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,[1] 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
- ↑ Friedrich Lambert, a native of Amsterdam who setted in Florence.
