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,[1] 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
- ↑ 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.
