sequently 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.[1] 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.[2] 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.[3] 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
- ↑ 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.
- ↑ 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.
- ↑ 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.
