grateful men; but still more as knowing the protection extended by your Excellency to the arts, and that in this age you are the sole resource and shield of distinguished men. Insomuch that you do herein surpass your illustrious ancestors, although they also conferred innumerable favours on the men of these vocations; witness the Magnificent Lorenzo, who, long before his death, caused a statue to be erected in the Cathedral to Giotto,^[154] with a monument in marble to Era Filippo,^[155] all at his own cost; to say nothing of many other great and noble acts that might be named. Considering all these things, I have taken courage to recommend to your illustrious Excellency the petition of this Academy, to the effect that they may duly honour the genius of Michelagnolo, who was the disciple and especial pupil of the School created by the Magnificent Lorenzo. For this that they desire to do shall be not only to their great contentment, but also to the infinite satisfaction of all men; it will, furthermore, be no slight spur to the professors of these arts, and a proof to all Italy of the high mind and great goodness of your most illustrious Excellency, whom may Grod long preserve in happiness, for the advantage of your people and for the good of art.”

To this the Duke replied as follows:—

“Reverend and well-beloved,—The promptitude which the Academy has shown, and is showing, in its preparations to honour the memory of Michelagnolo Buonarroti, who has passed from this life to a better, has consoled us much for the loss of so extraordinary a man; and not only will we do as you request, but will endeavour to have his remains brought to Florence, as, according to what we hear, was his own desire. All this we write to the Academy to encourage the members in their purpose of honouring the talents of that great man in the best manner possible; and so may God keep you in joy.”

Of the letter, or memorial, mentioned above, as addressed by the Academy to the Duke, the following are the words:—

“Most Illustrious, &c. —The Academy and the Men belonging to the Society of the Arts of Design, established under the grace and favour of your Most Illustrious Excellency, having heard with what care and zeal you have caused the body of Michelagnolo Buonarroti to be claimed by your ambassador in Rome, have assembled and unanimously resolved to celebrate his obsequies in the best manner possible to them. Knowing therefore that your Excellency was honoured by Michelagnolo as much as he was favoured by your Excellency, they pray you of your infinite goodness and liberality to be pleased to permit, first, that the solemnities shall be held in the Church of San Lorenzo, which was built by your ancestors, wherein are so many fine works, both in architecture and sculpture, by his hand, and near which it is your purpose to erect an abode which, for the Academy and Company of Design, shall be as it were an abiding seat of study, whether in architecture, painting, or sculpture.

“Secondly, we beg that you will commit to Messer Benedetto Varchi the charge, not only of composing the funeral oration, but also of pronouncing it with his own lips, as at our entreaty he has freely promised to do, provided your Illustrious Excellency shall consent. Thirdly, we pray that you will be pleased, out of that same goodness and liberality, to assist the Academy in all which these obsequies may demand, beyond their own power, which is very small, to supply. All and every of these things have been discussed in the presence and with the consent of the very magnificent and reverend Monsignore, Messer^[156] Vincenzio Borghini, Prior of the Innocents, the Prorector of your most Illustrious Excellency, for the said Academy and Company. And your petitioners, &c.”

To this the Duke replied:—

“Our Well-beloved,—We are well content fully to grant your petitions, for the great love that we have ever borne to the rare genius of Michelagnolo Buonarroti, and which we still bear to all of your vocation. Do you therefore execute whatever you propose to do for his obsequies, and we, on our part, will not fail to supply what you may need. We have, meanwhile, written to Messer Benedetto respecting the oration, and to the Director concerning all else that occurs to us as needful in this matter. And herewith we bid you farewell. From Pisa.”

The letter to Varchi was as follows:—

“Messer Benedetto, Our Well-beloved, — The affection we bear to the great genius of Michelagnolo Buonarroti, makes us desire that his memory shall be honoured and celebrated in all ways, wherefore it will be pleasing to us, if, for our love, you will accept the care of the oration which is to be pronounced at his obsequies, according to the arrangements made by the deputies of the Academy: still more will it please us if this oration be spoken by yourself. Fare you well.”

Messer Bernardino Grazzini also wrote to the above-named deputies, telling them that the Duke was displaying all the zeal that could be desired in that cause, and adding that they might assure themselves of all help and favour from his Most Illustrious Excellency.

While these arrangements were proceeding in Florence, Leonardo Buonarroti, the nephew of Michelagnolo (who had departed post for Rome on hearing of his uncle’s sickness, hut had not found him living), had been told by Daniello da Volterra, the intimate friend of Michelagnolo, as well as by others who had been about his person, that he had requested and even entreated them to have his body taken to Florence, his most noble country, to which he had ever borne the tenderest affection. Leonardo therefore had promptly and with great resolution, but also very cautiously, had the body taken out of Rome, and had sent it towards Florence in the form of a bale, as if it had been some kind of merchandise. And here we are not to conceal the fact that this ultimate determination of Michelagnolo confirmed what many did not believe, but which was nevertheless true, namely, that his having remained away from Florence for so many years had been caused by the effect of the air only, the sharpness of which, as experience had taught him, was injurious to his constitution.^[157] That of Rome, on the contrary, more temperate and mild, had kept him in health to nearly his ninetieth year, preserving all his faculties in perfection, and giving him so much strength, his age considered, that he had not been compelled to cease entirely from his labours, till the very last.

The sudden and almost unexpected arrival of the body, not having permitted such dispositions for its reception as were afterwards made, it was placed, by desire of the deputies, in the vault of the Company of the Assumption, which is beneath the steps at the back of the High Altar in the Church of San Pietro Maggiore. This was on the 11th of March, which was a Saturday, and for that day nothing more was done. The next day, which was the second Sunday in Lent, all the painters, sculptors, and architects assembled quietly around St. Peter’s, whither they had taken nothing more than a pall of velvet, richly decorated and embroidered all over with gold, and this they placed over the bier as well as cotfin, on which there lay a crucifix. At nightfall they gathered silently around the corpse, when the oldest and most distinguished masters each took one of a large number of torches, which had been brought for that purpose, the younger artists at the same moment raising the bier; this they did with so much promptitude that blessed was he who could approach near enough to get a shoulder under it, all desiring the glory of having to say in after years that they had borne to earth the remains of the greatest man ever known to their arts.

The sight of a certain number of persons assembling round San Pietro, had caused others to stop, and the rather as a rumour had got abroad, that the body of Michelagnolo had come, and was to be carried to Santa Croce, although everything had been done to keep the matter secret, as I have said, that a great crowd might not be attracted, which could not fail to cause confusion, and also because it was desired that all then to be done should proceed with more quiet than pomp, all display being reserved to a more convenient time. Yet the contrary happened in both these things; for as to the crowd, the news passing from mouth to mouth, the Church was completely filled in the twinkling of an eye, so that at length it was not without the utmost difficulty that the corpse could be taken from the Church to the Sacristy, there to be freed from its wrappings, and placed in the receptacle destined to receive it. Then for the pomp—although the number of priets, wax-lights, and mourners clothed in black, are without doubt imposing and grand in funeral ceremonies, yet it cannot be denied that the sight of all the distinguished men, some of whom are now highly honoured, and others promising to be still more so in the future, gathered in so much affection around that corpse, was also a very grand and imposing spectacle.

And of a truth the number of such artists, (and they were all present), was at that time very great in Florence; the Arts have indeed ever flourished there in such sort, that without offence to other cities, 1 believe I may say that their first and principal abode is in Florence, as that of the Sciences was at Athens. But besides the number of artists, there were so many citizens following them, and such masses of people joined the procession in the streets through which it had to pass, that the place would hold no more, and what is greater than all, nothing was heard but the praise of Michelagnolo. True art has indeed so much power, that after all hope of further honour or profit from a distinguished man has ceased, yet for its own merit and qualities it is ever beloved and admired. For all these causes, that demonstration was more precious and more truthful than all the pomp of gold and banners that could have been displayed. When the remains, with this magnificent attendance, had been carried to Santa Croce, the Monks performed the ceremonies customary for the dead; when the corpse was removed (but not without the greatest difficulty, because of the concourse of people) to the Sacrist}^, where the abovenamed Prorector, who was there by virtue of his office, thinking to gratify many thereby, and also (as he afterwards confessed) desirous of seeing him dead whom he had not seen living, or at so early an age that he had lost all memory of him; the Prorector, I say, resolved to have the cerements taken off. This was done accordingly, and whereas he, and all of us who were present, expected to find the body decomposed, since the master had been dead twenty-five days, and twenty-two in the coffin, we found it altogether perfect, and so totally free from odour that we were almost tempted to believe he lay in a sweet and quiet sleep. The features were exactly as in life, except that they showed the pallor of death; the limbs were unaltered, and the face and cheeks were firm to the touch, as though but a few days had elapsed sihce Michelagnolo had passed away.^[158]

When the great press of people had departed, arrangements were made for placing the body in a tomb of the church which is near the altar of the Cavalcanti family, beside the door leading into the cloister of the Chapter House. But meanwhile the news had spread through the city, and so great a concourse hastened to look upon the corpse, that the tomb was not closed without much difficulty, and if it had been day instead of night, we must have left it open many hours to satisfy the general wish. On the following morning, while the painters and sculptors were preparing the solemnities, many of those distinguished persons who have ever abounded in Florence, began to append verses, both in Latin and the vulgar tongue, on the above-named tomb, and this was continued for some time. Many of these compositions were afterwards printed, yet these made only a small part of the number written.

But to come to the obsequies; these were not solemnized on St. John’s day, as had been intended, but were deferred to the 14th of July,^[159] when the three deputies (for the fourth, Benvenuto Cellini, who had been indisposed from the first, had taken no part in the matter), having chosen the sculptor, Zanobi Lastricati, as their Proveditor, resolved to exhibit some ingenious invention worthy of their art, rather than a pompous and costly ceremonial. Por, having to celebrate such a man as Michelagnolo, and this having to be effected by men of those vocations which he exercised, who are always more amply furnished with the wealth of mind than with other riches; it was most appropriate, as the deputies and their Proveditor agreed, that he should be honoured, not with regal pomp or superfluous vanities, but with ingenious inventions and works full of spirit and beauty, proceeding from the knowledge, ability, and promptitude of hand of our artists, thus honouring Art by Art. It is true that we might have reasonably expected to obtain from his Excellency all the money we should require, seeing that he had already given whatever we had asked, but we were nevertheless convinced that from us was expected a preparation; rich from its ingenuity and art, rather than the grandeur and cost of a pompous display. But although this was the conviction of the deputies, the magnificence of the ceremonial was equal to that of any ever solemnized by those academicians, and was no less remarkable for true splendour than for ingenious and praiseworthy inventions.

The arrangements finally made were as follows. In the central nave of San Lorenzo and between the two lateral doors, one of which opens on the street and the other on the cloister, was erected a Catafalque of a square form, twentyeight braccia high, eleven long, and nine broad, the whole surmounted by a figure of Fame. On the basement of the Catafalque, and at two braccia from the floor, on that side which looks towards the principal door of the Church, were two Eiver-gods, the Arno and the Tiber. The first bore a cornucopia with its flowers and fruits, to signify that the labours of our vocations in the city of Florence are such and so rich in fruits as to All the world, but more especially adorning Eome with their beauties; a thought well carried out by the attitude of the other river, for the Tiber, extending one arm, had the hand full of the flowers and fruits poured forth from the horn of the Arno, which lay beside and opposite to the Tiber. The enjoyment by this last of the Arno’s fruits also implied that Michelagnolo had spent much of his life in Rome, and there produced those works which astonish the world. The Arno had a Lion beside him as his device, and the Tiber a Wolf, with the infants Romulus and Remus; both the River-gods being colossal figures of extraordinary beauty and excellence, and having the appearance of marble. The artist who executed the Tiber was Giovanni di Benedetto of Castello,^[160] a disciple of Baccio Bandinelli; the Arno was from the hand of Battista di Benedetto, a disciple of Ammannato, both young men of much promise.

From the basement there rose a structure five braccia high, having a cornice at the upper and lower parts as well as at the angles; space for the reception of pictures was left in the centre of each side. The picture on the part where the River gods were, and which, like all the others, was in chiaro-scuro, represented the Magnificent Lorenzo, in his garden, an old man receiving Michelagnolo as a child, having seen certain indications of his genius, which may be said to have intimated, in the manner of flowers, the rich fruits afterwards so largely produced by the grandeur and force of that genius. This story was painted by Mirabello,^[161] and by Girolamo del Crocifissaio,^[162] as they were called, and who, being companions and friends, undertook to do it together. The attitude of Lorenzo, whose figure was a portrait from the life, exhibited great animation; his reception of Michelagnolo was most gracious: the boy stood before him with looks of reverence, and having been examined, was in the act of being passed over to the masters by whom he was to be instructed.

In the second story, or that on the side of the lateral door, which opens into the street, was Pope Clement, who, far from resenting the part taken by Michelagnolo in the sjege of Plorence, as is commonly believed, was careful to assure his safety, gave evidence of much friendly feeling towards him, and employed him in the works of the New Sacristy and Library of San Lorenzo, in which places how admirably he acquitted himself we have already set forth. This picture was painted with much facility and softness by the Fleming Federigo,^[163] called the Paduan. Michelagnolo was showing the Pope the plan of the Sacristy; and behind him, borne partly by angels, and partly by other figures, were carried the models of the Library, the Sacristy, and the statues which have been completed, all well composd and carefully executed. In the third picture, which faced the High Altar, was a long Latin inscription, composed by the very learned Messer Pier Vettori, the meaning of which in the Italian tongue, was as follows:—

“The Academy of Painters, Sculptors, and Architects, by favour of the Duke Cosimo de’ Medici, their chief, and the supreme protector of these arts, admiring the extraordinary genius of Michelagnolo Buonarroti, and acknowledging the benefits received from his divine works, have dedicated this monument, erected by their own hands, and consecrated with all the affection of their hearts, to the eminence and genius of the greatest painter, sculptor, and architect that has ever existed.”

The Latin words were these:—

Collegium pictorum, statuariorum, architectorum, auspicio opique sibi prompta Cosmi ducis auctoris suorum commodorum, suspiciens singularem virtutem Michaelis Angeli Bonarrotae, intelligensque quanto sibi auxilio semper fuerit praeclara ipsius opera, studuit se gratum erga illum ostendere, summum omnium, qui unquam fuerint, p. s. a. ideoque monumentum hoc suis manibus extructum magno animi ardore ipsius memoriae dedicavit.

This inscription was supported by two Angels weeping, and each extinguishing the torch which he held in his hand, as if lamenting the loss of that great and extraordinary genius. In the picture of that side which turned towards the door of the Cloister was Michelagnolo engaged in constructing the fortifications of the Heights at San Miniato, and which were considered impregnable: this was by Lorenzo Sciorini, the disciple of Bronzino, and a youth of much promise. The lowermost part, or what may be called the base of the whole fabric, had a projecting pedestal on each side, and on each pedestal was a colossal figure, having another at its feet in the manner of a captive, and of similar size, but in the most singular and abject attitude. The first, or that on the right as you approach the High Altar, was a youth of slender form, and a countenance full of life and spirit, representing Grenius, and with two small wings on his temples, as Mercury is sometimes depicted: beneath his feet, and executed with remarkable ability, was a figure with asinine ears, representing Ignorance, the mortal enemy of Genius. These were both by Vincenzio Danti, of Perugia; of whom and of his works, which are much distinguished among the young sculptors of the day, we shall speak more at length hereafter.

On the Pedestal opposite to this, and facing the new Sacristy, was a female figure representing Christian Love; for this, being made up of religion, and every other excellence, is no less than an aggregate of all those qualities which we call the cardinal, and the Pagans the moral virtues, and was thus appropriately placed in the monument of Michelagnolo, since it beseems Christians to celebrate the Christian virtues, without which all other ornaments of body or mind are as nothing. This figure, which had Vice, or Impiety, trampled beneath its feet, was by Valerio Cioli, an excellent youth oi much ability, and who well merits the name of a judicious and diligent sculptor. Opposite to the above, and on the side of the old Sacristy, was a figure of the goddess Minerva, or Art; and this was placed there with much judgment, since after a pure life and upright walk, which among the good are ever to be held the first, it was Art that gave to Michelagnolo, not honour and riches only, but so much glory, even in his life, that he may with truth be said to have then enjoyed, more than most of our illustrious artists obtain from their works even after death; nay, to him it was given even to overcome envy, seeing that by common consent, and without any contradiction, the reputation of being the first and greatest has been accorded to his name. Tor this reason the figure of Art had Envy beneath her feet; the latter, an old woman, meagre, worn, and with viperous eyes, which, together with all her countenance and every feature, were breathing poison and bitterness; she wore a girdle of snakes about her waist, and had a serpent in her hand. These figures were executed by a youth of very tender age, called Lazzaro Calamec of Carrara, who, though still but a child, has given evidence of most distinguished talent, both in painting and sculpture.

It was by his uncle, Andrea Calamec, who was a disciple of Ammannato, that the two figures placed on the fourth pedestal were prepared; these were opposite the organ, and looked towards the principal door of the Church. The first of the two represented Diligence; for those who act but feebly, and effect but little, cannot hope to attain the excellence of Michelagnolo, who, from his fifteenth to his ninetieth year, never ceased to labour earnestly, as we have said above. This figure, most appropriate to the monument of such a man, exhibited the appearance of a bold, powerful youth, having small wings a little above the wrist, to intimate the promptitude and facility of his operations. Beneath him, as his captive, was Indolence or Idleness; a heavy, weary-looking woman, bearing an impress of sleepy dulness over all her person.

These four groups, arranged as here described, formed a beautiful and magnificent composition, and had all the appearance of being in marble, the terra having been covered with a coat of white, which had succeeded admirably. Erom the level platform on which they were placed, there rose another basement, also quadrangular, and about four braccia high, but neither so long nor so broad as that below, which surpassed it by all the space occupied by the figures abovedescribed. On each side of the second basement was a Picture six and a half braccia wide and three high; and over these arose a platform, similar to but smaller than that beneath, on each angle of which was a projecting socle occupied by a seated figure, somewhat larger than life. These four statues, all of women, were readily perceived, by the instruments beside them, to be Painting, Sculpture, Architecture, and Poetry, and were judiciously placed here, as the Life of Michelagnolo, above written, may fully prove.

Proceeding from the principal door of the Church towards the High Altar, the first painting in the second range of the Catafalque appeared, and referring to the Statue of Architecture, it presented Michelagnolo standing before Pope Pius IV., with the Model of the wonderful Cupola of San Pietro in his hand. This Story was over that in which Lorenzo receives Michelagnolo in his garden, the invention and manner of which were highly commended; it was painted by the Florentine Piero Prancia; and the Statue of Architecture, which was to the left of the Story, was by Griovanni di Benedetto, of Castello, who, so much to his credit, also executed the Tiber, one of the rivers in front of the Catafalque, as we have before said. In the second Picture, continuing towards the right and approaching the lateral door into the street, was a Picture to accompany the Statue of Painting, and representing Michelagnolo engaged in the execution of that so much, yet never sufficiently, lauded work, the Last Judgment; that, I say, which serves as the example to all in our vocation of foreshortening, and every other difficulty of the art. To the left of this Painting, which was executed with much grace and diligence by the disciples of Michele di Pidolfo, was the Statue of Painting by Battista del Cavaliere, a youth no less distinguished as a sculptor, than for the modesty and excellence of his life.

In the third Picture, or that towards the High Altar and above the inscription, was a Story relating to Sculpture, and showing Michelagnolo taking counsel with a female figure known to be Sculpture by her accompaniments; the artist has around him certain of the works executed by his hand in that branch of art, and the Figure holds a Tablet, with the words of Boethius: Simili sub imagine formans. Beside this picture, which was painted in a very good manner by Andrea del Minga, was the Statue of Sculpture, extremely well executed by Antonio di Grino Lorenzi. The fourth of these pictures, or that towards the organ, related to the Statue of Poetry, and exhibited the master intent on the writing of some composition. Around him, in a graceful hand, robed as the poets describe them, were the Nine Muses and before them Apollo, crowned with laurel, and bearing the Lyre in one hand; while in the other he held a second CroAvn of Laurel, which he appeared about to place on the head of Michelagnolo. Near to this graceful and beautiful Story, which was painted in an admirable manner, with figures exhibiting attitudes of infinite animation, by Giovanmaria Butteri, was the Statue of Poetry, the work of Domenico Poggini, a man of much experience in the casting of bronze, the making of dies for coin, and the execution of medals; nor was he less remarkable as a writer of poetry.

Thus it was then that the Catafalque was adorned, and as it diminished at every stage there was a walk entirely around each platform; it was indeed not unlike the Mausoleum of Augustus in Rome; or rather, being of square form, it was more like the Septizonium of Severus; not that near the Capitol, which is commonly called so by an error, but the true one, near the Baths of Antoninus, of which there is a plate in the Nuove Rome.

Up to this point the Catafalque had three stages; the first on which were the River-gods, the second where were the groups, and the third on which stood the single figures. Prom the platform of the last stage there rose a base or socle, one braccio high, much smaller than the platform on which it was placed; and above the ressaults of which were seated the Statues, as before-mentioned, while around it were the words, Sic ars extollitur arte. On the socle was a Pyramid, nine braccia high, on two sides of which, that tOAvards the principal door namely, and that towards the High Altar, were two oval compartments, each bearing the head of Michelagnolo in relief; a Portrait from the life, and admirably executed by Santi Buglioni.

On the summit of the Pyramid was a Ball in due pro portion Avith the same, and supposed to be placed there as representing one that might contain the ashes of him so highly honoured; while above the Ball was a figure, larger than life, Avith the appearance of marble, and representing Pame in the act of commencing her flight to cause the glory and praise of that greatest of masters to resound through the whole Avorld; she being about to place to her lips a trumpet Avhich terminated in three mouths for that purpose.

This figure of Pame Avas by the hand of Zanobi Lastricati, Avho, in addition to all his labours as Proveditor for the Avhole, Avould yet, to his great honour, assist Avith the force of his genius and the labour of his hand also. The height of the Catafalque, from the floor to the head of the Pame, was twenty-eight braccia, as we have said. Besides the Catafalque, the Church was hung with haize and serge, not around the central columns only, as is customary, but about all the surrounding Chapels also; nor was there any space between the pilasters, which stand on each side of those Chapels and correspond with the Columns, which had not some ornament of painting, or which did not present a beautiful and imposing aspect.

To begin with one end, in the space of the first Chapel, which is beside the High Altar, and proceeding towards the old Sacristy, there was a picture six braccia high and eight long, wherein, with a new and almost poetical invention, Michelagnolo was displayed as having attained the Elysian fields. On his right hand were figures larger than life, representing the most renowned of the great painters and sculptors of antiquity, each made clearly manifest by some particular sign; Praxiteles, by the Satyr which is in the Vigna of Pope Julius III.; Apelles, by the portrait of Alexander the Great; Zeuxis, by that picture with the grapes which deceived the birds; and Parrhasius with the pretended curtain covering the picture. The others, also, were in like manner made known by other signs.

On the left of Michelagnolo were the masters of modern times, all those who have been most illustrious in these arts, from Cimabue downward that is to say. Thus Giotto was known by a small portrait of Dante as a youth, depicted in the same manner as that by his hand which is still to be seen in the Church of Santa Croce. Masaccio was a portrait from the life; as was also Donatello, who had besides his Zuccone of the Campanile beside him. Pilippo Brunelleschi was made known by the copy of his Cupola of Santa Maria del Piore; then followed (portraits from the life and without any other sign) Pra Filippo, Taddeo Gaddi, Paolo Uccello, Fra Giovann’ Agnolo, Jacopo Pontormo, Francesco Salviati, and others; all surrounding Michelagnolo with a welcome similar to that offered by the masters of antiquity, and giving evidence in their looks of their love and admiration for him, no other than was done for Yirgil when the other poets received him on his return, as feigned by the divine poet Dante, from whom the invention was taken, as was likewise the verse which was added and which was exhibited on a scroll held in the hand of the Rivergod Arno, which lay at the feet of Michelagnolo in a most graceful attitude, and with features of singular beauty.

“Tutti Vammiran, Tutti amor gli fanno.”

This picture, which was by the hand of Alessandro Allori, the disciple of Bronzino, an excellent painter and most worthy scholar of so great a master, was very highly extolled by all who beheld it. In the space of the Chapel of the Holy Sacrament, at the end of the cross aisle, was a picture five braccia long and four broad, wherein was Michelagnolo surrounded by all the School of the Arts; little children, boys and young men of every age up to twenty-four, all offering to him, as to something sacred and divine, the first-fruits of their labours, paintings, sculptures, models, &c., all which he was courteously receiving, instructing them at the same time in questions of Art, while they gave ear to his precepts with reverent attention, and were looking at him with exquisite expressions of countenance, and in attitudes truly beautiful and graceful. In effect the composition of this picture is such that it could not in a certain sense have been done better; nor, as respects some of the figures, could anything more beautiful be desired; for which cause Battista, the disciple of Pontormo, by whom it was painted, received infinite praise. The verses at the foot of this picture were as follows;—

Tu pater et rerum inventor, tu patria nobis
Suppeditas praecepta tuis ex, inclyte, chartis.

Descending from this picture towards the principal door of the Church, just before you arrived at the organ, was another, six braccia long and four broad, in the space of a Chapel, and on this was depicted the extraordinary favour conferred by Julius III., when, desiring to avail himself of the great master’s talents, he invited him to the Yigna Julia, and caused him to be seated beside himself. Plere then Michelagnolo was seen in conversation with the Pontiff, while the cardinals, bishops, and other great personages of the Court remained standing around them. This event, I say, was here depicted with such admirable composition and so much relief, the force and animation of the figures was so remarkable, that it could not perhaps have been much better had it proceeded from the hand of an old and experienced master. Wherefore, Jacopo Zucchi, a young disciple of Giorgio Vasari, by whom it was executed in so good a manner, was judged to have hereby proved that the best hopes of his future progress might reasonably be entertained. Not far from this, and on the same side, a little beneath the organ that is to say, the able Flemish painter, Giovanni Strada,^[164] had painted a picture six braccia long and four high, wherein he depicted an event from the period of Michelagnolo’s visit to Venice, at the time of the Siege of Florence. The master is in the Guidecca, a quarter of that most noble city so called; and is receiving a deputation of Venetian gentlemen, whom the Doge, Andrea Gritti, had sent to visit him and make him offers of service. In this work the painter above-named showed much knowledge and judgment, the whole composition and every part of it doing him much honour, seeing that the propriety and grace of the attitudes, the animation of the faces, and the life-like movement imparted to each figure, gave proof of rich inventive power, great knowledge of design, and infinite grace.

We now return to the High Altar, and looking towards the new Sacristy: in the first picture exhibited there, which was that in the space of the first Chapel, was represented another signal favour enjoyed by Michelagnolo, and which was here depicted by Santi Titi, a young man of great judgment, and who had practised painting extensively in Florence as well as in Home. This favour, to which I think I have before alluded, was conferred at the visit paid by the master to the most illustrious Signor Don Francesco Medici, Prince of Florence, when the latter was in Eome about three years before Michelagnolo died. No sooner did Buonarroti enter the room, than the Prince rose from his seat; and, to do honour to the truly venerable age of that great man, he would have him be seated in his own place, although Michelagnolo, who was exceedingly modest, refused to accept that courtesy. Then, standing before him with the utmost respect, the Prince listened to his words with all the reverence and attention that could have been shown by a son to the best of fathers. At the feet of Don Francesco, in the painting of Santi Titi, was a Boy admirably depicted, who held the beretta, or ducal cap, of the Prince in his hand, and around the group stood soldiers dressed in the antique fashion, and executed in a very good manner. But best of all were the figures of Michelagnolo and the Prince, which were so full of animation that the old man appeared to be truly speaking, and the youth to be attentively listening to his words.

In another picture, nine braccia high and twelve long, which was opposite to the Tabernacle of the Sacrament, Bernardo Timante Buontalenti,^[165] a painter much favoured by the most Illustrious Prince, had painted the Rivers of the three principal parts of the world, representing these River-gods as having all come, downcast and sorrowful, to lament and condole with the Arno for their common loss. These rivers were the Nile, the Ganges, and the Po; the first had the Crocodile for his symbol, with a sheaf of corn to intimate the fertility of his country: the Ganges had the Gryphon and a coronal of gems; and the Po a Swan, with a chaplet of black amber. The River-gods, conducted into Tuscany by Fame, whose figure was seen hovering above them, were standing around the Arno, who was crowned with cypress, and, holding aloft his exhausted urn in the one hand, had a branch of cypress in the other: beneath the feet of the Arno was a Lion. Then, to intimate that the spirit of Michelagnolo had ascended to the regions of bliss, the judicious painter had depicted a Story or Splendour in Heaven, significant of the celestial light; and' towards this the soul of Michelagnolo, in the form of a little angel, was seen ascending, with the following verse:—

Vivens orbe peto laudibus cethera.

On each side of this picture were pedestals with statues holding back a curtain, within which those River-gods, the soul of Michelagnolo, and the figure of Fame appeared. The statues on the pedestals had figures beneath their feet, that on the right of the Rivers respecting Vulcan. He has a torch in one hand; and beneath him, in an attitude of much constraint, is Hatred, labouring to free himself from the weight imposed on his neck by the foot of his conqueror.

The Symbol of this group was a Vulture with the verse which follows: —

Surgere quid properas Odium crudele? Jace7o.

Signifying that supernatural, nay, almost divine excellence, should by no means be either envied or hated; the second statue, representing Aglaia,,one of the Graces, and the wife of Vulcan. She was placed there to signify Proportion, and had a Lily in her hand, partly because flowers are dedicated to the Graces, and also because Lilies are considered to be not inappropriately used in funeral ceremonies. The figure beneath this statue represented Disproportion (or Deformity), her symbol was an Ape, and over her was the following verse:—

Vivus et extinctusy docuit sic sternere turpe.

Beneath the River-gods were the two verses following: —

Venimus Arne, tua confixa ex vulnere maesta
Flumina, ut ereptum mundo ploremus honorem.

This picture also was considered very fine for its invention, for the composition of the story, the beauty of the figures and that of the verses, as also because the painter had not executed the work by commission as the others had done, but had spontaneously, and with the help of certain among the obliging and respectable friends which his abilities had gained him, thus done honour to the master by these his labours. For this cause, therefore, Bernardo both deserved and obtained the greater commendation.

In another picture, six braccia long and four high, which was near the side-door opening on the street, Tommaso da San Friano, a young painter of much ability, had depicted Michelagnolo when despatched by his country as Ambassador to Pope Julius II., as we have said that he was sent, and for what causes, by Soderini. Not far distant from this picture, a little lower down than the side door that is to say, was one of similar size by Stefano Pieri, a disciple of Bronzino, and a very studious careful youth. He had paid several visits to Rome no long time previously, and now painted Michelagnolo as seated in an apartment in conversation with Duke Cosimo, which he frequently did at that period, as we have sufficiently related in other places.

Above the black cloth with which, as we have said, the Church was hung all round, in all the spaces where there were no pictures or stories, were placed images of death, escutcheons, devices, and other objects of like sort, all differing from those usually seen, and exhibiting much ingenuity. Some of the figures of death, as if lamenting that they had Tobbed the world of such a man, held a tablet with these words, Coegit dura necessitas, with a globe of the world, out of which was growing a Lily bearing three blossoms, but the stalk of which was broken, the ingenious invention of the above-named Alessandro Allori. Other figures of Death were represented with various peculiarities, but one among these was more especially commended. This was extended on the Earth, and a figure of Eternity holding a palm in the liand, stood over it with one foot planted on the neck and looking disdainfully at Death, appeared to say, that whether acting by force or his own will, he had effected nothing, since, despite of him, Michelagnolo must live to all eternity. The motto was Vicit inclyta virtus. This was the invention of Vasari.

Nor will I omit to mention, that between these figures of Death was mingled the device of Michelagnolo, which was three coronals or circlets, interwoven in such sort that the circumference of one crossed alternately through the centres of the other two. This Michelagnolo used either because he meant to signify that the three arts of Sculpture, Painting, and Architecture were so bound and united that each received benefit and ornament from the other, and neither can nor ought to be divided; or perhaps (he being a man of so high a genius), because he had some more subtle meaning in view. But the Academicians, considering the perfection to which he had attained in all three, one having aided and embellished the other, changed these three circlets into three crowns interwoven, with the motto, Tergeminis tollit honorihus, to signify that the crown of perfection had been merited by him in all these arts.

On the pulpit whence Varchi pronounced the funeral oration, which was afterwards printed, there was no ornament placed, since, being that in bronze and marble, which had been executed in mezzo and basso-rilievo by the excellent Donatello, whatever decoration had been attempted must have proved infinitely less beautiful than itself. But on the pulpit opposite to this, and which had not then been raised on its columns,^[166] there was placed a picture four braccia high, and somewhat more than two wide, on which a figure of admirable design and execution was painted by the Perugian sculptor, Vincenzio Danti, of whom we have already made mention, and shall speak further hereafter. It represented Paine, or Honour, under the semblance of a youth in a fine attitude, and bearing a trumpet in the right hand, while his feet are planted on the figures of Time and Death, to show that Fame and Honour, in despite of Death and Time, maintain those who have powerfully acted in this life, in the perpetual memory of their fellow men.

The Church being prepared in this manner was furthermore adorned by numerous lights, and was filled by an incalculable number of the people; all of whom, abandoning every other care, had thronged to behold that honourable solemnity. When the procession entered the building, there first came the Prorector of the Academy, accompanied by' the Captain and Halbardiers of the Dukes Guard, and followed by the Syndics, the Academicians, and all the Painters, Sculptors, and Architects of Florence. These having taken their places between the Catafalque and the High Altar, where they had for some time been awaited by a large number of nobles and gentlemen, all seated according to their rank, a solemn mass for the dead was begun, with music, and all the ceremonies usual on the highest occasions. That finished, Varchi mounted the pulpit above-mentioned, to fulfil an office which he had last undertaken for the most illustrious lady, the Duchess of Ferrara, daughter of Duke Cosimo, and had never accepted since; then, with that elegance of manner, those modes of utterance, and that tone of voice, which are indeed peculiar to that distinguished man, he described the merits, life, and works of the divine Michelagnolo Buonarroti.

And assuredly it is to be reputed as a great happiness for Michelagnolo that he did not die before the creation of our Academy, seeing that his funeral ceremonies were solemnized by that Society with pomp so magnificent and so honourable. Very fortunate was he, likewise, in having departed before Varchi was removed from this life to that of eternal blessedness, since he could not have been eulogized by a more eloquent or more learned man. The funeral oration pronounced by Messer Benedetto was printed no long time afterwards, as was also another equally beautiful oration, made in praise of Michelagnolo and of Painting, b}' the most noble and most learned Messer Leonardo Salviati, then a youth of but twenty-two years old, although distinguished bj bis compositions of all kinds, both in Latin and the vulgar tongue, to the extent which we all know, and which will be further made manifest to the world by his future efforts.^[167] But what shall I say, or what can I say, that will not be too little, of the ability, goodness, and foresight displayed by the very reverend Signor Prorector, Don Vincenzio Borghini? if it be not that, with him for their chief guide and counsellor, the highly distinguished men of that Academy and Company succeeded to perfection in the solemnization of those obsequies. Por although each of them was capable of effecting much more in his particular branch of art than he was called on to accomplish on that occasion; yet can no undertaking be brought to a successful conclusion unless one sole head, in the manner of an experienced pilot and captain, have the direction and government of the work.

Now the whole city could not sufficiently examine the above-named preparations in one day, it was therefore decided, by command of the Signor Duke, that the ornaments should remain, and the Church continued thus adorned during several weeks, for the satisfaction of his people, as well as for that of the strangers who came from the neighbouring places to see it. The multitude of epitaphs, and verses in Latin and Italian composed in honour of Michelagnolo by many able men, are not repeated here, because they would fill a book of themselves, and have besides been printed by others. But I will not omit to say, that after all the honours above described, the Duke commanded that a place of sepulture should be given to the master in Santa Croce, the Church in which Michelagnolo had desired to be buried, that being the place of burial of his ancestors. To Leonardo, the nephew of Michelagnolo, his Excellency gave all the marbles for the tomb of his uncle, which the able sculptor, Battista Lorenzi, was commissioned to construct, after the designs of Georgio Vasari; the same artist having also to execute the bust of Michelagnolo.

Three statues are to adorn this tomb, to be executed, one by Battista Lorenzi, one by Giovanni dell’ Opera, and the third by Valerio Cioli, Florentine sculptors, who are now occupied with the same, and these figures, together with the tomb, will soon be finished and in their places. The work is at the cost of Leonardo Buonarroti, with the exception of the marbles; but his Excellency, that nothing may be wanting to the honour of so great a man, proposes to place his bust^[168] with an inscription, in the Cathedral, wherein there are the busts and names of many other distinguished Florentines.^[169]

---

1. See the magnificent work of Count Pompeo Litta, Le Famiglie celebri Italiane.
2. By Ascanio Condivi, that is to say.
3. Martin Schön, or Schongauer, is the “Martino Tedesco” of our Author.
4. Now in the Florentine Gallery, in the Hall of Inscriptions namely. —Masselli.
5. The Casa Buonarroti is in the Via Ghibellina, and still belongs to the descendants of the great artist.— Ed. Flor., 1832-8.
6. Who subsequently gave it to the younger Michael Angelo, and the latter, constructing a Gallery, which still remains, in his house, adorned the same with paintings, depicting the actions of his great ancestor, at a cost of 20,000 crowns —Bottari.
7. Condivi adds that Piero kept him in the Casa Medici, as his father had done, but whereas Lorenzo had given him such men as Politian for his associates, Piero coupled his name with that of a Spanish lacquey, boasting of these two as his most useful domestics. “The calling him to make a statue of snow,” remarks Bottari, “was a childish and unworthy action.”
8. No effort has enabled us to ascertain the fate of this Crucifix.—Ed. Flor.
9. See Marini, Sigilli, tomo i.
10. Michael Angelo was then about twenty years old.
11. Niccolò Pisano, and not Giovanni. See Förster, Beitäge zur neueren Kunstgeschichte, p. 14. See also Davia, Storico Artistico intorno all'area di San Domenico, Bologna, 1838, where documents will be found which prove that the tomb, commenced in 1267, was ultimately completed by Fra Guglielmo of Pisa.
12. Condivi adds that there were other motives; the threat of a Bolognese sculptor to avenge himself on Michael Angelo for the loss of those statues, and the fact that the latter could now remain securely in Florence, where quiet had been restored.
13. Lorenzo di Pier-Francesco.
14. It is no longer to be found there.
15. See Titi, Pitture di Roma.
16. See Bianchi, Ragguaglia della Galleria Medicea, Firenze, 1759. See also Cicognara, Storia della Scultura Moderna.
17. Bottari tells us that it was not Cardinal Rohan, but the Cardinal Grolaye de Villiers, by whom this work was ordered.
18. Where the temple of Mars had been that is to say. The Pietà is now in the chapel which stands opposite to the baptismal font.
19. This admirable figure has been cast by the Cavaliere Camuccini, and presented by him to various Academies of Art.
20. The obscurity of these lines has not escaped the lash of our author’s
    compatriots.
21. Gaye, Carteggio inedito, vol. ii. p. 434, calls the master who sketched this Colossus, Agostino Gucci.
22. More particularly on the back.
23. Parenti, in his MS. work, the Storia Fiorentina, attributes this mechanism to Cronaca. See also Gaye, who shows that four days were employed in removing the statue to its place.
24. The history of this work will be found in Gaye, Carteggio inedito de’ Artisti, vol. ii, where there is a letter from the Signoria of Florence respecting it, with another from Pandolfini, to the effect that the aforesaid Signoria had refrained from sending the same, because the Duke de Nemours, for whom it was destined, had lost the French king's favour.
25. It was subsequently purchased by Sir George Beaumont, and is now in the Academy of Arts,
26. This is now in the Florentine Gallery of the Uffizj.
27. Let our readers consult the notes appended by Vigenero (who was intimately acquainted with Michael Angelo) to his Translation, Les Images &c. de deux Sophistes Grecs, Paris, 1614. Here, among other interesting and valuable observations, he will find the following: Of this matter” (sketching) “I may add that I have seen Michael Angelo, although then sixty years old, and not in robust health, strike more chips from the hardest marble in a quarter of an hour, than would be carried off by three youngstone-cutters in three or four times as long; a thing incredible to him who has not seen it. He would approach the marble with such impetuosity, not to say fury, that I often thought the whole work must be dashed to pieces; at one blow he would strike off morsels of three and four inches, yet with such exactitude was each stroke given, that a mere atom more would sometimes have spoiled the whole work.
28. “None of which,” remarks an Italian annotator, “have anv business here; and, speaking with all due deference to the great master, the introduction of them is a most reprehensible licence.”
29. This picture, which is called hard and displeasing by the compatriots of the master, is now in the Tribune of the Uffizj.
30. In a letter from Soderini to the Cardinal of Volterra, Michael Angelo is called “a young man who stands above all of his calling in Italy; nay, in the world.” See Gaye, ut supra.
31. For notices of this artist, who rose to great eminence in Spain, see the work of his compatriot Palomino, Vidas de los Pintores y Estatuarios eminentes Espanoles.
32. See the history of this criminal action in the Life of Baccio Bandinelli, vol. iii. of the present work.
33. There are nineteen figures from these Cartoons, which were engraved and published by Schiavonnetti in 1808. Certain grou])sfrom them are also engraved by the old engravers, Marcantonio, Agostino Veneziano, &c. See the Life of Michael Angelo, by Duppa. See also Waagen, Kunstwerke und Künstler in England.
34. Our readers will not need to be reminded that Vasari here speaks of what was to be, rather than what was. He is unhappily not describing a work finished, but only the design of one proposed, and even executed in part, hut never completed.
35. St. Econen rather. The figures are now in the Louvre. See Duppa, Life of Michael Angelo, London, 1816.
36. It is still in the Palazzo Vecchio, and in the “Great Hall” of the text. Engravings of this group will be found in Cicognara, vol. iii. plate LVII.
37. For the much that has been written in reprehension or defence of Vasari’s exaggerated admiration for his master, Michael Angelo, and respecting that great artist himself, our readers are referred to the severe Milizia, Dell'Arte di Vedere, on the one hand; and to Moreni, Memorie sul risorgimento delle Arti in Toscana, on the other. The Abate Cancellieri, Lettere sopra la Statua di Mosè, and Freart, in his Idee de la Perfection de la Peinture, may also be consulted on the different sides of the same question; and among the defenders of Michael Angelo our own Reynolds may be read with advantage. See more particularly his Lectures delivered before the Academy.
38. Neither Cancellieri nor Bottari will admit the truth of this assertion, both remarking that it cannot be correct, since Jews do not enter the Roman churches.
39. One of these will be found in the third volume of the Lettere Pittoriche, published by Bottari, and from a letter of Soderini’s cited by Gaye, Carteggio, &c., this would appear to have been the only one written.
40. The letters of Soderini, as cited by Gaye, do not mention the sending of Michael Angelo to Rome as ambassador, but recommended him as the dear fellow citizen of the writer, very warmly, to the good offices of the Cardinal.
41. In his first edition, Vasari assigns the following as the only cause. That given above appears first in the second editions of our author’s work.
42. He threw down a plank from the scaffolding rather, by way of startling the intruder.—Bottari.
43. The accomplished churchman above-cited expresses a doubt, as well he may, respecting this story of sticks and fistycutfs, seeing that the luckless gentleman thus gratified was nothing less than a bishop. He prefers, therefore, the version of Condivi, who makes the Pope salute the Bishop as an “ignorant” namely, and bids him, “Get out of my sight and be hanged to thee.”
44. The ultimate fate of this head cannot now be ascertained with certainty.
45. This command was not obeved, since many of those paintings still exist.—F/or., 1832-8.
46. On the contrary, in the Prophets and Sybils, Raphael proposed rather to show the difference between his style and that of Michael Angelo. In the Isaiah of Sant’ Agostino he did indeed imitate that master, but on this subject enough has already been said in the Life of Raphael.
47. The works of Bramante were sometimes deficient in strength, a grave error, without doubt, and in this respect Michael Angelo may have amended them, but he did not “correct” or improve the design of Bramante.
48. The truth of this assertion has been much questioned. See the Diario of Paris di Grassio, as given in the Kunsiblatt for 1844, No. 105. See also Gaye, Carteggio inedito d'Artisti, vol. ii. p. 487.
49. Vasari here calls the ressaults between the lunettes, “corbels,” (peducci.)
50. “There doubtless must have been infinite difficulty in the execution of this figure,” remarks an Italian commentator, “since it is painted in the angle of the chapel, and is partly on one wall and partly on the other.”
51. Bottari dissents from this reading and would have the amorevolezza of our author changed for amarezza, or amarevolezza, but the present writer considers the reasons of the annotators who reject that supposed emendation, to have greater weight than those adduced by the accomplished churchman, and has consequently adhered to the text, as left by Vasari.
52. Or rather Accursio, as Condivi properly calls him.—Masselli.
53. The Cardinal Santi Quattro was Lodovico Milero Valentino, and not Pucci, who was created Cardinal by Leo X., the successor of Julius.—Ed. Flor., 1832-8.
54. Giuliano da San Gallo, and not Antonio.—Bottari.
55. A model, long believed to be that here mentioned, will be found in the Florentine Academy of the Fine Arts, but many doubts have lately arisen as to its authenticity
56. After having been long abandoned, the quarries on Monte Altissimo have lately (1838) been re-opened, and are now worked with great activity.—Ed. Flor., 1832-8.
57. An opinion was said to prevail in old times, to the effect that some of the marbles in question were actually buried in the Piazza San Lorenzo itself.— Masselli.
58. These copper blinds are not now to be found.—Masselli.
59. For details respecting these matters the reader may consult Bottari, Lettere Pittoriche, tomo iii. See also Moreni, in his introduction to the work of Freart before cited, with the annotations of Ciampi to a book published in 1834 from the MS. of a letter by Michael Angelo now in the Biblioteca Magliabecchiana, and entitled Lettera di Michelangelo per giustificarsi contra le' calannie de' nemisi suoi sul proposito del Sepolcro di Papa Giulio II., &c. &c.
60. Michael Angelo constructed two monuments only. Our author most probably describes the work from a design which was never fully completed.—Bottari.
61. The Tombs executed by Michael Angelo are those of Giuliano, Duke of Nemours, brother of Leo X., and of Lorenzo, Duke of Urbino.
62. The figure still retains a place in the Church, but is now behind the High Altar.
63. See Varchi, Storia, lib. viii.
64. The reader who cannot give our respectable Giorgio credit for the extravagance and bathos of this phrase,is reluctantly referred to the original.
65. The author was Gio Battista Strozzi. See Notizie degli Uomini illustri dell'Accademia Fiorentina.
66. Varchi tells us that Michael Angelo had discovered treasonable intentions on the part of Malatesta Baglione, Captain-general of the Florentines (who was in treaty with the Pope for the betrayal of the city), and had made this circumstance known to the Gonfaloniere Carduccio; but not finding the attention he expected, then resolved to secure his own safety by flight. For numerous details respecting this event, see also Gaye, Carteggio, vols. ii. and iii.
67. Many distinguished artists are said to have given designs for this Bridge, but they were all found to be too costly, and it was constructed in 1591 after the designs of Antonio da Ponte.
68. Certain details respecting this painting, which has been mentioned in previous pages of the present work, will be found in Waagen, Künstler und Kumtwerke in England,
69. The Senator, Filippo Buonarroti, assured Bottari that his great ancestor had lain concealed in the bell-tower of the Church of San Niccolò, beyond the Arno, for a considerable time.
70. Now in the western Corridor of the Uffizj.
71. The original Cartoon of the Leda remained for a long time in the possession of the Vecchietti, but was purchased by an Englishman about the middle of the last century, and brought to England. See Borghini, Riposo.
72. Of Michael Angelo’s drawings, seventy-nine are now in the Gallery of the University at Oxford, others are in the British Museum; there were also a certain number in the possession of the King of the Netherlands at the Hague, and others will be found at Vienna.
73. The whole of the statues were not completed, and there still remain twelve empty niches; the nine finished and erected are seven by Michael Angelo, and two by Tribolo and Raffaello da Montelupo.
74. All the stucco-work has disappeared, but the wood-carving still remains.
75. For minute details, which cannot here find place, see Duppa’s Life of Michael Angelo; or Condivi, Vita di Michelagnolo, Rome, 1553. See also Ciampi, Lettera di Michael Angelo, as before cited.
76. The Duke’s letter to Michael Angelo, dated March 6, 1542, will be found in Gaye, loc. cit. vol. ii.
77. For details respecting Michael Angelo’s occupations of this period, and the invitation which he received from Federigo Gonzaga, Duke of Mantua, see Gaye, ut supra, vol. ii.
78. Pope Clement died on the 25th Sept., 1534.— Bottari.
79. For highly interesting details of this period, which cannot here find place, see Condivi, Vita di Michelagnolo, as before cited.
80. The reader will find numerous details of great interest respecting this portion of the work in Condivi, loc. cit.
81. This is believed to be Maso Boscoli, the disciple of Andrea Sansovino.
82. Ciacconio, tom. iii. p. 247, lias given an engraving of this Tomb.
83. The largest print of this work is that published in fifteen plates, to be united into one, by C. M. Metz, in 1803.
84. Round the waist that is to say, and not round the limbs, Michael Angelo having followed the reading of Dante, his devoted admiration of whom is well known.
85. The Pope is said to have replied to Messer Biagio’s plaints by the comforting assurance that, ‘‘ If the painter had put thee into Purgatory, I would have done all I could for thee, but since he hath sent thee to Hell, it is useless for thee to come to me, since thence, as thou knowest, nulla est redemptio.”
86. Let our readers take patience, remembering that Michael Angelo was the revered and beloved master of our excellent Giorgio.
87. Michael Angelo caused a copy in oil to be made by Marcello Venusti, for the Cardinal Alessandro Famese, and from the Palace of that House this picture ultimately came into the possession of the King of Naples. Of the numerous engravings from the Last Judgment we have not space here to make mention.
88. These paintings, which had been much injured by dust and smoke, have of late years been carefully cleaned.—Förster.
89. It remained for many years in the sculpture room of the Chapel of St. Lorenzo, but in the year 1722, it was placed behind the High Altar in the Cathedral of Florence.
90. See Plainer and Bunsen, Beschreibung der Stadt Rom., vol. ii. p. 151, where the opinion of Michael Angelo as to this model will be found in a letter from himself to a certain Messer Bartolommeo; or the original of that letter may be consulted in the Lettere Pittoriche, tom. vi. p. 26.
91. This must be of Piacenza, and not Parma. — Ed. Flor.. 1832-8,
92. These figures are now in the Vatican.
93. Our readers will not need to be reminded that this group, known as the Toro Farnese^ is now in Naples. They will also perceive that the figure here called Hercules is that of Dirce.
94. Among the statues thus restored was the Hercules of Glicon, so well known as the “Farnese Hercules,” the legs of which he executed so well, that when the antique legs were discovered (in 1560) Michael Angelo would not suffer them to replace those of Guglielmo, and they were deposited in a room of the Vatican.
95. For details which cannot here find place, the reader who shall desire such, may consult Bricolani, Descrizione della sacrosanta Basilica Vaticana, p. 60.
96. It was subsequently completed, and in the niche destined by our author for the tomb of Pope Julius 111., that of Pope Urban VIII. has been erected.
97. Author of a Commentary on Vitruvius and a Vocabulary of the Arts (never completed), as also of the Trattato del Dittonghi Toscani.
98. This design was never accomplished.
99. Mr. Busy-body, Much-a-do, or whatever may best express a meddling disposition; Tante-cose meaning simply “many things.”
100. Or perhaps Messer Pier Giovanni Aliotti. —Bottari.
101. Marcello survived his election to the papal chair a few weeks only.
102. The German translator of our author gives a different reading of this passage, which we add, together with the original; let our reader take his choice:—E le cose di qua stan pur così. Of this the German translator makes, “Und so geht’s in der Wei!!” (which is the way of the world); a reading which the original, as our readers perceive, may bear, but the notes of exclamation are the German’s, and not the Italian’s, a circumstance which, in this case, makes a material difference.
103. Gaye, Carteggio, makes it doubtful whether Vasari finished these steps or not; and a Florentine commentator says, “Although Michael Angelo had left the steps, the balustrade, and many other parts of this work in a state of preparation, it is manifest that Vasari did not succeed in comprehendmg the master’s wish. He constructed a magnificent flight of steps without doubt, but not that intended by Michael Angelo. See Ruggieri, Studio d'Architettura civile; also Rossi, Libreria Medicea Laurenziana.
104. The reader will find the letters of Duke Cosimo to Michael Angelo in Gave, Carteggio inedito, vol. iii.; they give evidence of much kindness in the prince, and of his great respect for the master.
105. See Gaye, as above cited.
106. In all things not appertaining to art, Michael Angelo permitted himself to be managed entirely by this trusted friend and servant.
107. This work, the title of which is Difesa della Lingua Toscana e di Dante, was most appropriately dedicated to Michael Angelo (but by Giambullari rather than Lenzoni, who did not complete the work), that master’s profound study of, and affectionate veneration for the great poet being well known.
108. “Among the works of Michael Angelo’s youth,” observes a German annotator, “is the beautiful group of the Virgin and Child in the Church of Notre Dame at Bruges, originally destined for Genoa. It was seized by a Dutch privateer, and taken to Amsterdam, where it was purchased by a merchant of Bruges, and presented to the church above-named. It was taken to Paris, with other spoils, by the French, but was subsequently restored, and is now in the church.”
109. These two statues are finished, as are the allegorical figures which accompany them.—Ed. Flor., 1832-8.
110. The fate of this work cannot now be ascertained.—Ed. Flor., 1838.
111. This is the group mentioned in a previous note. See ante, p. 282.
112. “They desiring,” remarks Bottari, “not to benefit the fabric, but to restore the old corruptions of the expenditure for their own profit.”
113. “This is the beautiful drum of travertine, some of the stones of which having shown cracks in certain parts, no man knows how or when produced, gave rise to the report that the cupola was about to fall.”—Bottari.
114. Author of the Avertimenti Civili.
115. It has indeed been changed, nevertheless,” remarks Bottari. “The Cross which Michael Angelo made Greek is now Latin; and if it be thus with the essential form, judge ye of the details!”
116. Since the drum is octagonal, there cannot be more than sixteen piers. Ed. Flor., 1832-8.
117. In other words, they are thirty-six palms broad, and nineteen and a half deep.— German Edition of Vasari.
118. For the reasons given respecting the piers, this must be thirty-two. — Masselli.
119. These balustrades have not been erected.
120. Vasari calls the Cupola a Tribune,” almost throughout the whole of this description.—Ed. Flor.^ 1832-8.
121. The complaints of all commentators, Italian and German alike, as to the obscurity of this description, are here renewed with increased energy, but the elucidations they attempt cannot be reproduced in this place, and we content ourselves with referring our reader to the authorities before cited.
122. “In this, as well as in every other part/’ remarks a German writer, “many changes have been made.”
123. For minute details our readers may consult Ferrabosco, Libro dell'Architettura di San Pietro del Vaticano finito col disegno di Michael Angelo Buonarroti, Rome, 1620.
124. For details respecting the medals struck in honour of Michael Angelo, see the notes of Manni, to the Vita by Condivi. See also Litta, Famiglie Illustri Italiane.
125. Cosmo, Pater Patriae.
126. Giovanni delle Bande Nere, father of Cosmo I.
127. It was published at Florence in 1588, by Giorgio Vasari, the nephew of OUT author.
128. The Porta Pia has never been finished.
129. The building was altered in 1749 by the architect Vanvitelli, an altar being constructed in the place of the principal entrance and other changes, which are much to be regretted, being also made.
130. For details respecting this affair, see Gaye, Carteggio, vol. iii.
131. The bust, which was never finished, is now in the Florentine Gallery of the Uffizj.
132. Or this may be read, “more than either Romans or Greeks had done for their temples.”
133. According to Bottari this model perished in a fire.
134. The Church was ultimately finished by Giacomo della Porta. — Masselli.
135. For details of much interest respecting this affair, see Gaye, Carteggio, &c., vol. iii.
136. A singular observation of Michael Angelo in respect to his reasons for not returning to Florence, will be found in the well-known Autobiography of Benvenuto Cellini, who relates that when he pressed Michael Angelo to return, on the part of Duke Cosimo, the master looked fixedly into his face, and with a meaning smile replied, “And you, Benvenuto, how do you like abiding with him?” “This smile and question,” remarks an Italian writer, “need no commentand if the reader will recall the fate of the hapless Sforza Almeni, mentioned in vol. iv. of the present work, p. 321, note ||, he will perhaps agree with our author’s compatriot, that no comment is required.
137. Agabrio, as he is subsequently called.
138. He was afterwards re-instated. See Gaye, loc. cit.
139. But few draw'ings were found among the property of Michael Angelo, his people affirming that he had burnt many of them before his death. See Gaye, loc. cit.
140. Aged eighty-eight years, eleven months, and fourteen days.
141. Julius III. bore him a strong personal affection. It was that Pontiff who induced Condivi to write the Life of Michael Angelo, of which His Holiness accepted the dedication.
142. Let our readers be pleased to remember that Galileo was an infant in his cradle when our good Giorgio thus wrote, the philosopher not having been born until two days before Michael Angelo died.
143. This was purchased in Florence by our countryman, Bouverie, when on his way to Egypt. A picture after this drawing is in the Imperial Collection at St. Petersburg, and there are copies of the drawing at Vienna, Berlin, and Milan, as well as in London.
144. A large portion of these drawings passed from the Palazzo Famese to the King of Naples.— Ed. Flor., 1832-8.
145. Many of these works, and of incontestabre authenticity, are in the Collection of the P'lorentine Gallery.
146. See ante, p. 248, note †.
147. Now in the Boboli Gardens.
148. Giovann’ Bologna, when very young, showed Michael Angelo, then in his eightieth year, a model which he had finished with infinite care, but the master, passing his fingers over it, altered every part, saying, “Learn to sketch before you attempt to finish.”
149. Two rather, which were published at Florence in 1594.
150. " Of these works,” observe the Italian commentators, “there are copies innumerable, nearly all of which pretend to be the original.”
151. Condivi represents Raphael as expressing the same thought.
152. “A great honour,” observes Bottari, “since none but Pontiffs have been thus distinguished, with the exception of two Queens, who have abandoned thrones for the Catholic faith.” See also Moreni, Illustrazione storica-critica, &c., &c.
153. In quality of Historiographer.
154. A bust and inscription rather.
155. At Spoleto, as related in the Life of Fra Filippo.
156. Sic. Nor was this mode of expression unusual at the time when Vasari wrote.
157. Vasari was the devoted servant of Duke Cosimo, and had not the slightest suspicion of Michael Angelo’s real motive for avoiding Florence; he therefore accepted the master’s excuses in good faith.
158. The tomb of Michael Angelo was opened in the last century, when the corpse was found still well preserved. Bottari, who had his intelligence from the senator, Filippo Buonarroti, one of the few persons who entered, describes it as “dressed in a long robe of green velvet, and with slippers on the feet but in the Memorie Fiorentine inedite, the master is said to have been found wrapped in a “mantle of black damask, wearing boots with spurs, and having a hat with a bordering of fur on the head.” See the Carteggio inedito, vol. iii. p. 133.
159. Some of the Italian commentators affirm this date to be inaccurate, and cite in support of their opinion the libretto describing the ceremonies, published at the time by the Giunti, and with the title, Esequie del divin Michael Angelo Buonarroti celebrati, &c., 2Sth June, 1564. But Vasari has told us that the ceremony was “deferred and doubtless it was so, to the 14th of July, as he says, for was he likely to be mistaken as to the date of a solemnity in which he took so active a part? Let the reader judge.
160. Giovanni Bandini. See Baldinucci, vol. x. p. 183.
161. Mirabello da Salincorcio, a disciple of Ghirlandajo.
162. Girolamo Macchietti, a scholar of Michele di Ridolfo Ghirlandajo.
163. Friedrich Lambert, a native of Amsterdam who setted in Florence.
164. He was with Vasari ten years. See Borghini, Riposo; also Baldinucci, vol. vii. p. 61.
165. Also frequently mentioned in the works of Borghini and Baldinucci. He was a painter, sculptor, architect (civil and military), and a most ingenious theatrical machinist.
166. This also was designed by Donatello, but was completed by his disciple, Bertoldo, as related in the first volume of the present work, p. 485.
167. The vast learning of Salviati has been justly eulogized, but his unfair and pedantic criticism of Tasso greatly diminished his reputation.
168. This intention was never fulfilled.
169. For the numerous details respecting Michael Angelo, which the short space allotted to the notes of the present volume have rendered it impossible to add in the course of this biography, the reader is referred to Condivi, Duppa, and the other authorities as above cited. Fea, Notizie, &c., may also be consulted with advantage, as may likewise Manni, Addizioni Necessarie, &c., &c., Florence, 1774; Hautcorne, Vie de Michael Angelo Buonarroti, Paris, 1783; Alcune Memorie di Michael Angelo Buonarroti, &c., Rome, 1823; and the Onologia scientifico-letteraria, di Perugia, for 1834. See also D’Agincourt, Lanzi, Cicognara, &c.