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;[1]* 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
- ↑ " Of these works,” observe the Italian commentators, “there are copies innumerable, nearly all of which pretend to be the original.”
