,michael ,angelo ,buonarroti ,by ,charles ,holroyd1 ,keeper of the ,national ,gallery of ,british ,art1 with ,translations of the ,life of the ,master by ,his ,scholar1 ,ascanio ,condivi1 and ,three ,dialogues from the ,portuguese by ,francisco d',ollanda ,london ,duckworth and ,company ,new ,york ,charles ,scribner's ,sons #aijc ,frontispiece ,,michael ,,angelo ,from an early proof of the engraving by ,,giulio ,,bonasoni 7,in the ,print ,room of the ,british ,museum7 ,,contents ,preface ,illustrations ,,part ,i ,,chapter ,i ,,chapter ,,ii ,,chapter ,,iii ,,chapter ,,iv ,,chapter ,v ,,chapter ,,vi ,,chapter ,,vii ,,chapter ,,viii ,,chapter ,,ix ,,chapter ,x ,,chapter ,,xi ,,part ,,ii ,,chapter ,i ,,chapter ,,ii ,,chapter ,,iii ,,chapter ,,iv ,,chapter ,v ,,chapter ,,vi ,,chapter ,,vii ,,chapter ,,viii ,,chapter ,,ix ,,chapter ,x ,,chapter ,,xi ,,appendix ,,first ,,dialogue ,,second ,,dialogue ,,third ,,dialogue ,,the ,,works ,,of ,,michael ,,angelo ,a ,,list ,,of ,,the ,,principal ,,books ,,consulted ,,by ,,the ,,author ,,erratum ,,index ,,preface ,of all the many lives of ,michael ,angelo that have been written1 that by his friend and pupil1 ,ascanio ,condivi1 is the most valuable4 ,for not only is it a contemporary record1 like the lives inserted by ,giorgio ,vasari in the two editions of his famous book1 ,the ,lives of the ,most ,eminent ,painters1 ,sculptors1 and ,architects1 published in ,florence in #aeej and #aefh2 but ,condivi's work has almost the authority of an autobiography1 many phrases are in the same words1 as certain letters in the hand of ,michael ,angelo still in existence1 especially those relating to the early life and the ancestry of the master1 to his favourite nephew ,lionardo1 and concerning the whole story of the ,tragedy of the ,tomb to ,francesco ,fattucci and others4 ,condivi's description of his master's personal appearance is so detailed that we can see him with his sculptor's callipers measuring the head of his dear master1 and gazing earnestly into his eyes1 recording the colours of their scintillations1 with the patience of a painter4 ,vasari's account has been translated more than once1 but ,condivi's never1 at least never completely4 ,extracts have been given1 and it has been the main resource of every writer on the master2 but the faithful and reverent character of the whole work can only be given in a complete translation1 its transparent honesty1 and its loving devotion4 ,even had the subject of this naif and unscholarly narrative been an ordinary man in an ordinary period1 it would have been worth translating for its truth to life and human nature1 much more1 therefore1 when it is about the greatest craftsman of the ,cinque ,cento4 ,condivi published his ,vita di ,michael ,angelo ,buonarroti on ,july #af1 #aeec2 probably incited thereto by the master himself1 who desired to correct certain misstatements of his excellent friend1 ,giorgio ,vasari1 without hurting that worthy's feelings4 ,nevertheless1 we gather from what ,vasari says in his second edition that he somewhat resented the appearance of this new biographer4 ,perhaps this coloured his unflattering account of ,condivi as an artist1 when describing ,michael ,angelo's scholars3 ,ascanio della ,ripa took great pains1 but no results have been seen1 whether in designs or finished works4 ,he spent several years over a picture for which ,michael ,angelo had given him the cartoon1 and1 at a word1 the hopes conceived of him have vanished in smoke4 ,what a good thing it would have been for ,vasari's reputation if his art work had vanished in smoke1 too1 and only his biographies remained4 ,condivi lives1 as he said he wished to live1 in the dedication of his work to ,pope ,julius ,,iii41 with the name of being a faithful servant and disciple of ,michael ,angelo4 ,a second edition of the ,vita di ,michael ,angelo1 by ,ascanio ,condivi1 was published at ,florence in #agdf4 ,the introduction informs us that ,condivi was born at ,ripa ,transona1 and that he outlived his master ten years1 dying on ,february #ag1 #aefc 7#aefd71 aged nearly eighty-nine years4 ,the second part of this book may be regarded as an appendix7#a7 to ,condivi4 ,it is a supplementary account of the existing works of the master1 and details of their fashioning that may help us to realise the mystery of their production1 from contemporary documents3 letters1 contracts1 and the life by ,vasari1 with some few explanations that will not interest the learned1 but may help young students of the works of the great master4 ,londoners have peculiar facilities for this study4 ,the bas-relief in the ,diploma ,gallery of the ,royal ,academy1 the drawings in the ,british ,museum1 and the unfinished and altered picture at the ,national ,gallery1 are an excellent foundation from which to study the casts at ,kensington and in the ,crystal ,palace 7the latter are unique in this country1 but1 alas6 in a poor state now74 ,students of to-day have one immense advantage over those of former times in the magnificent series of photographs that have been issued1 especially those of the vault of the ,sistine ,chapel1 which may almost be said never to have been so well seen before4 ,since this book went to press1 the author has seen an antique intaglio1 ,no4 #baj in the ,estense ,collection at ,modena1 which he is informed came from ,ferrara in #aeih1 representing a ,leda4 ,this confirms the view expressed in the note on page #fa1 as to the genesis of the ,leda by ,michael ,angelo1 for it is exactly similar in composition4 ,the author desires to express his gratitude to many friends for valuable advice and assistance1 especially to his wife for help in the translations1 and to ,mr4 ,s4 ,arthur ,strong for kindly looking over the proofs1 and other aid2 to the ,earl of ,leicester1 of ,holkham1 for permission to photograph and reproduce the ,cartoon at ,holkham ,hall2 to the trustees of the ,british ,museum and ,mr4 ,sidney ,colvin for facilities to reproduce two engravings in the ,print ,room2 to the ,signori ,fratelli ,alinari1 ,signor ,anderson1 ,mm4 ,braun et ,cie41 and ,signor ,brogi1 for kindly allowing their photographs to be used in making the illustrations4 ,,illustrations ,,michael ,,angelo ,,the ,,rape ,,of ,,deianeira ,,and ,,the ,,battle ,,of ,,the ,,centaurs ,,the ,,angel ,,at ,,the ,,shrine ,,of ,,saint ,,dominic ,,the ,,madonna ,,bella ,,piet ,,david ,,david ,,saint ,,matthew ,,the ,,madonna ,,and ,,child1 ,,with ,,the ,,child ,,saint ,,john ,,the ,,holy ,,family ,,the ,,cartoon ,,of ,,pisa ,,moses ,,two ,,of ,,the ,,unfinished ,,marble ,,statues ,,in ,,the ,,grotto ,,of ,,the ,,boboli ,,gardens1 ,,florence ,,the ,,creation ,,of ,,the ,,sun ,,and ,,moon1 ,,and ,,of ,,the ,,trees ,,and ,,herbs ,,creation ,,of ,,man ,,creation ,,of ,,man ,,the ,,creation ,,of ,,eve ,,the ,,expulsion ,,the ,,deluge ,,athlete ,,athlete ,,athlete ,,athlete ,,the ,,delphic ,,sibyl ,,the ,,prophet ,,joel ,,the ,,prophet ,,ezekiel ,,the ,,prophet ,,daniel ,,the ,,libyan ,,sibyl ,,the ,,prophet ,,jeremiah ,,the ,,flood ,,the ,,brazen ,,serpent ,,judith ,,with ,,the ,,head ,,of ,,holofernes ,,one ,,of ,,the ,,ancestors ,,of ,,christ1 ,,over ,,the ,,window ,,inscribed ,,jesse ,,one ,,of ,,the ,,ancestors ,,of ,,christ1 ,,over ,,the ,,window ,,inscribed ,,ioram ,,one ,,of ,,the ,,ancestors ,,of ,,christ1 ,,over ,,the ,,window ,,inscribed ,,asa ,,the ,,prophet ,,jonah ,,the ,,tomb ,,of ,,lorenzo ,,de' ,,medici1 ,,duke ,,of ,,urbino ,,the ,,tomb ,,of ,,giuliano ,,de' ,,medici1 ,,duke ,,of ,,nemours ,,lorenzo ,,de ,,medici1 ,,duke ,,of ,,urbino ,,the ,,head ,,of ,,the ,,dawn ,,apollo ,,the ,,head ,,of ,,the ,,night ,,night ,,the ,,madonna ,,and ,,child ,,the ,,day ,,of ,,judgment ,,the ,,judge4 ,,from ,,the ,,day ,,of ,,judgment ,,spirits ,,of ,,the ,,blessed1 ,,part ,,of ,,the ,,day ,,of ,,judgment ,,the ,,crucifixion ,,of ,,saint ,,peter ,,the ,,conversion ,,of ,,saint ,,paul ,,the ,,piet ,,of ,,santa ,,maria ,,del ,,fiore ,,brutus ,,part ,i ,,the ,,life ,,of ,,michael ,,angelo ,,buonarroti1 ,,by ,,his ,,scholar ,,ascanio ,,condivi1 ,,translated ,,by ,,charles ,,holroyd ,,chapter ,i ,,the ,,rape ,,of ,,deianira1 ,,or ,,the ,,battle ,,of ,,the ,,centaurs ,,and ,,the ,,angel ,,of ,,the ,,shrine ,,of ,,saint ,,dominic ,michael ,angelo ,buonarroti1 the unique painter and sculptor1 was descended from the ,counts of ,canossa1 a noble and illustrious family of the land of ,reggio1 both on account of their own worth and antiquity1 and because they had ,imperial blood in their veins47#b7 ,for ,beatrice1 sister of ,enrico ,,ii41 was given in marriage to ,count ,bonifazio of ,canossa1 then ,signor of ,mantua2 the ,countess ,matilda was their daughter1 a lady of rare and singular prudence and piety2 who1 after the death of her husband ,gottifredo1 held in ,italy 7besides ,mantua7 ,lucca1 ,parma1 ,reggio1 and part of ,tuscany1 which to-day is called the ,patrimonio of ,san ,pietro2 and1 having in her lifetime done many things worthy of memory1 died and was buried in the ,badia of ,san ,benedetto1 beyond the walls of ,mantua1 which abbey she had built1 and largely endowed4 ,,ii4 ,messer ,simone then1 of this family1 coming to ,florence as ,podest7#c7 in the year #abej1 was deemed worthy of being made a citizen1 and head of a sesitiere or sixth part of the town1 for into so many wards was the township divided at that time2 to-day the wards are quartieri or fourth parts4 ,the ,guelph party were in power in ,florence1 and he1 from ,ghibelline that he was1 became ,guelph1 because of the many benefits he received from that faction1 changing the colour of his coat-of-arms1 which originally was gules1 a dog rampant with a bone in his mouth1 argent--to azure1 a dog or2 and the ,signoria afterwards granted him five lilies1 gules1 in a ,rastrello1 and at the same time the crest with two horns of a bull1 the one or1 and the other azure1 as may be seen to this day painted on their ancient shields2 the old arms of ,messer ,simone may be seen in the palace of the ,podest1 carved in marble by his orders1 according to the custom of those who held that office4 ,,iii4 ,the reason why the family in ,florence changed their name from ,canossa to de',buonarroti was because the name ,buonarroto was usual in their house from age to age1 almost always1 down to the time of ,michael ,angelo himself1 who had a brother called ,buonarroto1 and many of these ,buonarroti being of the ,signori1 that is of the supreme magistracy of the ,republic2 the said brother especially1 who was of that body at the time when ,pope ,leo was in ,florence1 as may be seen in the annals of the city2 this name held by so many of them became a surname for the whole family1 the more easily as it is the custom of ,florence in the lists of voters and other nomination papers1 after the proper name of the citizen1 to add that of his father1 his grandfather1 his great-grandfather1 and even of those further removed4 ,therefore1 from the many ,buonarroti thus continued1 and from that ,simone who was the first of the family to settle in ,florence1 and who was of the ,house of ,canossa1 they became ,buonarroti ,simoni1 for so they are called at this day4 ,lastly1 ,pope ,leo ,x4 being at ,florence1 besides many other privileges1 gave to this family the right to bear on their coat the palla or ball1 azure1 of the arms of the ,house of ,medici1 with three lilies1 or ,,iv4 ,of such family1 then1 was ,michael ,angelo born2 his father's name was ,lodovico di ,leonardo ,buonarroti ,simoni1 a good and religious man1 somewhat old-fashioned4 ,michael ,angelo was born to him whilst he was ,podest of ,chiusi and ,caprese7#d7 in the ,casentino1 in the year of our salvation #adgd17e7 on the sixth day of ,march1 four hours before daylight on a ,monday4 ,a fine nativity truly1 which showed how great the child would be and of how noble a genius2 for the planet ,mercury with ,venus in seconda being received into the house of ,jupiter with benign aspect1 promised what afterwards followed1 that the birth should be of a noble and high genius1 able to succeed in every undertaking1 but principally in those arts that delight the senses1 such as painting1 sculpture1 and architecture4 ,having completed his term of office1 the father returned to ,florence and put the child out to nurse in the village of ,settignano1 three miles from the city1 where he had a property1 which was one of the first places in that country bought by ,messer ,simone da ,canossa4 ,the nurse was a daughter of a stone-carver and the wife of a stone-carver1 so ,michael ,angelo used to say jestingly1 but perhaps in earnest too1 that it was no wonder he delighted in the use of the chisel1 knowing that the milk of the foster-mother has such power in us that often it will change the disposition1 one bent being thus altered to another of a very different nature4 ,v4 ,the child grew and came to be of a reasonable age4 ,his father1 noticing his ability1 desired that he should devote himself to letters2 he therefore sent him to the school of a certain ,maestro ,francesco da ,urbino1 who in those days taught grammar in ,florence27#f7 but although ,michael ,angelo made progress in these studies1 still the heavens and his nature1 both difficult to withstand1 drew him towards the study of painting1 so that he could not resist1 whenever he could steal the time1 drawing now here1 now there1 and seeking the company of painters4 ,amongst his familiar friends was ,francesco ,granacci1 a scholar of ,domenico del ,grillandaio17#g7 who1 seeing the ardent longing and burning desire of the child1 determined to aid him1 and continually exhorted him to the study of art1 now lending him drawings and now taking him with him to the workshops of his master when some works were going forward from which he might learn4 ,these sights moved ,michael ,angelo so powerfully1 following as they did his nature1 which never ceased to urge him1 that he altogether abandoned letters4 ,so that his father and his uncles1 who held the art in contempt1 were much displeased1 and often beat him severely for it3 they were so ignorant of the excellence and nobility of art that they thought shame to have her in the house4 ,this1 however much he disliked it1 was not enough to turn him back1 but1 on the contrary1 made him more bold3 he wished to begin to colour1 and he borrowed a print from ,granacci which represented the story of ,st4 ,antony when he was beaten by devils4 ,the engraver was a certain ,martino d',olanda17#h7 a brave artist for that time4 ,michael ,angelo painted it on a panel of wood1 ,granacci lending him colours and brushes1 in such a manner that not only did it raise the admiration of every one who saw it1 but also envy1 as some will have it1 even in ,domenico1 the most famous painter of the day2 as may be seen by what happened afterwards4 ,domenico used to say that the painting came from his own workshop in order to make it appear less wonderful4 ,in this little picture1 besides the figure of the ,saint1 there were many strange forms and monstrosities in the demons2 these ,michael ,angelo executed with so much care that no part of them was coloured without reference to the natural object from which it had been derived4 ,for that purpose he frequented the fish-market and observed the forms and tints of the scales and fins of fish and the colours of their eyes and all their other parts1 copying them in his picture1 which much conduced to the perfection of that work1 exciting the wonder of the world1 and1 as ,i have said1 some envy in ,grillandaio2 this was much more seen one day when ,michael ,angelo asked to see his book of drawings in which were represented shepherds with their flocks and dogs1 landscapes1 buildings1 ruins1 and such like things4 ,domenico would not lend it to him--indeed1 he had the reputation of being a little envious3 for not only was he hardly courteous to ,michael ,angelo1 but even to his own brother1 when he saw that he was progressing rapidly and having great hopes of himself3 he sent him into ,france1 not so much that it might be to his advantage1 as some say1 but that he himself might remain the first artist in ,florence4 ,the reason ,i have mentioned this is because ,i have heard it said that the son of ,domenico attributes the excellence and divinity of ,michael ,angelo in great part to the training he received from his father3 he received absolutely no assistance from him27#i7 nevertheless1 ,michael ,angelo does not complain of it1 nay1 even praises ,domenico both for his art and his manners4 ,but this is a slight digression2 let us return to our story4 ,,vi4 ,possibly not less wonderful was another labour of ,michael ,angelo's done at this time1 perhaps as a jest4 ,some one lent him a drawing of a head to copy2 he returned his copy to the owner instead of the original and the deception was not noticed1 but the boy talking and laughing about it with one of his companions it was found out4 ,many people compared the two and found no difference in them1 for besides the perfection of the drawing1 ,michael ,angelo had smoked the paper to make it appear of the same age as the original4 ,this brought him a great reputation47#aj7 ,,vii4 ,now drawing one thing and now another1 the boy had no fixed plan or method of study4 ,it happened one day that ,granacci took him to the gardens of the ,medici at ,san ,marco4 ,in this garden the ,magnificent ,lorenzo1 father of ,pope ,leo1 a man renowned for every excellence1 had disposed many antique statues and decorative sculptures4 ,michael ,angelo1 seeing these things and appreciating the beauty of them1 never afterwards went to the workshop of ,domenico1 but spent every day at the gardens1 as in a better school1 always working at something or other4 ,amongst the rest1 he studied one day the head of a ,faun1 in appearance very old1 with a long beard and a laughing face1 although the mouth could hardly be seen because of the injuries of time4 ,as if knowing what would be1 or because he liked the style of it1 he determined to copy it in marble4 ,the ,magnificent ,lorenzo was having some marble worked and dressed in that place to ornament the most noble library that he and his ancestors had gathered together from all parts of the world4 7,these works1 suspended on account of the death of ,lorenzo and other accidents1 were1 after many years1 carried on by ,pope ,clement1 but even then they were left unfinished1 so that the books are still packed in chests47 ,now these marbles being worked1 as ,i said1 ,michael ,angelo begged a piece from the masons and borrowed a chisel from them3 with so much diligence and intelligence did he copy that ,faun that in a few days it was carried to perfection1 his imagination supplying all that was missing in the antique1 such as the lips1 open1 as in a man who is laughing1 so that the hollow of the mouth was seen with all the teeth4 ,at this moment passed the ,magnificent to see how his works progressed2 he found the child1 who was busy polishing the head4 ,he spoke to him at once1 noticing in the first place the beauty of the work1 and having regard to the lad's youth he marvelled exceedingly1 and although he praised the workmanship he none the less joked with him as with a child1 saying3 ,oh6 you have made this ,faun very old1 and yet have left him all his teeth3 do you not know that old men of that age always lack some of them8 ,it seemed a thousand years to ,michael ,angelo before the ,magnificent went away and he remained alone to correct his error4 ,he cut away a tooth from the upper jaw1 drilling a hole in the gums as though it had come out by the roots47#aa7 ,he awaited the return of the ,magnificent upon another day with great longing4 ,at last he came4 ,seeing the willingness and single-mindedness of the child he laughed very much1 but afterwards appreciating the beauty of the thing and the boy's youth1 as father of all talent he thought to bestow his favour upon such a genius and take him into his house1 and hearing from him whose son he was1 he said3 ,let your father know that ,i desire to speak with him4 ,,viii4 ,when he got home ,michael ,angelo carried out the embassy of the ,magnificent2 his father divining why he was called1 with great persuasion from ,granacci and others made ready to go3 lamenting to himself that his son would be taken away4 ,stating1 moreover1 that he would never suffer his son to be a stonemason1 it was useless for ,granacci to explain how great was the difference between a sculptor and a mason4 ,after all this long disputation he ultimately was ushered into the presence of the ,magnificent1 who asked him if he would deliver his son over to his care1 for he would not neglect him2 ,even so1 he replied1 not only ,michael ,angelo1 but all of us1 with our lives and all our best faculties1 are at the service of your ,magnificence4 ,and when the ,magnificent asked what he could do for himself1 he replied3 ,i have never practised any profession2 but have always lived upon my small income and attended to the small property left to me by my ancestors2 trying not only to keep it up properly1 but also endeavouring to increase it as far as ,i may with my powers and by my diligence4 ,the ,magnificent then replied3 ,very well1 look about you1 see if there is not something in ,florence that will suit you2 make use of me2 ,i will do the best ,i can for you4 ,and so dismissing the old man1 he gave ,michael ,angelo a good room in his own house with all that he needed17#ab7 treating him like a son1 with a seat at his table1 which was frequented every day by noblemen and men of great affairs4 ,now they had a custom that those who were present at the beginning of a meal should take their places next to the ,magnificent according to their rank1 and should not change them1 no matter who came in afterwards2 so that often ,michael ,angelo was seated even above the sons of ,lorenzo and other persons of quality2 for in that house noble persons abounded3 by all of them ,michael ,angelo was caressed and incited to his honourable work2 but above all by the ,magnificent1 who would often call for him many times in the day to show him engraved gems17#ac7 cornelians1 medals1 and such like things of great price1 seeing that he had genius and good judgment4 ,,ix4 ,michael ,angelo was between fifteen and sixteen years of age when he entered the house of the ,magnificent1 and he stayed with him until his death1 which was in ninety-two17#ad7 a space of two years4 ,during that time an office in the customs fell vacant which could only be held by a ,florentine citizen2 so ,lodovico1 the father of ,michael ,angelo1 came to the ,magnificent and spoke for it3 ,lorenzo1 ,i can do nothing but read and write2 the comrade of ,marco ,pucci in the ,dogana is dead4 ,i should like to have his place4 ,i believe ,i shall be able to carry out the duties properly4 ,the ,magnificent put his hand upon his shoulder and1 smiling1 said3 ,you will always be poor1 for he expected that he would ask for some great thing4 ,however1 he continued1 ,if you will be the comrade of ,marco1 be it so1 till something better turns up4 ,this place brought him eight scudi7#ae7 the month1 a little more or a little less4 ,x4 ,in the meantime ,michael ,angelo prosecuted his studies1 showing the result of his labours to the ,magnificent each day4 ,in the same house lived ,poliziano1 a man1 as every one knows1 and as is testified by his works1 most learned and witty4 ,this man recognising the lofty spirit of ,michael ,angelo loved him exceedingly1 and little as he needed it1 spurred him on in his studies1 always explaining things to him and giving him subjects4 ,one day1 amongst others1 he suggested ,the ,rape of ,deianira and ,the ,battle of the ,centaurs1 telling him in detail the whole of the story4 ,michael ,angelo set himself to carve it out in marble in mezzo-rilievo1 and so well did he succeed1 that ,i remember to have heard him say that when he saw it again he recognised how much wrong he had done to his nature in not following promptly the art of sculpture1 judging by that work how well he might have succeeded1 nor does he say this boastingly1 he was a most modest man1 but because he truly laments having been so unfortunate that by the fault of others he has sometimes been ten or twelve years doing nothing1 as will be seen presently4 ,this particular work may still be seen in ,florence in his house2 the figures are about two palms high47#af7 ,he had hardly finished this work when the ,magnificent ,lorenzo passed out of this life1 and ,michael ,angelo returned to his father's house4 ,so much grief did he feel for his patron's death that for many days he was unable to work4 ,when he was himself again he bought a large piece of marble1 that had for many years been exposed to the wind and rain1 and carved a ,hercules out of it1 four braccia high1 that was ultimately sent into ,france47#ag7 ,,xi4 ,whilst he was working at this statue there was a great snowstorm in ,florence1 and ,pier de' ,medici1 the eldest son of ,lorenzo1 who occupied the same position as his father1 wished childishly to have a statue of snow made in the middle of the court-yard1 so he remembered ,michael ,angelo1 and had him found and made him carve the statue47#ah7 ,he desired him to live in his house as he had done in his father's time1 and gave him the same apartment and a place at the table as before2 where the same customs obtained as when the father was living1 that is1 that after they had sat down at the beginning of a meal no one should change his place however great might be the personage who came in afterwards4 ,,xii4 ,lodovico1 the father of ,michael ,angelo1 now became more friendly to his son1 seeing that he was almost always in the society of great personages1 and he dressed him in finer clothes4 ,the youth lived with ,piero some months and was much caressed by him4 ,piero used to say1 boastingly1 that he had two remarkable men in his establishment3 one was ,michael ,angelo1 and the other a certain ,spanish groom who1 besides being marvellously beautiful to look upon1 was so nimble and strong and so long-winded that1 let ,piero ride as fast as he could1 he was not able to pass the runner by a finger4 ,,xiii4 ,at this time1 ,michael ,angelo1 to please the ,prior of ,santo ,spirito1 a church much venerated in ,florence1 carved a crucifix in wood1 a little under life size1 which to this day may be seen over the high altar of that church47#ai7 ,he had much familiar intercourse with the ,prior1 and received many kindnesses from him1 amongst others the use of a room and subjects to enable him to study anatomy4 ,nothing could have given him more pleasure1 and this was the beginning of his study of the science of anatomy1 which he followed until fortune had made him a master of it47#bj7 ,,xiv4 ,there was living in the house of ,piero a certain man named ,cardiere1 who had been very acceptable to the ,magnifico1 he improvised songs to the lyre most marvellously2 in fact1 he made a profession of it1 and practised his art nearly every evening after supper4 ,this man was friendly with ,michael ,angelo and imparted to him a vision1 which was this3 ,that ,lorenzo de' ,medici had appeared to him with nothing but a black cloak1 all torn1 over his naked body1 and had commanded him to speak to his son1 and tell him that shortly he would be hunted out of his house and never return to it again4 ,piero de' ,medici was so proud and insolent that neither the generosity of his brother1 ,giovanni the ,cardinal1 nor the courtesy and kindness of ,giuliano1 were so powerful to keep him in ,florence as those vices were to hunt him out4 ,michael ,angelo exhorted ,cardiere to inform ,piero of the vision and carry out the will of ,lorenzo1 but he1 fearing ,piero's nature1 kept all to himself4 ,one other morning ,michael ,angelo was in the court-yard of the ,palace1 and beheld ,cardiere all terrified and weeping3 that night1 he said1 ,lorenzo had appeared to him again in the same form as at first1 and looking him through and through had given him a terrible box on the ears1 because he had not reported what he had seen to ,piero4 ,michael ,angelo scolded him to such purpose that ,cardiere plucked up his spirit and set out on foot for ,careggi1 a country house of the ,medici1 about three miles from the city1 where his master was staying4 ,but when he was half-way there he met ,piero on the road returning home to ,florence2 ,cardiere stopped him and told him all he had seen and heard4 ,piero only laughed at him1 and made even his grooms jeer at him4 ,the ,chancellor1 who was afterwards the ,cardinal ,bibbiena1 said to him3 ,you must be mad6 ,do you think ,lorenzo would rather appear to you or to his own son8 ,would he not rather appear to him than to any one else8 ,they ridiculed him and let him go4 ,he went home and bemoaned himself to ,michael ,angelo1 and he spoke so effectually of the vision1 holding that the thing was true1 that two days afterwards with two companions they left ,florence together for ,bologna1 and from there went to ,venice1 fearful lest that which ,cardiere prophesied should come to pass1 and ,florence not be safe for them6 ,,xv4 ,in a few days lack of funds 7his companions having spent all his money7 made ,michael ,angelo think of returning to ,florence2 but coming to ,bologna a curious chance hindered them4 ,now there was a law in that land in the time of ,messer ,giovanni ,bentivogli that every stranger who entered into ,bologna should be obliged to have a great seal of red wax impressed upon his nail4 ,michael ,angelo inadvertently entered without being sealed1 so he was conducted1 together with his companions1 to the office of the ,bullette1 and condemned to pay a fine of fifty ,bolognese lire3 not having the wherewithal he was obliged to remain at the office4 ,a certain ,bolognese gentleman1 ,messer ,gian ,francesco ,aldovrandi1 who was then of the ,sixteen1 seeing him there1 and hearing the reason1 liberated him1 chiefly because he was a sculptor4 ,aldovrandi invited the sculptor to his house4 ,michael ,angelo thanked him1 but excused himself because he had two companions with him who would not leave him1 and he would not burden the gentleman with their company4 ,to this the gentleman replied3 ,i1 too1 will come and wander over the world with you1 if you will pay my expenses4 ,with these and other words he prevailed over ,michael ,angelo1 who excused himself to his companions and took leave of them1 gave them what little money he had1 and went to lodge with the gentleman4 ,,xvi4 ,by this time the ,house of the ,medici1 with all their followers1 having been hunted out of ,florence1 came to ,bologna and were lodged in the ,house of the ,rossi4 ,thus the vision of ,cardiere1 whether a delusion of the devil1 a divine warning1 or a strong imagination that had taken hold of him1 was verified2 a thing so truly remarkable that it is worthy of being recorded4 ,i have narrated it just as ,i heard it from ,michael ,angelo himself4 ,it was about three years after the death of the ,magnificent ,lorenzo that his children were exiled from ,florence1 so that ,michael ,angelo was between twenty and twenty-one years of age when he escaped the first popular tumults by remaining with the aforesaid gentleman of ,bologna until the city of ,florence settled down again4 ,this gentleman honoured him highly1 delighting in his genius1 and every evening he made him read something from ,dante or from ,petrarca1 or now and then from ,boccaccio1 until he fell asleep4 ,,xvii4 ,one day walking together in ,bologna they went to see the ark of ,san ,domenico1 in the ,church dedicated to that ,saint2 two marble figures were still lacking1 a ,san ,petronio and a kneeling angel supporting a candlestick in his arms4 ,the gentleman asked ,michael ,angelo if he had the heart to undertake them1 and he replying yes1 had it arranged that he should have them to do2 he was paid thirty ducats for it1 eighteen for the ,san ,petronio1 and twelve for the angel4 ,the figures were three palms high2 they may still be seen in that same place4 ,but afterwards ,michael ,angelo mistrusted a ,bolognese sculptor1 who complained that he had taken away the commission for the before-mentioned statues from him1 as it had first been promised to him1 and as he threatened to do him an injury ,michael ,angelo went back to ,florence to accommodate matters17#ba7 as affairs had now become quiet and he could live safely in his house4 ,he remained with ,messer ,gian ,francesco ,aldovrandi a little over a year4 ,,chapter ,,ii ,,the ,,bacchus ,,and ,,the ,,madonna ,,della ,,piet ,,of ,,saint ,,peter',s ,,xviii4 ,having returned to his native town ,michael ,angelo set to work to carve out of marble a god of ,love1 between six and seven years of age1 lying asleep2 this figure was seen by ,lorenzo di ,pier ,francesco de' ,medici 7for whom in the meantime ,michael ,angelo had carved a little ,saint ,john71 and he judged that it was most beautiful and said of it3 ,if you can manage to make it look as if it had been buried under the earth ,i will forward it to ,rome1 it will be taken for an antique and you will sell it much better4 ,michael ,angelo hearing this immediately prepared it as one from whom no craft was hidden1 so that it looked as if it had been made many years ago4 ,in this state it was sent to ,rome2 the ,cardinal di ,san ,giorgio bought it as an antique for two hundred ducats2 though the man who took all that money only paid thirty ducats to ,michael ,angelo as what he had received for the ,cupid4 ,so much of a rogue was he that he deceived at the same time both ,lorenzo di ,pier ,francesco and ,michael ,angelo47#bb7 ,but meanwhile it came to the ear of the ,cardinal how the putto was made in ,florence4 ,angry at being made a fool of1 he sent one of his gentlemen there1 who pretended to be looking for a sculptor to do some work in ,rome4 ,after visiting many others he came to the house of ,michael ,angelo2 with a wary eye for what he wanted he observed the young man and inquired of him if he could let him see any work2 but ,michael ,angelo not having any to show1 took a pen 7for in those days the pencil was not in general use7 and drew a hand with so much ease that the gentleman was astonished4 ,afterwards he inquired if he had never done any works of sculpture4 ,yes1 replied ,michael ,angelo1 and amongst the rest a ,cupid1 in such and such a pose and action4 ,the gentleman understood then that he had found the man he sought1 and narrated how the affair had gone1 and promised him that if he would come with him to ,rome he would make the dealer disgorge1 and arrange matters with his lord which he knew would be much to his satisfaction4 ,michael ,angelo then1 partly to see ,rome1 so much be praised by the gentleman as the widest field for a man to show his genius in1 went with him and lodged in his house near the palace of the ,cardinal1 who1 advised by letter in the meantime how the matter stood1 laid hands on the merchant who had sold the ,cupid to him as an antique1 returned the statue to him1 and got his money back2 it afterwards came1 ,i know not how1 into the hands of the ,duke ,valentino1 and was presented to the ,marchesana of ,mantua4 ,she sent it to ,mantua1 where it is still to be found in the house of the lords of that city47#bc7 ,the ,cardinal di ,san ,giorgio was blamed in this affair by many1 for the work was seen by all the craftsmen of ,rome1 and all1 equally1 considered it most beautiful2 they thought that he ought not to have deprived himself of it for the sake of two hundred scudi1 although it was modern1 as he was a very rich man4 ,but he1 smarting under the deceit1 being able to punish the man1 made him disburse the remainder of the payment4 ,but nobody suffered more than ,michael ,angelo1 who never received anything more for it than the money paid him in ,florence4 ,cardinal di ,san ,giorgio understood little and was no judge of sculpture1 as is shown clearly enough by the fact that all the time ,michael ,angelo remained with him1 which was about a year1 he did not give him a single commission47#bd7 ,,xix4 ,all the same1 others were not wanting who understood such things and who made use of ,michael ,angelo4 ,for ,messer ,iacopo ,galli1 a ,roman gentleman of good understanding1 made him carve a marble ,bacchus1 ten palms in height1 in his house2 this work in form and bearing in every part corresponds to the description of the ancient writers--his aspect1 merry2 the eyes1 squinting and lascivious1 like those of people excessively given to the love of wine4 ,he holds a cup in his right hand1 like one about to drink1 and looks at it lovingly1 taking pleasure in the liquor of which he was the inventor2 for this reason he is crowned with a garland of vine leaves4 ,on his left arm he has a tiger's skin1 the animal dedicated to him1 as one that lives on grapes2 and the skin was represented rather than the animal1 as ,michael ,angelo desired to signify that he who allows his senses to be overcome by the appetite for that fruit1 and the liquor pressed from it1 ultimately loses his life4 ,in his left hand he holds a bunch of grapes1 which a merry and alert little satyr at his feet furtively enjoys4 ,he appears to be about seven years old1 and the ,bacchus eighteen47#be7 ,the said ,messer ,iacopo desired also that he would carve him a little ,cupid47#bf7 ,both of these works may still be seen in the house of ,messer ,giuliano and ,messer ,paolo ,galli1 courteous and worthy gentlemen1 with whom ,michael ,angelo has always retained a real and cordial friendship4 ,,xx4 ,a little afterwards1 at the request of the ,cardinal de ,san ,dionigi 7called the ,cardinal ,rovano71 he carved from a block of marble that marvellous statue of our ,lady1 which is now in the church of the ,madonna della ,febbre27#bg7 although at first it was placed in the chapel of the ,king of ,france in the ,church of ,santa ,petronilla1 near to the ,sacristy of ,saint ,peter's1 formerly1 according to some1 a temple of ,mars2 this church was destroyed by ,bramante for the sake of his design for the new ,saint ,peter's4 ,the ,madonna is seated on the stone upon which the ,cross was erected1 with her dead son on her lap4 ,he is of so great and so rare a beauty1 that no one beholds it but is moved to pity4 ,a figure truly worthy of the ,humanity which belonged to the ,son of ,god1 and to such a ,mother2 nevertheless1 some there be who complain that the ,mother is too young compared to the ,son4 ,one day as ,i was talking to ,michael ,angelo of this objection1 ,do you not know1 he said1 that chaste women retain their fresh looks much longer than those who are not chaste8 ,how much more1 therefore1 a virgin in whom not even the least unchaste desire ever arose8 ,and ,i tell you1 moreover1 that such freshness and flower of youth besides being maintained in her by natural causes1 it may possibly be that it was ordained by the ,divine ,power to prove to the world the virginity and perpetual purity of the ,mother4 ,it was not necessary in the ,son2 but rather the contrary2 wishing to show that the ,son of ,god took upon himself a true human body subject to all the ills of man1 excepting only sin2 he did not allow the divine in him to hold back the human1 but let it run its course and obey its laws1 as was proved in ,his appointed time4 ,do not wonder then that ,i have1 for all these reasons1 made the most ,holy ,virgin1 ,mother of ,god1 a great deal younger in comparison with her ,son than she is usually represented4 ,to the ,son ,i have allotted ,his full age4 ,considerations worthy of any theologian1 wonderful perhaps in any one else1 but not in ,michael ,angelo1 whom ,god and ,nature have formed not only for his unique craftsmanship1 but also capable of any1 the most divine1 conceptions1 as may be seen not only in this but in very many of his arguments and writings4 ,he may have been twenty-four or twenty-five years old when he finished this work4 ,he gained great fame and reputation by it1 so that already1 in the opinion of the world1 not only did he greatly surpass all others of the time and of the times before1 but also he challenged the ancients themselves4 ,,chapter ,,iii ,,the ,,david ,,and ,,the ,,cartoon ,,of ,,pisa ,,xxi4 ,these works being finished1 he had to return to ,florence for family affairs2 he stayed there long enough to carve the statue called by all men the ,giant1 which is placed to this day by the door of the ,palazzo della ,signoria at the end of the balustrade47#bh7 ,the thing happened in this wise4 ,the ,operai7#bi7 of ,santa ,maria del ,fiore possessed a piece of marble nine braccia high1 which had been brought from ,carrara by an artist7#cj7 who was not so wise as he ought to have been1 as it appeared4 ,because to transport the marble with greater convenience and less labour1 he had roughed it out on the quay itself in such a clumsy way1 however1 that neither he nor any one else had the courage to put their hands to the block to carve a statue out of it1 either of the full size of the marble or even one very much less4 ,as they were not able to get anything out of this piece of marble likely to be any good1 it seemed to ,andrea del ,monte a ,san ,savino1 that he might obtain the block1 and he asked them to make him a present of it1 promising that by joining certain pieces on to it he would carve a figure from it2 but the ,operai1 before disposing of it1 sent for ,michael ,angelo1 and told him the wish and offer of ,andrea1 and1 having heard his opinion that he could get something good out of it1 in the end they offered it to him4 ,michael ,angelo accepted it1 and extracted the above-mentioned statue without adding any other piece at all1 so exactly to size that the old surface of the outsides of the marble may be seen on the top of the head and in the base4 ,he has left the same roughnesses in other of his works1 as that statue for the tomb of ,pope ,julius ,,ii41 which represents ,contemplative ,life4 ,this is the custom of great masters1 lords of their art4 ,but in the ,giant it is more wonderful than ever1 because1 besides not adding any pieces1 he amended the faults of the roughing out1 an impossible or1 at least1 a most difficult thing to do 7as ,michael ,angelo himself has said74 ,he received four hundred ducats for this work1 and finished it in eighteen months4 ,,xxii4 ,in order that no copy of the ,giant should exist which was not his own handiwork1 he had it cast in bronze1 of the size of the original1 for his good friend ,pier ,soderini1 who sent it to ,france2 and similarly he cast a ,david with ,goliath under him4 ,the one to be seen in the middle of the court-yard of the ,palazzo de',signori is by ,donatello1 a man excellent in his art1 and much praised by ,michael ,angelo1 except for one thing--he had not the patience to properly polish his works2 so that in the distance they look admirable1 but close to they lose their quality4 ,michael ,angelo also cast a bronze group of the ,madonna with her ,son in her lap1 which was sent into ,flanders7#ca7 by certain ,flemish merchants1 the ,moscheroni1 great people at home2 they paid him one hundred ducats for it4 ,and1 in order not altogether to give up painting1 he executed a round panel of ,our ,lady7#cb7 for ,messer ,agnolo ,doni1 a ,florentine citizen1 for which he received seventy ducats4 ,,xxiii4 ,it was some time since he had worked at that art1 having given himself up to the study of poets and authors in the vulgar tongue and writing sonnets for his own pleasure4 ,after the death of ,pope ,alexander ,,vi4 he was called to ,rome by ,pope ,julius ,,ii41 and received a hundred ducats in ,florence as his viaticum4 ,at this time ,michael ,angelo was about twenty-nine years old2 for if we count from his birth in #adgd1 already stated1 to the death of the above ,alexander1 which was in #aejc1 we shall find the number of years as given4 ,,chapter ,,iv ,,the ,,first ,,act ,,of ,,the ,,tragedy ,,of ,,the ,,tomb ,,xxiv4 ,coming then to ,rome1 many months7#cc7 passed before ,julius ,,ii4 resolved in what way to employ him4 ,ultimately it came into his head to get him to make his monument4 ,when he saw ,michael ,angelo's design it pleased him so much that he at once sent him to ,carrara to quarry the necessary marbles1 instructing ,alamanno ,salviati1 of ,florence1 to pay him a thousand ducats for this purpose4 ,michael ,angelo stayed in these mountains more than eight months with two workmen and his horse1 and without any other salary except his food4 ,one day whilst he was there he saw a crag that overlooked the sea1 which made him wish to carve a colossus that would be a landmark for sailors from a long way off1 incited thereto principally by the suitable shape of the rock from which it could have been conveniently carved1 and by emulation of the ancients1 who1 perhaps with the same object as ,michael ,angelo not to be idle1 or for some other end1 left several records unfinished and sketched out1 which give a good idea of their powers4 ,and of a surety he would have done it if he had had time enough1 or the business upon which he had come had allowed him4 ,he afterwards much regretted not having carried it out4 ,enough marbles quarried and chosen1 he took them to the sea coast and left one of his men to have them embarked4 ,he himself returned to ,rome1 and because he stopped some days in ,florence on the way1 when he arrived at ,rome he found the first boat already at the ,ripa7#cd7 unloading4 ,he had the blocks carried to the piazza of ,st4 ,peter's1 behind ,santa ,caterina1 where he had his workshop near the ,corridore47#ce7 ,the quantity of marble was immense1 so that1 spread over the piazza1 they were the admiration of all and a joy to the ,pope1 who heaped immeasurable favours upon ,michael ,angelo2 and when he began to work upon them again and again went to see him at his house1 and talked with him of monuments and other matters as with his own brother2 and in order that he might more easily go to him1 the ,pope ordered that a drawbridge should be thrown across from the ,corridore to the rooms of ,michael ,angelo1 by which he might visit him in private4 ,,xxv4 ,these many and frequent favours were the cause 7as often is the case at ,court7 of much envy1 and1 after the envy1 of endless persecution1 since ,bramante1 the architect1 who was much loved by the ,pope1 made him change his mind as to the monument by telling him1 as is said by the vulgar1 that it is unlucky to build one's tomb in one's lifetime4 ,fear as well as envy stimulated ,bramante1 for the judgment of ,michael ,angelo had exposed many of his errors4 ,bramante1 as every one knows1 was given to all kinds of pleasures and a great spendthrift4 ,the pension allotted to him by the ,pope1 however rich it might be1 was not enough for him2 he tried to make money out of the works1 building the walls of bad materials1 which1 notwithstanding their greatness and width1 are not very firm or solid4 ,as is manifest to every one in the works of ,saint ,peter's1 the ,corridore di ,belvedere1 the ,convents di ,san ,pietro ad ,vincula1 and other fabrics built by him1 it has been necessary to put new foundations and to strengthen all of them by props and buttresses1 like buildings about to fall4 ,now because he had no doubt that ,michael ,angelo knew these errors of his1 he always sought to remove him from ,rome1 or1 at least1 to deprive him of the favour of the ,pope1 and of the glory and usefulness that he might have acquired by his industry4 ,he succeeded in the matter of the tomb4 ,there is no doubt that if he had been allowed to finish it1 according to his first design17#cf7 having so large a field in which to show his worth1 no other artist1 however celebrated 7be it said without envy71 could have wrested from him the high place he would have held4 ,those parts which he did finish show what the rest would have been like4 ,the two slaves were done for this work3 those who have seen them declare that no such worthy statues were ever carved4 ,,xxvi4 ,and to give some idea of it1 ,i say briefly that this tomb was to have had four faces1 two of eighteen braccia1 that served for the flanks1 so that it was to be a square and a half in plan4 ,all round about the outside were niches for statues1 and between niche and niche terminal figures2 to these were bound other statues1 like prisoners1 upon certain square plinths1 rising from the ground and projecting from the monument4 ,they represented the liberal arts1 as ,painting1 ,sculpture1 and ,architecture1 each with her symbol so that they could easily be recognised2 denoting by this that1 like ,pope ,julius1 all the virtues were the prisoners of ,death1 because they would never find such favour and nourishment as he gave them4 ,above these ran the cornice that tied all the work together4 ,on its plane were four great statues2 one of these1 the ,moses1 may be seen in ,san ,piero and ,vincula4 ,it shall be spoken of in its proper place4 ,so the work mounted upward until it ended in a plane4 ,upon it were two angels who supported an arc2 one appeared to be smiling as though he rejoiced that the soul of the ,pope had been received amongst the blessed spirits1 the other wept1 as if sad that the world had been deprived of such a man4 ,above one end was the entrance to the sepulchre in a small chamber1 built like a temple2 in the middle was a marble sarcophagus1 where the body of the ,pope was to be buried2 everything worked out with marvellous art4 ,briefly1 more than forty statues went to the whole work1 not counting the subjects in mezzo rilievo to be cast in bronze1 all appropriate in their stories and proclaiming the acts of this great ,pontiff4 ,,xxvii4 ,having seen this design the ,pope sent ,michael ,angelo to ,saint ,peter's to decide where it might most conveniently be erected4 ,the church was in the form of a cross4 ,at the head ,pope ,nicolas ,v4 had begun to rebuild the tribune2 the walls were already three braccia above the ground when he died4 ,it seemed to ,michael ,angelo that this place was very suitable4 ,when he returned to the ,pope he told him what he thought1 and added1 that if it seemed good to his ,holiness1 it would be necessary to go on with the building and roof it in4 ,the ,pope asked him1 ,what would be the cost of this8 ,michael ,angelo replied1 ,one hundred thousand scudi4 ,let it be two hundred thousand1 said ,julius4 ,and sending ,san ,gallo1 the architect1 and ,bramante to see the place1 by their suggestion it came into the mind of the ,pope to rebuild the church altogether4 ,he directed them to prepare designs1 and that of ,bramante was approved1 as being more graceful and better understood than the others4 ,thus1 ,michael ,angelo was the cause1 both that those parts of the building already begun were completed1 which otherwise might have remained as they were to this day1 and that it came into the mind of the ,pope to rebuild the rest of the church on a more magnificent scale4 ,,xxviii4 ,returning to our story1 ,michael ,angelo became acquainted with the change in the wishes of ,julius in the following manner3 ,the ,pope instructed ,michael ,angelo that if he needed money he was to come direct to him and not to others1 so that he might not have to go from one to another for it4 ,it happened one day that the rest of the marbles that had been left at ,carrara arrived at the ,ripa2 ,michael ,angelo had them disembarked and carried to ,saint ,peter's1 and desiring at once to pay the freight1 the landing1 and the porterage1 he went to ask the ,pope for money1 but found access to the palace more difficult than usual1 and his ,holiness occupied4 ,so he returned home1 and not to incommode the poor men who had earned their wages he paid them all out of his own pocket1 thinking that his money would be returned by the ,pope at a more convenient season4 ,one morning he returned and entered the ante-chamber for an audience4 ,a groom came up to him and said3 ,pardon me1 ,i have been ordered not to admit you4 ,a bishop was present1 and hearing the words of the man1 cried out3 ,you cannot know who this man is8 ,i know him very well1 replied the groom1 but ,i am obliged to do what ,i am bid by my masters without further question4 ,michael ,angelo1 who had never before been kept waiting or had the door barred against him1 seeing himself so turned off and scorned1 was angered and replied3 ,you may tell the ,pope that1 henceforward1 if he wants me he must look for me elsewhere4 ,so he returned to his house and instructed his two servants to sell all his furniture1 and when they got the money to follow him to ,florence4 ,he himself took horse and at the second hour of the night reached ,poggibonsi1 a castle in the ,florentine territory1 eighteen or twenty miles from the city1 where1 as in a safe place1 he rested4 ,,xxix4 ,a little later five messengers from ,pope ,julius arrived with orders to bring ,michael ,angelo back wherever they might find him4 ,but overtaking him in a place where they were unable to offer him any violence1 ,michael ,angelo threatening them with death if they dare lay hands on him1 they turned to entreaties2 then not succeeding1 they obtained from him the concession that at least he would reply to the letter from the ,pope which they had given to him1 and that he should particularly write that they had only overtaken him in ,florence that the ,pope might understand that they were unable to bring him back against his will4 ,the letter of the ,pope was of this tenour3 ,at sight of this return immediately to ,rome1 under pain of my displeasure4 ,michael ,angelo replied briefly3 ,that he was never going to return1 and that his good and faithful service had not deserved this change1 to be hunted away from his presence like a rogue2 and as his ,holiness did not wish to have anything more to do with the tomb1 he was free and did not wish to bind himself again4 ,so dating the letter as has been said he let the messengers go1 he himself went on to ,florence1 where1 during the three months he remained there1 three ,briefs were sent to the ,signoria1 full of menaces1 demanding that he should be sent back either by fair means or force4 ,,xxx4 ,pier ,soderini1 who was then ,gonfaloniere of the ,republic for life1 having formerly let him go to ,rome much against his will1 wished him to work for him by painting in the ,sala del ,consiglio4 ,on receipt of the first ,brief he did not oblige ,michael ,angelo to return1 hoping that the anger of the ,pope would abate2 but when a second and a third arrived1 he called ,michael ,angelo to him and said3 ,you have braved the ,pope as the ,king of ,france would not have done1 therefore prayer is unavailing4 ,we do not wish to go to war with him on your account and risk the ,state1 so prepare yourself to return47#cg7 ,michael ,angelo1 seeing it had come to this1 and fearing the wrath of the ,pope1 thought of going to the ,levant1 principally because he had been sought after by the ,turk with rich promises1 through the agency of certain ,franciscan ,friars1 to throw a bridge from ,constantinople to ,pera1 and for other works4 ,but the ,gonfaloniere1 hearing of this1 sent for him and dissuaded him1 saying3 ,that it was better to die with the ,pope than to live with the ,turk2 nevertheless1 there was nothing to fear1 for the ,pope was kind1 and sent for him because he loved him well1 not because he wished him harm2 and if he was still afraid1 the ,signoria would send him as ambassador1 because violence was not offered to public persons without it being offered to those who sent them4 ,by reason of these and other arguments ,michael ,angelo prepared to return4 ,,xxxi4 ,whilst he was still in ,florence two things happened4 ,one was that he finished the marvellous cartoon he had begun for the ,sala del ,consiglio1 which represented the war between ,florence and ,pisa1 and the many and various events that occurred in it1 which cartoon of consummate art was a light to all those who afterwards took pencil in hand4 ,i cannot tell what evil fortune happened to it afterwards1 it was left by ,michael ,angelo in the ,sala del ,papa 7a place so called in ,florence7 at ,santa ,maria ,novella4 ,fragments of it can be seen in the various places1 preserved with greatest care like something sacred47#ch7 ,the other thing was1 that ,pope ,julius had taken ,bologna and had gone there2 he was delighted with the acquisition1 and this gave courage to ,michael ,angelo to appear before him more hopefully4 ,,chapter ,v ,,the ,,colossal ,,bronze ,,for ,,the ,,fa,,ade ,,of ,,san ,,petronio ,,xxxii4 ,so he arrived at ,bologna one morning1 and going to ,san ,petronio to hear mass17#ci7 behold1 the grooms of the ,pope1 who recognised him and conducted him to his ,holiness1 who was at table in the ,palazzo de' ,sedici4 ,when he saw ,michael ,angelo in his presence1 ,julius1 with an angry look1 said to him1 ,you ought to have come to us1 and you have waited for us to come to you4 ,meaning to say1 that his ,holiness being come to ,bologna1 a place much nearer to ,florence than ,rome is1 it was as if he 7the ,pope7 had come to him4 ,michael ,angelo with a loud voice and on his knees craved pardon1 pleading that he had not erred maliciously but through indignation1 for he could not bear to be hunted away as he had been4 ,the ,pope kept his head lowered and replied nothing1 to all appearances much troubled1 when a certain monsignore1 sent by the ,cardinal ,soderini to excuse and intercede for ,michael ,angelo1 broke in1 saying3 ,your ,holiness1 do not remember his fault1 for he has erred through ignorance2 these painters in things outside their art are all like this4 ,the ,pope indignantly replied3 ,you abuse him1 whilst we say nothing2 you are the ignorant one1 and he is not the culprit2 take yourself off in an evil hour4 ,but as he was not going1 he was1 as ,michael ,angelo used to tell1 hustled out of the room with blows by the servants of the ,pope4 ,thus the ,pope having spent his fury on the bishop1 called ,michael ,angelo closer to him1 and pardoned him1 ordering him not to leave ,bologna until another commission had been given to him4 ,nor was he long before he sent for him and said that he wished ,michael ,angelo to make a great portrait statue of him in bronze1 which he wished to place on the front of the ,church of ,san ,petronio4 ,and he left a thousand ducats in the bank of ,messer ,antommaria da ,lignano to carry out the work when he departed for ,rome4 ,it is true that before he left ,michael ,angelo had already modelled it in clay1 but he was doubtful as to what the statue should hold in the left hand1 the right was raised as if giving a benediction4 ,he asked the ,pope1 who had come to see the statue1 if it pleased him that he should be made holding a book4 ,what6 a book8 he replied1 a sword6 ,as for me1 ,i am no scholar4 ,and jesting about the right hand1 which was in vigorous action1 he said1 smiling the while1 to ,michael ,angelo1 ,does this statue of yours give a blessing or a curse8 ,michael ,angelo replied to him3 ,it threatens this people1 ,holy ,father1 lest they be foolish4 ,but1 as ,i have said1 ,pope ,julius returned to ,rome and ,michael ,angelo remained behind at ,bologna1 and spent sixteen months in completing the statue and erecting it where the ,pope had directed4 ,afterwards1 on the return of the ,bentivogli to ,bologna1 this statue was thrown to earth in the fury of the populace and destroyed4 ,its height was more than three times that of life4 ,,chapter ,,vi ,,the ,,vault ,,of ,,the ,,sistine ,,chapel ,,xxxiii4 ,after he had finished this work he went to ,rome1 where ,pope ,julius wished to employ him1 keeping still to his purpose of not going on with his tomb4 ,it was put into his head by ,bramante and other rivals of ,michael ,angelo that he should make him paint the vault of the chapel of ,sixtus the ,fourth1 in the ,vatican1 making him believe that he would do wonders4 ,this was done maliciously1 to distract the ,pope from works of sculpture2 and because they thought it was certain1 either1 that by his not accepting such a commission1 he would stir up the ,pope's anger against himself1 or that by accepting it he would come out of it very much inferior to ,raffaello da ,urbino1 whom they heaped with favours on account of their hatred for ,michael ,angelo1 judging that his principal art was sculpture1 as in truth it was4 ,michael ,angelo1 who as yet had never used colours and knew the painting of the vault to be a very difficult undertaking1 tried with all his power to get out of it1 proposing ,raffaello and excusing himself1 in that it was not his art and that he would not succeed1 refusing so many demands that the ,pope was almost in a passion4 ,but seeing his obstinacy1 ,michael ,angelo set himself to do the work1 which to-day is seen in the palace of the ,pope1 and is the admiration and wonder of the world2 it brought him so much fame that it lifted him above all envy4 ,i will give some brief account of this work4 ,,xxxiv4 ,the shape of this ceiling is what is commonly called a barrel vaulting1 resting on lunettes1 six to the length and two to the width of the building1 so that the whole formed two squares and a half4 ,in this space ,michael ,angelo has depicted1 firstly1 the creation of the world1 and then almost the whole of the ,old ,testament4 ,he has divided the work after this fashion3 ,beginning at the brackets1 where the horns of the lunettes rest1 up to almost a third of the arch of the vault1 the walls appear to continue flat1 running up to that height with certain pilasters and plinths imitating marble1 which project into the open like a balustrade over an additional storey1 with corbels below1 and with other little pilasters above the same storey1 where sit the prophets and sybils4 ,the first pilasters grow from the arches of the lunettes1 placing the pedestals in the middle1 leaving1 however1 the greater part of the arch of the lunette--that is to say1 the space they contain between them4 ,above the said plinths are painted some little naked children in various poses1 who1 in guise of terminals1 support a cornice1 which binds the whole work together1 leaving in the middle of the vault from end to end1 as it were1 the open sky4 ,this opening is divided into nine spaces2 for from the cornices over the pilasters spring certain arches with cornices1 which traverse the highest part of the vault1 and join the cornice on the opposite side of the chapel1 leaving from arch to arch nine openings1 large and small4 ,in the smaller spaces are two fillets1 painted like marble that cross the opening in such a way that in the middle rest the two parts and one of the bands1 where medallions are placed1 as shall be told in due course2 and this has been done to avoid monotony1 which is born of sameness4 ,now1 at the head of the chapel1 in the first opening1 which is one of the smaller ones1 is seen how the ,omnipotent ,god in the heavens by the movement of ,his arms divides light from darkness4 ,in the second space is how ,he created the two great lights4 ,the ,creator is seen with arms extended3 with the right ,he lights the sun1 and with the left the moon4 ,with ,him are child-angels2 one on the left hides his face against the bosom of his ,creator1 as though shielding himself from the harmful light of the moon4 ,in the same space on the left ,god is seen turning to create the trees and plants of the earth1 painted with such art that wherever you turn ,he appears to turn away also1 showing the whole of the back down to the soles of ,his feet--a thing most beautiful1 and which shows what may be done by foreshortening4 ,in the third space the great ,god appears in the heavens1 again with a company of angels1 looking upon the waters and commanding them to bring forth all those forms of life nourished in that element1 just as in the second ,he commands the earth4 ,in the fourth is the creation of ,man4 ,god is seen with arm and hand stretched forth as if giving ,his commandments to ,adam1 what to do and what not to do2 with ,his other arm ,he draws ,his angels about ,him4 ,in the fifth is how ,he drew woman from the side of ,adam4 ,she comes forth with her hands joined1 raising them in prayer towards ,god1 bending with gracious mien and offering thanks as ,he blesses her4 ,in the sixth is how the ,devil tempted man4 ,from the middle upwards the wicked one is of human form1 and the rest of him like unto a serpent1 his legs transformed into tails winding around a tree4 ,he seems to reason with the man and persuade him to act contrary to the commands of his ,creator1 and he offers the forbidden apple to the woman4 ,on the other side of the space the two are seen driven forth by the angel1 terrified and weeping1 flying from the face of ,god4 ,in the seventh is the sacrifice of ,abel and of ,cain27#dj7 the one grateful to and accepted by ,god1 the other hateful and refused4 ,in the eighth is the ,deluge1 when the ark of ,noah is seen in the distance in the midst of the waters2 some men attempt to cling to it for safety4 ,nearer1 in the same abyss of waters1 is a boat laden with many people1 which1 both by the excessive weight she has to carry and by the many and tumultuous lashings of the waves1 loses her sail1 and1 deprived of every aid and human control1 she is already filling with water and going to the bottom4 ,it is an admirable thing to see the human race so wretchedly perishing in the waves4 ,likewise1 nearer to the eye1 there still appears above the waters the summit of a mountain1 like unto an island1 on which1 fleeing from the rising waters1 collect a multitude of men and women1 who exhibit different expressions1 but all wretched and all terrified1 dragging themselves beneath a curtain stretched over a tree to shelter them from the unusual rains2 and above them is represented with great art the anger of ,god1 which overwhelms them with water1 with lightnings1 and with thunderbolts4 ,there is also another mountain-top on the right17#da7 much nearer the eye1 and a multitude labouring under the same disasters1 of which it would be long to write all the details2 it shall suffice me to say that they are all very natural and tremendous1 just as one would imagine them in such a convulsion4 ,in the ninth1 which is the last1 is the story of ,noah when he was drunken with wine1 lying on the ground1 his shame derided by his son ,ham and covered by ,shem and ,japhet4 ,under the before-mentioned cornice which finishes the walls1 and above the brackets where the lunettes rest1 between pilaster and pilaster1 sit twelve large figures--prophets and sybils--all truly wonderful1 as much for their grace as for the decoration and design of their draperies4 ,but admirable above all the others is the prophet ,jonah1 placed at the head of the vault1 because contrary to the form of this part of the ceiling1 by force of light and shade1 the torso1 which is foreshortened so that it goes back away into the roof1 is on the part of the arch nearest the eye1 and the feet and legs which1 as it were1 project within the walls1 are on the part more distant4 ,a stupendous performance1 which shows what marvellous power was in this man of turning lines in foreshortening and perspective4 ,now in the spaces that are below the lunettes1 as well as in those above1 which have a triangular shape1 are painted all the genealogy1 or1 ,i should say1 all the ancestors of the ,saviour1 except the triangles at the corners1 which come together1 and so1 two make up one of double the area4 ,in one then of these1 above the wall of the ,last ,judgment on the right hand17#db7 is seen how ,aman1 by command of ,king ,ahasuerus1 was hung upon a cross2 and this was because1 in his pride and arrogance1 he wished to hang ,mordecai1 the uncle ,queen ,ester1 for not honouring him with a reverence as he passed by4 ,in another corner is the story of the bronze serpent1 lifted by ,moses on a staff1 in which the children of ,israel1 wounded and ill-treated by lively little serpents1 are healed by looking up4 ,here ,michael ,angelo has shown admirable force in those figures that are struggling to free themselves from the coils of the serpents4 ,in the third corner1 at the lower end of the chapel1 is the vengeance wreaked upon ,holofernes by ,judith1 and in the fourth that of ,david over ,goliath4 ,and these are briefly all the histories4 ,,xxxv4 ,but no less marvellous is that part which does not relate to the histories at all1 that is to say1 certain nudes who sit upon plinths above the before-mentioned cornice1 one on either side holding up the medallions1 which1 as has been said1 appear to be of metal1 on which1 in the style of reverses1 are designed several stories1 all however appropriate to their principal histories4 ,by the beauty of the divisions1 by the variety of the poses1 and by the balance of the proportionate parts1 in all of them ,michael ,angelo exhibited the highest art4 ,but to tell the particulars of these things would be an infinite labour1 a book to them alone would not be enough2 therefore ,i pass over them briefly1 wishing rather to give a little light upon the whole than to detail the parts4 ,,xxxvi4 ,in the meanwhile he did not lack troubles2 for1 having finished the picture of the ,deluge1 the work began to grow mouldy17#dc7 so much so that the figures could hardly be distinguished4 ,michael ,angelo1 thinking that this excuse would suffice to enable him to shake off his burden1 went to the ,pope and said to him3 ,i have already told your ,holiness that this is not my art2 all that ,i have done is spoiled2 if you do not believe it send and see4 ,the ,pope sent ,il ,san ,gallo1 who1 when he examined the fresco1 saw that the plaster had been applied too wet1 and the dampness running down caused this effect2 and informing ,michael ,angelo of this he made him proceed1 and the excuse was unavailing4 ,,xxxvii4 ,whilst he was painting ,pope ,julius went to see the work many times1 ascending the scaffolding by a ladder1 ,michael ,angelo giving him his hand to assist him on to the highest platform4 ,and1 like one who was of a vehement nature1 and impatient of delay1 when but one half of the work was done1 the part from the door to the middle of the vault17#dd7 he insisted upon having it uncovered1 although it was still incomplete and had not received the finishing touches4 ,michael ,angelo's fame1 and the expectation they had of him1 drew the whole of ,rome to the chapel1 where the ,pope also rushed1 even before the dust raised by the taking down the scaffolding had settled4 ,,xxxviii4 ,after this1 ,raphael1 having seen this new and marvellous manner as one who excelled in imitating1 tried by the aid of ,bramante to get the rest of the chapel to paint4 ,michael ,angelo was much troubled1 came before the ,pope1 and bitterly complained of the injury ,bramante was doing him2 and in his presence grieved over it with the ,pope1 discovering to him all the persecution he had suffered from him1 and afterwards unfolded to him many of ,bramante's shortcomings1 principally that in pulling down the old church of ,saint ,peter's he threw to earth those marvellous columns that were therein1 not respecting them or caring whether they were broken to pieces or not1 when he might have lowered them gently and preserved them whole2 explaining how it was an easy thing to pile brick on brick1 but to make such a column was most difficult1 and many other things that it was most necessary to relate2 so that the ,pope1 hearing of all these sad doings1 willed that ,michael ,angelo should continue the work1 showing him more favour than ever4 ,he finished all this work in twenty months7#de7 without assistance17#df7 not even any one to grind the colours4 ,it is true that ,i have heard him say that the work is not finished as he would have wished1 as he was prevented by the hurry of the ,pope1 who demanded of him one day when he would finish the chapel4 ,michael ,angelo said3 ,when ,i can4 ,the ,pope1 angered1 added3 ,do you want me to have you thrown down off this scaffolding8 ,michael ,angelo1 hearing this1 said to himself3 ,nay1 you shall not have me thrown down1 and as soon as the ,pope had gone away he had the scaffolding taken down and uncovered his work upon ,all ,saints ,day4 ,it was seen with great satisfaction by the ,pope 7who that very day visited the chapel71 and all ,rome crowded to admire it4 ,it lacked the retouches a secco of ultramarine and of gold in certain places1 which would have made it appear more rich4 ,julius1 his fervour having abated1 wished that ,michael ,angelo should supply them2 but he considering the business it would be to reerect the scaffolding1 replied that there was nothing important wanting4 ,it should be touched with gold1 replied the ,pope4 ,michael ,angelo said to him familiarly1 as he had a way of doing with his ,holiness3 ,i do not see that men wear gold4 ,the ,pope again said3 ,it will seem poor4 ,those who are painted here were poor also1 ,michael ,angelo replied4 ,this he threw out in jest2 but so the vault has remained4 ,michael ,angelo received for this work and all his expenses three thousand ducats1 of which ,i have heard him say he spent in colours about twenty or twenty-five4 ,,chapter ,,vii ,,the ,,risen ,,christ ,,of ,,the ,,minerva ,,xxxix4 ,when he had finished this work ,michael ,angelo1 because he had painted so long a time with his eyes turned upwards towards the vault1 could hardly see anything when looking down1 so that when he had to read a letter or look at a minute object it was necessary for him to hold it above his head4 ,nevertheless1 little by little1 he became able to again read looking down4 ,by this we are able to judge with how much attention and assiduity he had carried out his work4 ,many other things happened to him during the life of ,pope ,julius1 who loved him from his heart1 having a more jealous care for him than for any one else he had about him1 as one may see clearly by what we have already written4 ,indeed1 one day fearing that ,michael ,angelo was angry1 he immediately sent to pacify him4 ,it happened in this wise4 ,michael ,angelo wanting to go to ,florence for ,saint ,john's ,day asked the ,pope for money2 and he demanded when his chapel would be finished4 ,michael ,angelo1 as his custom was1 replied1 ,when ,i can4 ,the ,pope1 who was of a hasty nature1 struck him with a stick that he had in his hand1 saying3 ,when ,i can1 indeed2 when ,i can6 ,after he got home ,michael ,angelo was preparing1 without more ado1 to go to ,florence1 when ,accursio arrived1 a highly favoured young man1 sent by the ,pope1 and brought him five hundred ducats and pacified him as best he could1 making the ,pope's excuses4 ,michael ,angelo accepted the apology and went away to ,florence4 ,so that it seems as if ,julius cared more than for anything else to keep this man for himself2 nor was he contented with his services during his life only1 but required them after his death2 wherefore coming to die he commanded that the ,tomb which ,michael ,angelo had formerly begun should be finished for him1 giving this charge to the old ,cardinal ,santi ,quattro and the ,cardinal ,aginense1 his nephew3 they1 however1 had new designs prepared1 the first appearing to them too large4 ,so ,michael ,angelo again became involved in the ,tragedy of the ,tomb1 which had no better success than at first2 on the contrary much worse1 it brought him infinite vexations1 troubles1 and labours2 and1 what is worse1 by the malice of certain men1 shame1 from which he was hardly able to clear himself for many years4 ,michael ,angelo then began all over again and set to work4 ,he brought many masters from ,florence1 and ,bernardo ,bini1 who was trustee1 provided the money as he needed it4 ,but it had not got on very far when he was interrupted1 much to his disgust1 for it came into the head of the ,pope ,leo1 who had succeeded ,julius1 to ornament the faade of ,san ,lorenzo1 in ,florence1 with sculpture and marble work4 ,this was the church built by the great ,cosimo de' ,medici2 and1 except for the faade mentioned above1 was all completely finished4 ,this part1 then1 ,pope ,leo resolved to supply4 ,he thought of employing ,michael ,angelo1 and sending for him he made him prepare a design1 and finally on that account wished him to go to ,florence and take upon himself all this charge4 ,michael ,angelo1 who was working with love and diligence at the tomb of ,julius1 made all the resistance that he could1 saying that he was bound to ,cardinal ,santi ,quattro and to ,aginense1 and could not fail them4 ,but the ,pope1 who was determined in this matter1 replied3 ,leave me to deal with them2 ,i will content them4 ,so he sent for both of them and made them release ,michael ,angelo1 much to the sorrow both of himself and the ,cardinals1 especially of ,aginense1 nephew1 as has been said1 of ,pope ,julius1 for whom1 however1 ,pope ,leo promised that ,michael ,angelo should work in ,florence1 and that he would not hinder him4 ,in this fashion1 weeping1 ,michael ,angelo left the tomb and betook himself to ,florence4 ,as soon as he arrived he put everything in order for building the faade1 he himself went to ,carrara to transport marbles1 not only for the faade but also for the tomb1 relying upon the promise of the ,pope that he would be able to go on with it4 ,in the meantime the ,pope was informed that in the mountains of ,pietrasanta1 in the ,florentine territory1 there were marbles as good and beautiful as at ,carrara4 ,when this was discussed with ,michael ,angelo1 he1 as a friend of the ,marchese ,alberigo1 and having come to an understanding with him about the marbles1 preferred rather to quarry at ,carrara than at these new places in the ,state of ,florence4 ,the ,pope wrote to ,michael ,angelo and commanded him to go to ,pietrasanta and see if it was as he heard from ,florence4 ,he went there and found the marble very unmanageable and unsuitable27#dg7 and even if it had been suitable1 it would be a difficult and very expensive business to bring it down to the sea2 for it would require a new road to be constructed for several miles over the mountains with pickaxes1 and across the plains1 which were very marshy1 on piles4 ,michael ,angelo wrote all this to the ,pope2 but he rather believed those who had written to him from ,florence1 and ordered him to make the road4 ,so to carry out the will of the ,pope he constructed this road17#dh7 and by it carried a vast quantity of marble to the sea coast1 amongst them five columns of the right size2 one of them is to be seen on the ,piazza of ,san ,lorenzo1 brought by him to ,florence27#di7 the other four1 because the ,pope had changed his mind and turned his thoughts elsewhere1 are still lying on the sea shore4 ,but the ,marchese di ,carrara1 thinking that ,michael ,angelo1 as a citizen of ,florence1 might have been the originator of the quarrying at ,pietrasanta1 became his enemy2 nor would he allow him to return to ,carrara afterwards even for marble that he had already quarried1 which was a great loss to ,michael ,angelo4 ,,chapter ,,viii ,,the ,,sacristy ,,of ,,san ,,lorenzo ,,xl4 ,now having returned to ,florence1 and finding1 as was said before1 that the fervour of ,pope ,leo was all spent1 ,michael ,angelo1 grieving1 remained there doing nothing for a long while1 having1 first in one thing and then in another1 thrown away much of his time1 to his great annoyance4 ,nevertheless1 with certain blocks of marble that he had placed in his own house1 he proceeded with the work of the ,tomb4 ,but ,leo departing this life1 ,adrian was created ,pope1 and the work was interrupted again1 for they charged ,michael ,angelo with having received from ,julius for this work quite sixteen thousand scudi1 and that he did not trouble himself to get on with it1 but stayed at ,florence for his own pleasure4 ,all these accusations called for his presence in ,rome2 but the ,cardinal de' ,medici1 who afterwards became ,pope ,clement ,,vii41 and who then had the government of ,florence in his hand1 did not wish him to go2 and to keep him employed1 and to have an excuse1 he made him begin the ,medici ,library in ,san ,lorenzo1 and at the same time the sacristy with the tombs of his ancestors1 promising to satisfy the ,pope for him1 and arrange matters4 ,then ,adrian living only a few months and ,clement succeeding him in the ,papacy1 nothing more was said about the ,tomb of ,julius for some time4 ,but ,michael ,angelo was advised that the ,duke of ,urbino1 ,francesco ,maria1 nephew of ,pope ,julius of happy memory1 complained greatly of him1 and menaced him with vengeance if he did not quickly come to ,rome4 ,michael ,angelo conferred with ,pope ,clement about the affair1 and he counselled him to call the agents of the ,duke and prepare an account with them of all that he had received from ,julius and all the work he had done for him1 knowing that if ,michael ,angelo's work were properly estimated he would turn out to be the creditor rather than the debtor4 ,michael ,angelo remained in ,rome about this against his will2 and having arranged affairs returned to ,florence1 principally because he anticipated the ruin that a little while afterwards came upon ,rome4 ,,xli4 ,in the meantime the ,house of ,medici was driven out of ,florence by the opposing faction1 because they had taken more authority to themselves than could be suffered in a free city that ruled herself by her ,republic4 ,as the ,signoria did not expect that the ,pope would do anything to forego his family's authority they expected certain war1 and turned their minds to the fortifications of their city1 and appointed ,michael ,angelo ,commissary-,general for that work4 ,he then1 accepting this preferment1 besides many other preparations carried out by him on every side of the city1 encircled with strong fortifications the hill of ,san ,miniato1 that stands above the city and overlooks the surrounding plain4 ,if the enemy took this hill nothing could prevent him becoming master of the city also4 ,this fort was judged to be the saving of the country1 and very dangerous to the enemy2 being1 as ,i have said1 of high elevation1 it menaced the hosts of their antagonists1 especially from the bell-tower of the church1 where two pieces of artillery were placed1 which continually did great damage to the besiegers4 ,michael ,angelo1 notwithstanding that he had made provision beforehand for whatever might occur1 posted himself upon the hill4 ,after about six months the soldiers began to grumble amongst themselves of ,i know not what treachery2 ,michael ,angelo partly knowing about this himself1 and partly by the warnings of certain captains1 his friends1 betook himself to the ,signoria and discovered to them what he had heard and seen1 showing them in what danger the city stood1 saying that there was yet time to provide against the danger1 if they would4 ,but instead of thanking him they abused him1 and reproached him with being a timid man and too suspicious4 ,he who replied to him thus had better have opened his ears to him1 for the ,house of ,medici entered into ,florence and his head was cut off2 whereas1 if he had listened1 he might have been yet alive4 ,,xlii4 ,when ,michael ,angelo saw how little his word was considered1 and how the ruin of the city was certain1 by the authority he had he caused a gate to be opened1 and went out with two of his people1 and betook himself to ,venice4 ,and certainly this notion of a treachery was no fable2 but he who arranged it judged that it would pass over with less disgrace if it was not discovered just then1 as time would achieve the same result by his merely failing in his duty and hindering others who wished to do theirs4 ,the departure of ,michael ,angelo was the occasion of many rumours1 and he fell into great disgrace with the governors4 ,all the same1 he was recalled with many prayers1 with appeals to his patriotism1 and by those who urged that he must not abandon the responsibilities that he had taken upon himself1 and that the matter was not at such an extremity as he had been given to understand1 and many other things4 ,persuaded by all this1 and by the authority of the personages who wrote to him1 but chiefly by his love for his country1 after he had received a safe conduct for ten days before the day of his arrival in ,florence1 he returned1 not without danger to his life4 ,,xliii4 ,again in ,florence the first thing he did was to protect the bell-tower of ,san ,miniato1 which was all broken by the continual cannonading of the enemy1 and had become very dangerous to those within4 ,the method of defence was in this wise3 a large number of mattresses1 well filled with wool1 were slung with stout cords from the top of the tower to the bottom1 covering parts likely to be hit4 ,and as the cornice projected considerably1 the mattresses hung out from the main wall of the bell-tower more than six hands1 so that the cannon-balls of the enemy1 partly on account of the distance from which they were fired1 and partly by the opposition of these mattresses1 did little or no damage1 not even injuring the mattresses themselves1 because they were so yielding4 ,thus he held that tower all the time of the siege1 which lasted a year1 without its suffering any injury1 and rejoicing greatly in the salvation of the land and the damage he did to the enemy4 ,,xliv4 ,but afterwards the enemy entered the city by treachery1 and many of the citizens were taken and killed4 ,the court sent to the house of ,michael ,angelo to seize him2 all the rooms and the chests were searched by them1 even to the chimney and closet2 but ,michael ,angelo1 afraid of what might follow1 had taken refuge in the house of a great friend4 ,here he remained in hiding many days1 no one knowing that he was there except the friend who saved him4 ,when the fury was over1 ,pope ,clement wrote to ,florence that ,michael ,angelo must be sought out1 and ordered that1 when found1 he should be set at liberty if he would go on with the work of the ,medici tombs formerly begun1 and that he must be used courteously4 ,michael ,angelo1 hearing this1 came out2 and1 although it was some fifteen years since he had touched the chisel1 yet he set himself so earnestly to his task that in a few months he carved all the statues now to be seen in the sacristy of ,san ,lorenzo1 urged on more by fear than by love47#ej7 ,it is true that none of these statues have received their last touches2 nevertheless1 they are carried so far that the excellence of the workmanship can be very well seen2 nor does the lack of finish impair the perfection and the beauty of the work4 ,,xlv4 ,the statues are four1 placed in a sacristy erected for this purpose on the left of the church opposite the old sacristy2 and although each figure balances the other in design and general shape1 nevertheless1 they are quite different in form1 idea1 and action4 ,the sarcophagi are placed against the side walls1 and above their lids recline two figures1 larger than life--that is to say1 a man and a woman1 signifying ,day and ,night2 and by the two of them ,time1 that consumes all things4 ,and in order that his idea might be better understood1 he gave to the ,night1 who was made in the form of a woman of a marvellous beauty1 an owl and other symbols suitable to her2 similarly to the ,day1 his signs2 and for the signification of ,time he intended to carve a rat1 because this little animal gnaws and consumes1 just as ,time devours1 all things4 ,he left a piece of marble on the work for it1 which he did not carve1 as he was afterwards prevented4 ,there were besides other statues1 which represented those for whom the tombs were erected4 ,all1 in conclusion1 were more divine than human2 but above all1 the ,madonna1 with her little child straddling across her thigh1 of this ,i judge it better to be silent than to say but little1 and so ,i pass it by47#ea7 ,we owe thanks to ,pope ,clement for these masterpieces2 and if he had done no other praiseworthy act in his life 7but1 of course1 he did many71 this one was enough to cancel all his faults1 for through him the world possesses these noble statues4 ,and much more we owe him in that he did not fail to respect the virtue of this man when ,florence fell1 just as in olden times ,marcellus respected the virtue of ,archimedes when he entered ,syracuse1 although in that case it was of no effect2 in this case1 thanks be to ,god1 it availed much4 ,,xlvi4 ,for all that ,michael ,angelo lived in great fear1 because he was greatly disliked by the ,duke ,alessandro1 a young man1 as every one knows1 very fierce and vindictive4 ,there is no doubt that1 if it had not been for the fear of the ,pope1 he would have had him put away long ago2 the more so1 as this ,duke of ,florence1 when erecting those fortresses of his1 sent for ,michael ,angelo1 by ,signor ,alessandro ,vitelli1 to ride out with him and indicate where they would most usefully be placed1 and he would not1 replying that he had received no such commission from ,pope ,clement4 ,the ,duke was much angered2 so that for this reason1 as well as for the old ill-will he bore him1 and on account of the nature of the ,duke1 ,michael ,angelo had good reason to fear him4 ,and truly it was a blessing of ,god that he was not in ,florence at the time of the death of ,clement2 he was called to ,rome by the ,pontiff before he had quite finished the tombs at ,san ,lorenzo4 ,he was received gladly4 ,clement respected this man like one sacred1 and talked with him familiarly1 both on grave and trivial subjects1 as he would have done with his equals4 ,he sought to relieve him of the burden of the ,tomb of ,julius1 so that he might settle in ,florence permanently1 not only to finish the works already begun1 but that he might execute others no less worthy4 ,,xlvii4 ,but before ,i say any more about this it behoves me to write of another fact concerning ,michael ,angelo1 which ,i have inadvertently omitted4 ,after the violent departure of the ,medici from ,florence1 the ,signoria fearing1 as ,i have said above1 the coming war1 and intending to fortify their city1 sent for ,michael ,angelo1 as they knew him to be a man of consummate ingenuity and most active in whatever he undertook2 nevertheless1 by the advice of certain citizens who favoured the cause of the ,medici and wished covertly to hinder or delay the fortification of the city1 they sent him to ,ferrara1 under pretext that he should study the system by which ,duke ,alfonso had armed and fortified his city1 knowing that his ,excellency was most expert in these matters and in everything else most prudent4 ,the ,duke received ,michael ,angelo gladly1 not only for the great worthiness of the man1 but also because ,don ,ercole1 his son and now ,duke in his stead1 was ,captain of the ,signoria of ,florence4 ,the ,duke riding with him in person there was nothing that he did not show him1 even more than was needful1 so many bastions1 so many pieces of artillery1 and1 indeed1 he opened to him his cabinet also and showed him everything with his own hands1 especially certain works of painting and portraits of his ancestors1 by masters excellent in their day47#eb7 ,but when ,michael ,angelo had to depart1 the ,duke said to him jestingly3 ,michael ,angelo1 you are my prisoner4 ,if you want me to let you go free you must promise to do some work for me with your own hands1 whatever suits you best1 let it be what you will1 sculpture or painting4 ,michael ,angelo agreed1 and returned to ,florence4 ,although much occupied in arming the country1 yet he began a large easel picture1 representing ,leda and the ,swan1 and near by the egg from which ,castor and ,pollux were born1 as is fabled by ancient writers4 ,when the ,duke heard that the ,medici had entered ,florence1 fearing to lose so great a treasure in the tumult1 he immediately sent one of his own people4 ,his man1 when he came to the house of ,michael ,angelo and saw the picture1 said3 ,why6 this is but a small matter4 ,michael ,angelo asked him what his business was8 ,realising that every one thinks they know other people's business best1 he replied simpering1 ,i am a merchant2 perhaps disgusted by such a question1 and not being taken for a gentleman1 while at the same time despising the industry of the ,florentine citizens1 who for the most part are merchants1 as if he had said3 ,you ask what is my business1 would you ever believe that ,i am a merchant8 ,michael ,angelo heard what he said1 and replied3 ,you have done bad business for your lord2 leave my sight4 ,so having dismissed the ,ducal messenger1 he gave the picture shortly afterwards to one of his assistants1 who had two sisters to marry off4 ,it was sent into ,france1 where it still is17#ec7 and was bought by ,king ,francis4 ,,xlviii4 ,now to return1 ,michael ,angelo having been called to ,rome by ,pope ,clement1 thereupon began the affair with the ,duke of ,urbino's agents concerning the ,tomb of ,julius4 ,clement1 who wished to employ him in ,florence1 tried by every means to free him1 and gave him for his attorney one ,messer ,tommaso1 of ,prato1 who afterwards became ,datario4 ,but ,michael ,angelo1 who knew and feared the ill-will of ,duke ,alessandro towards him1 and at the same time loved and revered the bones of ,pope ,julius1 and all the illustrious ,house della ,rovere1 did all he could to remain in ,rome and work at the ,tomb2 the more so because he was accused by every one of having received from ,pope ,julius for that purpose fully sixteen thousand scudi1 and of having enjoyed it without doing what he had undertaken4 ,as he held his honour dear he could not bear the disgrace1 and desired that the affair should be cleared up1 not refusing1 although he was old1 the heavy task he had begun4 ,it came to this pass3 the adversaries were unable to prove payments that came within a long way of the sum they had at first stated2 on the contrary1 more than two-thirds were wanting of the entire sum agreed upon by the two ,cardinals4 ,clement thought this a fine opportunity to get rid of the business1 and to leave ,michael ,angelo free to serve him4 ,he called him and said3 ,come1 tell me1 you wish to complete this tomb2 but you want to know who is to pay for the rest of it4 ,michael ,angelo1 who knew the ,pope's mind1 and that he wished to make use of him himself1 replied3 ,and what if some one were found who would pay me8 ,pope ,clement said to him3 ,you are quite mad if you imagine that any one is likely to come forward to offer you a penny4 ,so when ,messer ,tommaso1 his attorney1 appeared in court making his proposition to the agents of the ,duke1 they began to look one another in the face1 and determined together that some sort of tomb should be made for the money that had already been advanced4 ,michael ,angelo1 thinking well of it1 consented willingly1 moved chiefly by the influence of the ,cardinal of ,montevecchio1 a follower of ,julius ,,ii4 and uncle to ,julius ,,iii41 now1 thanks be to ,god1 our ,pontiff4 ,the agreement was3 ,that ,michael ,angelo should make a tomb with one faade only1 and that he should use the marbles already carved for the quadrangular tomb1 arranging them as best he could2 and that he should supply six statues from his own hand4 ,it was conceded to ,pope ,clement that ,michael ,angelo should serve him in ,florence1 or wheresoever he pleased1 four months in the year1 his ,holiness requiring this for the work in ,florence4 ,such was the contract agreed upon between his ,excellency the ,duke and ,michael ,angelo4 ,,xlix4 ,but now it must be understood that these accounts being settled ,michael ,angelo1 to appear more indebted to the ,duke of ,urbino and to give ,pope ,clement less hope of sending him to ,florence 7where he did not by any means wish to go71 secretly agreed with the counsel and agent of his ,excellency that it should be said that he had received some thousand scudi more on this account than he really had4 ,this was done not only by word of mouth1 but without his knowledge and consent it was inserted in the written contract1 not when it was sealed but when it was written out1 at which he was much disturbed4 ,nevertheless1 the counsel persuaded him that it would not prejudice his case1 for it did not matter whether the contract specified twenty thousand or one thousand scudi1 since they were agreed that the scheme of the ,tomb should now be reduced in scale according to the amount of money actually received1 adding that nobody but themselves would question the proceeding1 and his interests were secured by the understanding that was between them4 ,so with this ,michael ,angelo was pacified1 because it appeared to him that he might put his trust in them1 as also because he desired that this excuse should serve him with the ,pope for the purpose mentioned above4 ,and thus the matter ended for the time2 but it was not nearly over yet1 because after he had served the four months at ,florence and returned to ,rome1 the ,pope sought to use him in another way1 by making him paint the end wall of the ,sistine ,chapel4 ,and as one who had a good wit1 he thought of one thing after another until finally he resolved to have the ,day of the ,last ,judgment painted1 considering that the variety and grandeur of the subject would give a wide field for this man to prove the power that was in him4 ,michael ,angelo1 knowing the obligation he was under to the ,duke of ,urbino1 endeavoured to free himself from this new charge1 but as he could not he put it off as much as possible2 whilst pretending to busy himself with the cartoon1 as he partly did1 he was secretly working at the statues for the ,tomb4 ,,chapter ,,ix ,,the ,,last ,,act ,,of ,,the ,,tragedy ,,of ,,the ,,tomb1 ,,and ,,the ,,day ,,of ,,judgment ,l4 ,meanwhile ,pope ,clement died and ,paul ,,iii4 was elected4 ,he sent for ,michael ,angelo and requested him to serve him4 ,michael ,angelo1 fearing that he would be hindered in the work of the ,tomb1 replied that he could not1 for he was engaged by contract to the ,duke of ,urbino until he had finished the work that he had in hand4 ,the ,pope was much annoyed1 and said3 ,it is some thirty years that ,i have had this wish1 shall ,i not satisfy it now ,i am ,pope8 ,where is the contract that ,i may tear it up8 ,michael ,angelo1 seeing it had come to this1 was for leaving ,rome and betaking himself to the country about ,genoa1 to an abbey of the ,bishops of ,aleria1 to a follower of ,julius1 very much his friend1 and there bring his work to an end4 ,this place was conveniently near ,carrara and good for carrying the marbles by sea4 ,he thought also of going to ,urbino1 where he had formerly designed to live1 as a quiet resting-place1 and where1 for the sake of ,julius1 he would be welcomed cordially4 ,for this reason he had sent one of his men some months before to buy a house and some land2 but fearing the greatness of the ,pontiff1 with good reason1 he did not go1 and hoped with soft words to satisfy the ,pope4 ,,li4 ,but the ,pope continued firm in his proposals4 ,one day he came to visit ,michael ,angelo in his house1 bringing with him eight or ten ,cardinals4 ,he wished to see the cartoon for the wall of the ,sistine ,chapel made for ,clement1 and the statues already carved for the ,tomb1 and minutely examined everything4 ,then the ,most ,reverend ,cardinal of ,mantua1 who was present1 seeing the ,moses1 of which we have already written1 and of which we will write more copiously by-and-bye1 said3 ,this statue alone is enough to do honour to the ,tomb of ,pope ,julius4 ,when ,pope ,paul had seen everything he again asked ,michael ,angelo1 in the presence of the ,cardinals1 including the before-mentioned ,most ,reverend and ,illustrious of ,mantua1 to come and work for him1 but finding ,michael ,angelo obdurate1 he said3 ,i will arrange that the ,duke of ,urbino shall be satisfied with these statues by your hand1 and that the three remaining ones shall be given to others to do4 ,he obtained a new contract from the agents1 confirmed by his ,excellency the ,duke1 who did not wish to displease the ,pope4 ,although ,michael ,angelo might have avoided paying for these three statues1 this contract freeing him from the obligation1 nevertheless he wished to bear the expense himself1 and he deposited for these and the remaining works of the ,tomb one thousand five hundred and eighty ducats4 ,thus the agents of the ,duke allowed it1 and the ,tragedy of the ,tomb and the ,tomb itself had an end at last4 ,to-day it may be seen in the ,church of ,san ,pietro ad ,vincula1 not according to the first design with four sides1 but with one side1 and that one of the lesser1 not detached all round and isolated1 but built up against a wall on account of the hindrances mentioned above4 ,it is yet true that1 although it is botched and patched up1 it is the most worthy monument to be found in ,rome1 or1 perhaps1 anywhere else2 if for nothing else1 at least1 for the three statues that are by the hand of the master3 among them that most marvellous ,moses1 leader and captain of the ,hebrews1 who is seated in an attitude of thought and wisdom1 holding under his right arm the tables of the law1 and supporting his chin with his left hand1 like one tired and full of cares4 ,between the fingers of that hand escape long waves of his beard--a very beautiful thing to see4 ,and his face is full of life and thought1 and capable of inspiring love and terror1 which1 perhaps1 was the truth4 ,it has1 according to the usual descriptions1 the two horns on his head a little way from the top of the forehead4 ,he is robed and shod in the manner of the antique1 with his arms bare4 ,a work most marvellous and full of art1 and much more so because all the form is apparent beneath the beautiful garments with which it is covered4 ,the dress does not hide the shape and beauty of the body1 as1 in a word1 may be seen in all ,michael ,angelo's clothed figures1 whether in painting or sculpture4 ,the statue is more than twice the size of life4 ,at the right hand of this statue1 under a niche1 is one that represents ,contemplative ,life--a woman1 larger than life and of rare beauty1 with bent knee1 not to the ground but on a plinth1 with her face and both her hands raised to heaven1 so that she seems to breathe love in every part4 ,on the other side1 that is to say on the left of ,moses1 is ,active ,life1 with a mirror in her right hand1 into which she gazes attentively1 meaning by this that our actions should be governed by forethought2 and in her left hand a garland of flowers4 ,in this ,michael ,angelo followed ,dante1 of whom he was always a great student1 for in his ,purgatorio he feigns to have the ,countess ,matilda1 whom he takes to represent ,active ,life1 in a field full of flowers4 ,the ,tomb is altogether beautiful1 especially the binding of the several parts together by the great cornice1 to which no one could take exception4 ,,lii4 ,now that is enough for this work2 indeed1 ,i fear it is only too much1 and that instead of giving pleasure it will have been tedious to the reader4 ,nevertheless1 it appeared to me necessary1 in order to remove those unfortunate and false scandals1 rooted in men's minds1 that ,michael ,angelo had received sixteen thousand scudi1 and then would not carry out the work he had undertaken4 ,neither the one nor the other was true1 because he had from ,julius for the ,tomb only one thousand ducats1 spent in those months of quarrying marble at ,carrara4 ,how then could ,michael ,angelo have received money for it from him1 since he changed his purpose and would hear no more of the ,tomb8 ,as to the money ,michael ,angelo received1 after the death of ,pope ,julius1 from the two cardinals1 his executors1 ,michael ,angelo possesses a written public acknowledgment--by the hand of a notary1 from ,bernardo ,bini1 ,florentine citizen1 who was trustee1 and payed out the money--that the payments amounted to about three thousand ducats4 ,never was man more anxious about his work than ,michael ,angelo in this1 as much because he knew how great fame it would bring him as for the loving memory in which he always held the blessed spirit of ,pope ,julius1 for that reason he has always honoured and loved the ,house della ,rovere1 and especially the ,dukes of ,urbino1 for that reason he has contended with two ,popes1 as has been said1 who wished to withdraw him from the undertaking4 ,but what grieved ,michael ,angelo the most1 is that instead of thanks all he got was odium and disgrace4 ,,liii4 ,but returning to ,pope ,paul4 ,i must tell you that after the last agreement made between his ,excellency the ,duke and ,michael ,angelo1 the ,pope took ,michael ,angelo into his service1 and desired him to carry out what he had begun in the time of ,clement1 to paint the end wall of the ,sistine ,chapel1 which he had already covered with rough-cast and screened off with boards from floor to ceiling4 ,as this work was instigated by ,pope ,clement1 and begun in his time1 it does not bear the arms of ,paul1 although he desired it2 but ,pope ,paul so loved and reverenced ,michael ,angelo that however much he desired it he would never have vexed him4 ,in this work ,michael ,angelo expressed all that the human figure is capable of in the art of painting1 not leaving out any pose or action whatsoever4 ,the composition is careful and well thought out1 but lengthy to describe2 perhaps it is unnecessary1 as so many engravings and such a variety of drawings of it have been dispersed everywhere4 ,nevertheless1 for those who have not seen the real thing1 and into whose hands the engravings have not come1 let us say1 briefly1 that the whole is divided into parts1 right and left1 upper and lower1 and central4 ,in the central part1 near to the earth1 are seven angels1 described by ,saint ,john in the ,apocalypse1 with trumpets to their lips1 calling the dead to judgment from the four corners of the earth4 ,with them are two others having an open book in their hands1 in which every one reads and recognises his past life1 having almost to judge himself4 ,at the sound of these trumpets the graves open and the human race issues from the earth1 all with varied and marvellous gestures2 while in some1 according to the prophecy of ,ezekiel1 the bones only have come together1 in some they are half clothed with flesh1 and in others entirely covered2 some naked1 some clothed in the shrouds and grave-clothes in which they were wrapped when buried1 and of which they seek to divest themselves4 ,among these are some who are not yet fully risen1 and looking up to heaven in doubt as to whither ,divine justice shall call them4 ,it is a delightful thing to see them with labour and pains issue forth from the earth1 and1 with arms out-stretched to heaven1 take flight2 those who are already risen lifted up into the air1 some higher and some lower1 with different gestures and characters4 ,above the angels of the trumpets is the ,son of ,god in majesty1 in the form of a man1 with arm and strong right hand uplifted4 ,he wrathfully curses the wicked1 and drives them from before his face into eternal fire4 ,with ,his left hand stretched out to those on the right1 ,he seems to draw the good gently to ,himself4 ,the angels are seen between heaven and earth as executors of the ,divine commands4 ,on the right they rush to aid the elect1 whose flight is impeded by malignant spirits2 and on the left to dash back to earth the damned1 who in their audacity attempt to scale the heavens4 ,evil spirits drag down these wicked ones into the abyss1 the proud by the hair of the head1 and so also every sinner by the member through which he sinned4 ,beneath them is seen ,charon with his black boat1 just as ,dante described him in the ,inferno1 on muddy ,acheron1 raising his oar to strike some laggard soul4 ,as the bark touches the bank1 pushed on by ,divine justice1 all these souls strive to fling themselves ashore1 so that fear1 as the poet says1 is changed into longing4 ,afterwards they receive from ,minos their sentence1 to be dragged by demons to the bottomless pit1 where are marvellous contortions1 grievous and desperate as the place demands4 ,in the middle of the composition1 on the clouds of heaven1 the ,blessed already arisen form a crown and circle around the ,son of ,god4 ,apart1 and beside the ,son1 appears ,his ,mother1 timorous and seeming hardly secure herself from the wrath and mystery of ,god2 she draws as near as possible to the ,son4 ,next to her the ,baptist1 the ,twelve ,apostles1 and all the saints of ,god1 each one showing to the tremendous ,judge the symbol of the martyrdom by which he glorified ,god3 ,st4 ,andrew the cross1 ,st4 ,bartholomew his skin1 ,st4 ,lawrence the gridiron1 ,st4 ,sebastian the arrows1 ,san ,biagio the combs of iron1 ,st4 ,catherine the wheel1 and others other things whereby they are known4 ,above these on the right and left1 on the upper part of the wall1 are groups of angels1 with actions gracious and rare1 raising in heaven the ,cross of the ,son of ,god1 the ,sponge1 the ,crown of ,thorns1 the ,nails1 and the ,column of the ,flagellation1 to reproach the wicked with the blessings of ,god of which they have been so heedless1 and for which they have been so ungrateful1 and to comfort and give confidence to the good4 ,there are infinite details which ,i pass over in silence4 ,it is enough that1 besides the divine composition1 all that the human figure is capable of in the art of painting is here to be seen4 ,,chapter ,x ,,the ,,chapel ,,of ,,pope ,,paul ,,and ,,the ,,piet ,,of ,,santa ,,maria ,,del ,,fiore ,,liv4 ,finally1 ,pope ,paul having built a chapel on the same floor as the before-mentioned ,sistine1 he desired to decorate it in his own memory1 and he made ,michael ,angelo paint the frescoes on the side walls4 ,in one is represented the crucifixion of ,st4 ,peter2 in the other the story of ,st4 ,paul--how he was converted by the apparition of ,jesus ,christ--both stupendous in general composition as in the individual figures4 ,and this is the last work of painting by ,michael ,angelo that has been seen to this day2 he finished it in his seventy-fifth year4 ,at present he has in hand a group in marble1 which he works at for his pleasure1 as one who full of ideas and powers must produce something every day4 ,it is a group of four figures1 larger than life--a ,deposition4 ,the dead ,christ is held up by ,his ,mother2 she supports the body on her bosom with her arms and with her knees1 a wonderfully beautiful gesture4 ,she is aided by ,nicodemus above1 who is erect and stands firmly--he holds her under the arms and sustains her with manly strength--and on the left by one of the ,marys1 who1 although exhibiting the deepest grief1 does not omit to do those offices that the ,mother1 by the extremity of her sorrow1 is unable to perform4 ,the ,christ is dead1 all ,his limbs fall relaxed1 but withall in a very different manner from the ,christ ,michael ,angelo made for the ,marchioness of ,pescara or the ,christ in the ,madonna della ,febbre4 ,it is impossible to speak of its beauty and its sorrow1 of the grieving and sad faces of them all1 especially of the afflicted ,mother4 ,let it suffice2 ,i tell you it is a rare thing1 and one of the most laborious works that he has yet done1 principally because all the figures are distinct from each other1 the folds of the draperies of one figure not confused with those of the others4 ,,lv4 ,michael ,angelo has done infinitely more things of which ,i have not spoken1 such as the ,christ that is in the ,church of the ,minerva1 a ,st4 ,matthew in ,florence2 when he began it he designed to carve all the twelve ,apostles to be placed near twelve pilasters in the ,duomo4 ,his cartoons for several works of paintings1 and of designs for buildings1 both public and private1 are infinite in number2 and1 lastly1 for a bridge to span the ,grand ,canal of ,venice1 of a new shape and style of which the like was never seen2 and many other things never to be seen4 ,it would be long to describe them1 so ,i make an end4 ,he intends to give the ,deposition from the ,cross to some church1 and to be buried at the foot of the altar where it is placed4 ,the ,lord ,god in ,his goodness long preserve him to us1 for without doubt the same day will end his life and his labours1 as is written of ,socrates4 ,his active and vigorous old age gives me firm hope that he has many years to live1 as also the long life of his father1 who lived to ninety-two years without knowing what it was to have a fever1 and then dying more for lack of resolution than for any illness2 so that when he was dead1 as ,michael ,angelo relates1 his face retained the same colour that he had when living1 appearing rather asleep than dead4 ,,lvi4 ,from a child ,michael ,angelo was a hard worker1 and to the gifts of nature added study1 not using the labours and industry of others1 but1 desiring to learn from nature herself1 he set her up before him as the true example4 ,there is no animal whose anatomy he did not desire to study1 much more than that of man2 so that those who have spent all their lives in that science1 and who make a profession of it1 hardly know so much of it as he4 ,i speak of such knowledge as is necessary to the arts of painting and sculpture1 not of other minuti that anatomists observe4 ,and thus it is that his figures show so much art and learning1 so that they are inimitable by any painter whatever4 ,i have always been of this opinion1 that the forces and efforts of nature have a prescribed end1 fixed and ordained by ,god1 which it is impossible for ordinary powers to pass2 and this is so not only in painting and sculpture1 but universally in all arts and sciences2 and that she gives power to one person that he may be a rule and example in a particular art1 giving him the first place2 so that afterwards1 if any one desires to bring forth a great work in that art1 worthy to be read or seen1 he must work in the same way as the first great example1 or1 at least1 similarly1 and go by his road2 for if he does not his work will be much inferior1 the worse the more he diverges from the direct path4 ,after ,plato and ,aristotle1 how many philosophers have we seen who1 not following them1 have been worth anything8 ,how many orators after ,demosthenes and ,cicero8 ,how many mathematicians after ,euclid and ,archimedes8 ,how many doctors after ,hypocrates and ,galen8 ,or poets after ,homer and ,virgil8 ,and if there has been any one who has been able by his own abilities to arrive at the first place in any one of these sciences and finds it already occupied1 he either acknowledges the first one to have arrived at perfection1 and gives up the attempt1 or if he has sense he follows him as the ideal of the perfect4 ,this has been exemplified in our own day in ,bembo1 in ,sanazzaro1 in ,caro1 in ,guidoccione1 in the ,marchioness of ,pescara1 and in other writers and lovers of the ,tuscan rhyme1 who1 although gifted with the highest and most singular genius1 none the less1 not being able of themselves to do better than nature exemplifies in ,petrarca1 they set themselves to follow him1 but so happily that they are judged worthy to be read and counted with the best4 ,,chapter ,,xi ,,conclusion ,,of ,,the ,,life ,,by ,,condivi ,,lvii4 ,now to consider my remarks4 ,i say1 that it seems to me1 that nature has endowed ,michael ,angelo so largely with all her riches in these arts of painting and sculpture1 that ,i am not to be reproached for saying that his figures are almost inimitable4 ,nor does it appear that ,i have allowed myself to be too much carried away1 for until now he alone has worthily taken up both chisel and brush4 ,of the painting of the ancients there is no memorial1 and to whom does he yield in their sculpture 7of which1 indeed1 much remains78 ,in the judgment of men learned in the art1 to no one1 unless we stoop to the opinion of the vulgar1 who admire the antique for the sole reason that they envy the genius and industry of their own times4 ,all the same1 ,i have not yet heard any one say the contrary2 this man is so far above envy4 ,raffael da ,urbino1 although he desired to compete with ,michael ,angelo1 was often constrained to say that he thanked ,god he was born in his time as he acquired from him a style very different from that which he learnt from his father1 who was a painter1 and from his master ,perugino4 ,but what greater and clearer sign can we ever have of the excellence of this man than the contention of the ,princes of the world for him8 ,from the four ,pontiffs1 ,julius1 ,leo1 ,clement1 and ,paul1 to the ,grand ,turk1 father of him who to-day holds the ,empire4 ,as ,i have said above1 the ,sultan sent certain monks of the ,order of ,saint ,francis with letters begging ,michael ,angelo to come and stay with him2 arranging by letters of credit for the bank of the ,gondi1 in ,florence1 to advance the amount of money necessary for his journey1 and also that from ,cossa1 near ,ragusi1 he should be accompanied to ,constantinople most honourably by one of his grandees4 ,francesco7#ed7 ,valesio1 ,king of ,france1 tried every means to get him1 crediting him with three thousand scudi for his journey whenever he should go4 ,il ,bruciolo was sent to ,rome by the ,signoria of ,venice to invite him to come and dwell in that city1 and to offer him a provision of six hundred scudi a year1 not binding him to anything1 only that he should honour the ,republic with his presence2 with the condition also that if he did any work in her service he should be paid for it as if he received no pension from them at all4 ,these are not ordinary doings that happen every day1 but new and out of the common use1 and would only happen to singular and most excellent worth1 as was that of ,homer1 for whom many cities contested1 each one appropriating him as her own4 ,,lviii4 ,he is held of no less account1 than by those already named1 by the present ,pontiff1 ,julius ,,iii41 a ,prince of supreme wisdom and a lover and patron of all the arts2 but particularly inclined to painting1 sculpture1 and architecture1 as may be clearly known by the works he has done in the ,palazzo and the ,belvedere1 and now has ordered for his villa ,giulia 7a memorial and scheme worthy of a noble and generous soul like his74 ,it is filled with so many statues1 ancient and modern1 so great variety of beautiful stones1 precious columns1 plaster work1 paintings1 and every other kind of ornament1 of which ,i will write another time1 as a unique work1 not yet in its perfection1 requires4 ,he does not ask ,michael ,angelo to work for him4 ,having respect for his age1 he understands well and appreciates his greatness2 but wishes not to overburden him4 ,this regard1 in my judgment1 brings ,michael ,angelo more honour than all his employment under the other ,popes4 ,it is1 however1 true1 that in the paintings and architecture that his ,holiness is continually having done1 he almost always seeks ,michael ,angelo's advice and judgment1 frequently sending the artists to seek him at his house4 ,it grieves me1 and it grieves also his ,holiness1 that by reason of a certain natural timidity1 or let us say respect and reverence1 which some call pride1 ,michael ,angelo does not profit by the goodwill1 kindness1 and liberality of so great a ,pontiff and so much his friend4 ,as ,i first heard from the most ,reverend ,monsignor di ,forl1 his chamberlain1 the ,pope has often said that 7if it were possible7 he would willingly take from his own years and his own blood to add to the life of ,michael ,angelo1 that the world might not so soon be deprived of such a man4 ,i also1 having access to his ,holiness1 heard it from his lips with my own ears1 and more also1 that if he survives him1 as in the natural course of life is probable1 he will have ,michael ,angelo's body embalmed and keep it near him1 so that it should be as lasting as his works4 ,he said this at the beginning of his ,pontificate to ,michael ,angelo himself in the presence of many4 ,i do not know what could be more honourable to ,michael ,angelo than these words1 or a greater proof of the esteem in which the ,pope holds him4 ,,lix4 ,again the ,pope showed his esteem plainly when ,pope ,paul died and he was created ,pontiff1 in a consistory1 all the ,cardinals then in ,rome being present4 ,he defended ,michael ,angelo and protected him from the overseers of the fabric of ,st4 ,peter's1 who1 for no fault of his1 as they said1 but of his servants1 wished to deprive him of1 or at least to restrain1 that authority given him by ,pope ,paul by a moto proprio1 of which more will be said below4 ,he defended him1 and not only confirmed the moto proprio but honoured him by many kind words1 not lending his ears to the quarrels of the overseers or anybody else4 ,michael ,angelo knows 7as many times he has told me7 the love and kindness of his ,holiness towards him1 and how he respects him2 and because he cannot requite the ,pope with his services1 and show his love1 he will regret all the rest of his life that he seems useless and appears ungrateful to his ,holiness4 ,one thing comforts him somewhat 7as he is accustomed to say72 knowing the wisdom of his ,holiness he hopes to be excused1 and being unable to give more1 that his good will may be accepted4 ,nor does he refuse1 as far as he has the power1 and for all he may be worth1 to spend his life in his service2 this ,i have from his own mouth4 ,nevertheless1 at the request of his ,holiness1 ,michael ,angelo designed the faade of a palace that the ,pope had a mind to build in ,rome1 a thing new and original to those who have seen it--not bound to any laws1 ancient or modern1 as in many other works of his in ,florence and in ,rome--proving that architecture has not been so arbitrarily handled in the past that there is not room for fresh invention no less delightful and beautiful4 ,,lx4 ,now to return to anatomy4 ,he gave up dissection because it turned his stomach so that he could neither eat nor drink with benefit4 ,it is very true that he did not give up until he was so learned and rich in such knowledge that he often had in his mind the wish to write1 for the sake of sculptors and painters1 a treatise on the movements of the human body1 its aspect1 and concerning the bones1 with an ingenious theory of his own1 devised after long practice4 ,he would have done it had he not mistrusted his powers1 lest they should not suffice to treat with dignity and grace of such a subject1 like one practised in the sciences and in rhetoric4 ,i know well that when he reads ,alberto ,duro he finds him very weak1 seeing in his own mind how much more beautiful and useful his own conception would be4 ,to tell the truth1 ,alberto only treats of the proportions and diversities of the body1 for which one cannot make fixed rules1 making figures as regular as posts2 and what matters more1 says nothing of human movements and gestures4 ,and because ,michael ,angelo has now reached a ripe old age1 he thinks of putting his ideas in writing and giving them to the world4 ,with great devotion he has explained everything minutely to me2 he also conferred with ,messer ,realdo ,colombo1 an anatomist and most excellent surgeon1 a great friend of ,michael ,angelo's and mine4 ,he sent to ,michael ,angelo for study the body of a ,moor1 a very fine young man1 and very suitable to the purpose2 he was sent to ,santa ,agata1 where ,i then lived and still live1 as it is a quiet place4 ,on this corpse ,michael ,angelo showed me many rare and recondite facts1 perhaps never before understood1 all of which ,i noted down1 and hope one day1 with the help of some learned man1 to publish for the advantage and use of painters and sculptors2 but enough of this4 ,,lxi4 ,he devoted himself to perspective and to architecture1 his works show with what profit4 ,michael ,angelo did not content himself with knowing only the main features of architecture1 but wished also to know about everything that could be useful in any way in that profession1 such as ties1 platforms1 scaffolding1 and such like1 he knew as much of these things as those who profess nothing else1 which was exemplified in the time of ,julius ,,ii4 in this wise4 ,when ,michael ,angelo had to paint the ceiling of the ,sistine ,chapel the ,pope ordered ,bramante to erect the scaffolding4 ,for all the architect he was he did not know how to do it1 but pierced the vault in many places1 letting down certain ropes through these holes to sling the platform4 ,when ,michael ,angelo saw it he smiled1 and asked ,bramante what was to be done when he came to those holes8 ,bramante had no defence to make1 only replied that it could not be done any other way4 ,the matter came before the ,pope1 and ,bramante replied again to the same effect4 ,the ,pope turned to ,michael ,angelo and said3 ,as it is not satisfactory go and do it yourself4 ,michael ,angelo took down the platform1 and took away so much rope from it1 that having given it to a poor man that assisted him1 it enabled him to dower and marry two daughters4 ,michael ,angelo erected his scaffold without ropes1 so well devised and arranged that the more weight it had to bear the firmer it became4 ,this opened ,bramante's eyes1 and gave him a lesson in the building of a platform1 which was very useful to him in the works of ,st4 ,peter's4 ,for all that1 ,michael ,angelo1 although he had no equal in all these things1 would not make a profession of architecture4 ,on the contrary1 when at last ,antonio da ,san ,gallo1 the architect of ,st4 ,peter's1 died1 and ,pope ,paul wished to put ,michael ,angelo in his place1 he refused the post1 saying that architecture was not his art4 ,he refused it so earnestly that the ,pope had to command him to take it1 and issue an ample moto proprio1 which was afterwards confirmed by ,pope ,julius ,,iii41 now1 as ,i have said1 by the grace of ,god1 our ,pontiff4 ,for these1 his services1 ,michael ,angelo received no payment2 so he wished it to be stated in the moto proprio4 ,one day1 when ,pope ,paul sent him a hundred scudi of gold by ,messer ,pier ,giovanni1 then ,gentleman of the ,wardrobe to his ,holiness1 now ,bishop of ,forl1 as his month's salary on account of the building1 ,michael ,angelo would not accept it1 saying it was not in the agreement they had between them1 and he sent them back4 ,the ,pope was very angry1 as ,i have been told by ,messer ,alessandro ,ruffini1 a gentleman of ,rome1 then ,groom to the ,chambers and ,carver before his ,holiness2 but this did not move ,michael ,angelo from his resolution4 ,when he had accepted this charge he made a new model1 both because certain parts of the old one did not please him in many respects1 and1 besides1 if it was followed one would sooner expect to see the end of the world than ,st4 ,peter's finished4 ,this model1 praised and approved by the ,pope1 is now being followed to the great satisfaction of those who have judgment1 although there be certain persons who do not approve of it4 ,,lxii4 ,michael ,angelo gave himself1 then1 whilst still young1 not only to sculpture and painting1 but to all the kindred arts1 with such devotion that for a time he almost withdrew from the fellowship of men1 only consorting with a few4 ,so that by some he was held to be proud1 and by others odd and eccentric1 though he had none of these vices2 but 7like many excellent men7 a love of knowledge and continued exercise in the learned arts made him solitary1 and he was so satisfied and took such a delight in them that company not only did not please him but even annoyed him1 as interrupting his meditations he was never less solitary than when alone 7as the great ,scipio used to say of himself74 ,,lxiii4 ,nevertheless1 he willingly kept the friendship of those from whose wise and learned conversation he could gather any fruit and in whom shone some ray of excellence1 such as the ,most ,reverend and ,illustrious ,monsignor ,polo17#ee7 for his rare learning and singular goodness2 and similarly my ,most ,reverend patron the ,cardinal ,crispo1 finding in him besides his many good qualities a rare and excellent judgment4 ,he had also a great affection for the ,most ,reverend ,cardinal ,santa ,croce1 a man of great weight and most prudent1 of whom ,i have heard him speak more than once with the highest esteem2 and the ,most ,reverend ,maffei1 whose goodness and learning he always speaks of2 and generally loves and honours all the ,house of the ,farnese1 for the lively memory he cherishes of ,pope ,paul1 recalling him with the utmost reverence1 speaking of him constantly as a good and holy old man4 ,and so1 too1 the ,most ,reverend ,patriarch of ,jerusalem1 formerly ,bishop of ,cesena1 with whom he has often conversed familiarly1 as one whose open and liberal nature much pleased him4 ,he had also a close friendship with my ,most ,reverend patron1 the ,cardinal ,ridolfi1 of happy memory1 the refuge of all men of talent4 ,there are others whom ,i leave out1 so as not to be tedious1 as ,monsignor ,claudio ,tolemi1 ,messer ,lorenzo ,ridolfi1 ,messer ,donato ,giannotti1 ,messer ,lionardo ,malaspini1 ,il ,lottino1 ,messer ,tomaso de' ,cavalieri1 and other honourable gentlemen1 of whom ,i will not write at length4 ,finally1 he has a great affection for ,annibal ,caro4 ,he has told me that he is sorry not to have known him before1 as he is so much to his taste4 ,more particularly he loved greatly the ,marchioness of ,pescara1 of whose divine spirit he was enamoured1 being in return loved tenderly by her4 ,he still possesses many letters of hers1 full of an honest and most sweet love1 such as issued from her heart4 ,he has written to her also many and many sonnets1 full of wit and sweet desire4 ,she often returned to ,rome from ,viterbo and other places1 where she had gone for her pastime and to spend the summer1 for no other reason than to see ,michael ,angelo2 and he bore her so much love that ,i remember to have heard him say3 ,nothing grieved him so much as that when he went to see her after she passed away from this life he did not kiss her on the brow or face1 as he did kiss her hand4 ,recalling this1 her death1 he often remained dazed as one bereft of sense4 ,he made at the wish of his lady a naked ,christ1 when ,he was taken down from the ,cross1 and ,his dead body would have fallen at the feet of ,his most holy ,mother1 if it were not supported by the arms of two angels2 but she1 seated under the ,cross with a tearful and sorrowful face1 raises to heaven both hands with her arms out-stretched1 with this cry1 which one reads inscribed on the stem of the cross3 ,,non ,,vi ,,si ,,pensa ,,quanto ,,sangue ,,costa6 ,the ,cross is like that which was carried in procession by the ,bianchi at the time of the plague of #acdh1 and afterwards placed in the ,church of ,santa ,croce1 at ,florence4 ,he also made for love of her a drawing of a ,jesu ,christ on the ,cross1 not as if dead1 as is the common use1 but with a ,divine gesture4 ,raising ,his face to the ,father ,he seems to say1 ,eli1 ,eli4 ,the body does not hang like a corpse but as if still living1 and contorted by the bitter agony of ,his death4 ,,lxiv4 ,and as he greatly delighted in the conversation of the learned1 so he took pleasure in the study of the writers of both prose and poetry4 ,he had a special admiration for ,dante1 delighting in the admirable genius of that man1 almost all of whose works he knew by heart2 he held ,petrarca in no less esteem4 ,he not only delighted in reading1 but occasionally in composing1 too1 as may be seen by some sonnets that are to be found of his4 ,concerning some of them1 there have been published--,lectures and ,criticisms by ,varchi4 ,but he wrote these sonnets more for his pleasure than because he made a profession of it1 always belittling them himself1 accusing himself of ignorance in these matters4 ,,lxv4 ,likewise1 with deep study and attention1 he read the ,holy ,scriptures1 both the ,old and the ,new ,testaments1 and searched them diligently1 as also the writings of ,savonarola1 for whom he always had a great affection1 keeping always in his mind the memory of his living voice4 ,he has also loved the beauty of the human body1 as one who best understands it2 and in such wise that certain carnal-minded men1 who do not comprehend the love of beauty1 have taken occasion to think and speak evil of him1 as if ,alcibiades1 a youth of perfect beauty1 had not been purely loved by ,socrates1 from whose side he arose as from the side of his father4 ,i have often heard ,michael ,angelo reason and discourse of ,love1 and learned afterwards from those who were present that he did not speak otherwise of ,love than is to be found written in the works of ,plato4 ,for myself ,i do not know what ,plato says of ,love1 but ,i know well that ,i1 who have known ,michael ,angelo so long and so intimately1 have never heard issue from his mouth any but the most honest of words1 which had the power to extinguish in youth every ill-regulated and unbridled desire which might arise4 ,by this we may know that no evil thoughts were born in him4 ,he loved not only human beauty1 but universally every beautiful thing--a beautiful horse1 a beautiful dog1 a beautiful country1 a beautiful plant1 a beautiful mountain1 a beautiful forest1 and every place and thing beautiful and rare after its kind1 admiring them all with a marvellous love2 thus choosing the beauty in nature as the bees gather honey from the flowers1 using it afterwards in his works1 as all those have done who have ever made a noise in painting4 ,that old master who had to paint a ,venus was not content to see one virgin only1 but studied many1 and taking from each her most beautiful and perfect feature gave them to his ,venus2 and1 in truth1 who ever expects to arrive at a true theory of art without this method of study is greatly mistaken4 ,,lxvi4 ,all through his life ,michael ,angelo has been very abstemious1 taking food more from necessity than from pleasure1 especially when at work1 at which time1 for the most part1 he has been content with a piece of bread1 which he munched whilst he laboured4 ,but latterly he has lived more regularly1 his advanced age requiring it4 ,i have often heard him say3 ,ascanio1 rich man as ,i have made myself1 ,i have always lived as a poor one4 ,and as he took little food so he took little sleep1 which1 as he says1 rarely did him any good1 for sleeping almost always made his head ache1 and too much sleep made his stomach bad4 ,when he was more robust he often slept in his clothes and with his buskins on2 this he made a habit of for fear of the cramp1 from which he continually suffered1 besides other reasons2 and he has sometimes been so long without taking them off that when he did so the skin came off with them like the slough of a snake4 ,he was never miserly with his money1 nor did he hoard it1 contented with enough to live honestly4 ,works from his hand were sought for more and more by the gentry and rich people with large promises1 but he has rarely satisfied them2 and when he has done so1 it has been from friendship and goodwill rather than for hope of reward4 ,,lxvii4 ,he has given away many of his things1 which1 if he had wished to sell them1 would have brought him in endless money2 as1 for example1 were there no others1 the two statues that he gave to ,roberto ,strozzi1 his great friend47#ef7 ,he has not only been liberal with his works1 but with his purse also he has often helped the talented and studious poor in their need1 whether men of letters or painters2 of this ,i am able to testify1 having benefited by it myself4 ,he was never jealous of the labours of others even in his own art1 more by his goodness of nature than any opinion he had of himself4 ,on the contrary1 he has praised all universally1 even ,raphael of ,urbino1 between whom and himself there was formally some rivalry in painting1 as ,i have written2 only ,i have heard him say that ,raphael had not his art by nature1 but acquired it by long study4 ,nor is it true what many say of him1 that he would not teach2 on the contrary1 he has done so willingly1 as ,i know myself1 for to me he has made known all the secrets of his art2 but unfortunately he has met either with pupils little apt1 or even if apt without perseverance1 so after working under his discipline a few months they thought themselves masters4 ,now1 although he would readily do kindly acts1 he was unwilling to have them known1 wishing more to do well than to appear to do so4 ,it must also be known that he has always desired to cultivate the arts in persons of nobility1 as was the manner of the ancients1 and not in plebeians4 ,,lxviii4 ,michael ,angelo had a most retentive memory1 so that although he has painted so many thousand figures1 as may be seen1 he has never made one like to another1 or in the same pose2 indeed1 ,i have heard him say that if ever he draws a line which he remembers to have drawn before1 he rubs it out if it is to come before the public4 ,he has also a most powerful imagination1 from whence it comes1 firstly1 that he is little contented with his work1 his hand not appearing to carry out the ideas he has conceived in his mind4 ,and1 secondly1 from the same cause 7as often happens to those who lead a peaceful and contemplative life71 he has always been somewhat timid2 saving only when a just indignation against some wrong or lapse of duty to himself or to others moves him1 then he plucks up more spirit than those who are held to be courageous2 otherwise he is of a most patient disposition4 ,of his modesty it is not possible to say as much as he deserves2 and so also of his manners1 and his ways1 they are seasoned with pleasantries and sharp sayings3 for instance1 his conversation at ,bologna with a certain gentleman1 who1 seeing the mere largeness and mass of the bronze statue ,michael ,angelo had made1 marvelled and said3 ,which do you suppose to be the larger1 this statue or a pair of oxen8 ,to whom ,michael ,angelo replied3 ,it is according to the oxen you mean2 if it be these of ,bologna doubtless they are much larger2 if ours of ,florence they are much smaller47#eg7 ,so also when ,il ,francia1 who was at that time thought to be an ,apelles in ,bologna1 came to see that same statue and said3 ,this is a beautiful bronze1 it seemed to ,michael ,angelo that he was praising the metal and not the form1 so he laughingly replied3 ,if this be beautiful bronze1 ,i must thank ,pope ,julius for it1 who gave it to me1 as you have to thank the apothecaries who provide your colours4 ,and another day1 seeing the child of ,francia1 who was a very beautiful boy3 ,my son1 said he1 your father makes better living pictures than painted ones4 ,,lxix4 ,michael ,angelo is of a good complexion2 his figure rather sinuous and bony than fleshy and fat2 healthy above all by nature1 as well as by the use of exercise and his continence of life and moderation in taking food2 nevertheless1 as a child he was feeble and sickly1 and as a man he had two illnesses4 ,he has suffered much for several years in the passing of urine1 which trouble would have turned into a stone if he had not been relieved by the care and diligence of the before-mentioned ,messer ,realdo4 ,michael ,angelo has always had a good colour in his face2 he is of middle height2 he is broad shouldered1 with the rest of the body in proportion1 rather slight than not4 ,the shape of his skull in front is round2 the height above the ear is a sixth part of the circumference round the middle of the head1 so that the temples project somewhat beyond the ears1 and the ears beyond the cheek-bones1 and the cheek-bones beyond the rest of the face2 the skull in proportion to the face must be called large4 ,the front view of the forehead is square1 the nose a little flattened1 not naturally1 but because when he was a boy1 one ,torrigiano1 a brutal and proud fellow1 with a blow almost broke the cartilage1 so that ,michael ,angelo was carried home as one dead2 for this ,torrigiano was banished from ,florence1 and he came to a bad end47#eh7 ,michael ,angelo's nose1 such as it is1 is in proportion to the forehead and the rest of the face4 ,his lips are mobile1 the lower one somewhat the thicker1 so that seen in profile it sticks out a little4 ,the chin goes well with the above-mentioned parts4 ,the forehead in profile is almost in front of the nose1 which is little less than broken1 except for a small lump in the middle4 ,the eyebrows have few hairs2 the eyes are rather small than otherwise1 the colour is that of horn1 but changing1 with sparkles of yellow and blue2 the ears in proportion2 the hair black1 and beard also1 but1 in this his seventy-ninth year1 plentifully sprinkled with grey2 his beard is forked1 four or five fingers long and not very thick1 as may be seen in his portraits4 ,many other things remain to be said1 but ,i have left them out because of the hurry in which ,i bring out these writings1 hearing that others7#ei7 wish to reap the reward of my labours1 which ,i had confided to their hands2 so1 if it should ever happen that another should undertake this work again1 ,i hereby offer to tell him all ,i know1 or most lovingly to give it to him in writing4 ,i hope before long to bring out some of ,michael ,angelo's sonnets and madrigals1 which ,i have for a long time collected1 both from himself and from others1 that the world may know the worth of his imaginations1 and how many beautiful conceits were born in his divine spirit1 and with this ,i close4 ,,part ,,ii ,,the ,,works ,,of ,,michael ,,angelo ,non essendo homo in ,italia apto ad expedire una opera di costesta qualit1 e necessario che lui solo1 e non altro4 ,piero ,soderini to the ,marchese ,alberigo ,malaspina1 ,,gaye ii4 #ajg4 ,,chapter ,i ,,the ,,rape ,,of ,,deianeira1 ,,or ,,the ,,battle ,,of ,,the ,,centaurs1 ,,and ,,the ,,angel ,,of ,,the ,,shrine ,,of ,,saint ,,dominic ,all accounts agree as to the precocity of the genius of ,michael ,angelo1 and ,piero ,soderini vouches for its practical character in the words quoted above4 ,it was not until he had suffered from the procrastination and uncertainty of the patronage of the ,popes1 that his work took him so long to finish that sometimes it had to be left incomplete4 ,his early works were remarkable1 not only for their high finish but also for the expedition with which they were carried out4 ,condivi has given us the story of his early difficulties and of his first picture17#fj7 probably in ,michael ,angelo's own words2 we may supplement this account by the following extract from ,vasari1 who gathered his information from the gossip of the workshops of ,florence1 and from ,ridolfo ,ghirlandaio1 the son of his first master4 ,michael ,angelo grew in power and character so rapidly that ,domenico7#fa7 was astonished1 seeing him do things quite extraordinary in a youth1 for it seemed to him that he not only surpassed the other students1 of whom ,domenico had a large number1 but that he often equalled the work done by him as master4 ,now1 one of the lads who studied under ,domenico made a pen-drawing of some women1 draped1 after ,ghirlandaio4 ,michael ,angelo took up the paper1 and with a thicker pen went over the outline of one of the women with a new line1 correcting it1 and making it perfect1 so that it is wonderful to see the difference between the two styles1 and the ability and judgment of a boy1 so spirited and bold that he had the courage to correct his master's handiwork4 ,this drawing is to-day in my possession1 valued as a relic4 ,i had it from ,granacci to put it in my book of drawings with others given to me by ,michael ,angelo4 ,in the year #aeej1 being in ,rome1 ,i1 ,giorgio1 showed it to ,michael ,angelo1 who recognised it and was pleased to see it again1 saying modestly that he knew more of art as a child than now as an old man47#fb7 ,it happened that ,domenico was working in the great ,chapel of ,santa ,maria ,novella1 and one day when he was out ,michael ,angelo set himself to draw from nature the scaffolding1 the tables with all the materials of the art1 and some of the young men at work4 ,presently ,domenico returned1 and saw ,michael ,angelo's drawing4 ,he was astonished1 saying this boy knows more than ,i do2 and he was stupefied by this style and new realism3 a gift from heaven to a child of such tender years4 ,the first art school of ,michael ,angelo was the beautiful ,church of ,santa ,maria ,novella1 called by him affectionately ,mia ,sposa4 ,here1 day by day1 he beheld the ,last ,judgment of ,orcagna1 the enthroned figures in the ,spanish ,chapel1 and the solemn blue ,madonna1 now in the ,capella ,rucellai1 with its little figures of prophets on the frame that are already almost ,michael ,angelesque4 ,here he transferred cartoons for ,domenico and painted draperies and ornaments2 here he mixed colours for fresco painting after the ,florentine fashion2 and here possibly he first painted on a vault4 ,no certain trace of his handiwork can be identified upon the walls1 but there is a nude figure seated upon the steps resting his chin upon his hand in the fresco of the ,blessed ,virgin going to the ,temple1 that has a sinister expression and a force of modelling that ,domenico does not usually command4 ,now ,lorenzo de' ,medici1 the ,magnificent1 desired to encourage the art of sculpture in ,florence2 he therefore established a museum of antiquities in his garden near ,san ,marco1 and made ,bertoldo1 the pupil of ,donatello and the foreman of his workshop1 keeper of the collection1 with a special commission to aid and instruct the young men who studied there4 ,lorenzo requested ,domenico ,ghirlandaio to select from his pupils those he considered the most promising1 and send them to work in the garden4 ,domenico sent ,michael ,angelo ,buonarroti and ,francesco ,granacci2 possibly he was rather glad to get these talented elements of insubordination out of his workshop4 ,thus it was that ,michael ,angelo came under the influence of a pupil and foreman of ,donatello4 ,bertoldo must be considered the instructor of ,michael ,angelo in his beloved art of sculpture1 and the most important influence in shaping his genius4 ,very little is known of the man upon whom this responsibility was placed1 but he appears to have been worthy of it4 ,vasari tells us that ,bertoldo was old and could not work2 that he was none the less an able and highly reputed artist1 not only because he had most diligently chased and polished the casts in bronze for the pupils of ,donatello his master1 but also for the numerous casts in bronze of battle-pieces and other little things1 which he had executed of his own2 there was no one then in ,florence more masterly in such work4 ,we have no important work entirely by ,bertoldo1 but he must have been a considerable artist or he would not have been appointed to his important post by such a wise man as ,lorenzo the ,magnificent4 ,his share of the work for the pulpits of ,san ,lorenzo was probably much greater than we are accustomed to think4 ,vasari's word rinettato had a much wider meaning to him than it has to us1 the chasing of a bronze was considered no small part of its quality by the ,florentines4 ,lorenzo ,ghiberti's supposed superiority over his competitors for the doors of ,san ,giovanni was more in his superb finish than in anything else4 ,the pulpits in ,san ,lorenzo have something about them that is between the art of ,donatello and the art of ,michael ,angelo2 we may even owe a large part of the composition in some of the stories to ,bertoldo4 ,donatello must have needed a man of judgment and ability to carry out the numerous and important commissions that issued from his workshops in his old age4 ,that ,michael ,angelo studied the pulpits of ,san ,lorenzo is proved by the numerous motives he took from them in after life2 the general aspect of the figures strangely suggests the terribilit of his style1 and the beginnings of several of his motives can be traced to them1 such as the ,centaurs1 the ,piet1 and1 in the ,sistine ceiling1 the ,adam2 the monochrome putti used as ,caryatides2 the single putto placed at the springing of two arches2 the athletes supporting garlands1 similar in proportion to the cherubs supporting garlands used for the capitals of columns in the pulpits2 two figures for the spaces over the windows4 ,the man with the clean-shaven and bird-like face writing in a book and dressed in trousers tied in at the ankles1 like the captive barbarians of ,roman art1 in one of the semi-circular spaces round the windows1 is very like a man standing behind the ,madonna who supports the dead ,christ in the deposition of the pulpit4 ,perhaps it is a portrait of old ,bertoldo himself4 ,in this panel1 too1 are horsemen riding animals similar to the ones ,michael ,angelo drew in his last fresco1 ,the ,conversion of ,saint ,paul4 ,the composition for the scourging of ,christ1 supplied by ,michael ,angelo to ,sebastiano del ,piombo for his wall painting in ,san ,pietro in ,montorio1 follows the lines of the bas-relief of the same subject on the pulpit4 ,what is more likely than that ,bertoldo should have educated his great pupil by directing him to the glories of the last work of his master1 ,donatello1 and that ,michael ,angelo should have studied them eagerly1 particularly if ,bertoldo himself was partly responsible for some of the panels1 and may have been working upon them at this time47#fc7 ,the pulpits of ,san ,lorenzo were the second school of ,michael ,angelo1 and ,bertoldo was his master4 ,no great style ever sprang complete from the brain of its great exponent1 but grew and developed from master to pupil until its supreme exponent blazed it before the world full of the traditional fire of his predecessors1 but distinctly marked by his own dominant personality4 ,the root of the style of ,michael ,angelo may be seen in the works of ,donatello and in the pulpits of ,san ,lorenzo4 ,his study of the antique17#fd7 modified by his love of grace1 of high finish1 and his own powerful character1 only had to be added to complete the perfect flower of ,florentine art1 ,michael ,angelo1 the topmost bloom of the lily4 ,image #b ,,the ,,rape ,,of ,,deianeira ,,and ,,the ,,battle ,,of ,,the ,,centaurs ,,casa ,,buonarroti1 ,,florence 7,by permission of the ,fratelli ,alinari4 ,florence7 ,by good fortune1 ,michael ,angelo attracted the notice of ,lorenzo the ,magnificent1 as ,condivi has related27#fe7 and thus at the age of fifteen years he entered the most cultured house in ,italy and there acquired that distinction of style that he kept all through his life1 both in his art and his manner4 ,in these halcyon days at this hospitable table ,michael ,angelo met such men as ,massilio ,ficino1 the interpreter of ,plato2 ,pico della ,mirandola1 the phoenix of erudition2 ,luigi ,pulci and ,angelo ,poliziano--the latter is supposed to have incited ,michael ,angelo to carve the bas-relief7#ff7 now in the ,casa ,buonarroti1 called by ,condivi ,the rape of ,deianeira and the battle of the ,centaurs4 ,this is the earliest work that we know from the master's hand to which we can give a date2 it already shows his double love for the ,hellenistic and for the ,tuscan styles4 ,the degree of relief is alto-rilievo1 like those on the ,roman sarcophagi and the pulpits of the ,pisani2 in shape it is almost as high as it is long2 this unusual proportion is similar to some of the divisions of the bronze reliefs in the ,donatello pulpits at ,san ,lorenzo4 ,the struggling figures1 ,centaurs1 and ,lapith1 already exhibit ,michael ,angelo's power over rhythm of line in a crowded composition as in the later groups of ,moses raising the ,serpent in the ,wilderness1 and ,the ,last ,judgment1 both in the ,sistine ,chapel4 ,the method is extraordinarily free for so young a sculptor2 he evidently thinks out his work as it proceeds2 his delight in the beauty of the male human form is shown in every figure4 ,some critics have been unable to distinguish the figure of ,deianeira1 as her form has been so little differentiated or emphasised by the master4 ,she is towards the left of the composition2 a man holds her by the hair of her head4 ,the centre figures and the two at the lower corners remind us forcibly of the pulpits of ,san ,lorenzo4 ,image #c ,,the ,,angel ,,at ,,the ,,shrine ,,of ,,saint ,,dominic ,,bologna 7,by permission of the ,fratelli ,alinari1 ,florence7 ,vasari mentions another bas-relief executed at this period1 a seated ,madonna with the ,infant ,jesus1 in the manner of ,donatello2 the inferior bas-relief1 now in the ,casa ,buonarroti1 is said to be this work4 ,if the club-shaped feet and thick hands of the ,madonna are compared with the beautiful long feet and graceful hands of the angel holding a candlestick1 at ,san ,domenico1 in ,bologna1 certainly by ,michael ,angelo1 it cannot be supposed that these two works were either executed or even designed by the same artist4 ,the pose of the ,holy ,child in the ,madonna bas-relief has been arranged by some one who has seen ,the ,day on the tomb of ,giuliano at ,san ,lorenzo2 in the background are children on a stairway1 somewhat in the style of ,donatello1 but they are more like imitations of the later works of ,michael ,angelo4 ,the folds of the draperies are like the folds of some silken material1 whereas the folds of the robe of the angel at ,san ,domenico are large1 like the folds of a blanket1 a characteristic of all the draperies designed by the master4 ,this bas-relief1 now in the ,casa ,buonarroti1 was presented to ,cosimo d ,medici1 first ,grand ,duke of ,tuscany1 by ,michael ,angelo's nephew ,leonardo17#fg7 as a work by his uncle1 but we do not know that ,leonardo was a good judge of his uncle's works1 and this bas-relief was supposed to have been executed more than fifty years before its presentation2 afterwards it came back into the possession of the ,buonarroti family1 and was presented by them to the city of ,florence along with the house in ,via ,ghibellina4 ,michael ,angelo1 like all young artists who have had the opportunity1 drew and studied in the ,brancacci ,chapel of the ,church of the ,carmine1 containing the frescoes of ,masaccio and his followers2 the result of these studies may be seen in some of the compositions1 and especially in the draperies of the ,sistine ceiling4 ,there are two pen-drawings in ,vienna that show us the sort of work ,michael ,angelo did at this time3 one represents a kneeling figure1 evidently from a picture by ,pesellino2 the other1 two standing figures1 that might be after ,ghirlandaio4 ,the draperies have been specially studied4 ,another pen-drawing1 in the ,louvre1 is a careful study from ,giotto's fresco of the ,resurrection of ,st4 ,john in the ,cappella ,peruzzi at ,santa ,croce4 ,a gloom was cast over all ,italy by the death of ,lorenzo de' ,medici on ,april #h1 #adib4 ,michael ,angelo lost his best friend and returned to his father's house2 here he worked upon a statue of ,hercules that stood in the ,strozzi ,palace until the siege of ,florence in #aecj1 when ,giovanni ,battista della ,palla bought it and sent it into ,france as a present to the ,french ,king4 ,it is lost4 ,in the year #adie1 whilst living with ,aldovrandi at ,bologna1 as ,condivi tells us1 ,michael ,angelo1 for the sum of thirty ducats1 completed the drapery of a ,san ,petronio1 begun by ,nicolo di ,bari on the arca or shrine of ,san ,domenico1 and carved the very beautiful and highly finished statuette of an angel holding a candlestick1 still to be seen there47#fh7 ,when ,michael ,angelo returned to ,florence a government had been established by ,savonarola4 ,no doubt1 like all the other citizens1 the master listened to the voice of the preacher1 but we have no evidence that he was particularly influenced by his teaching1 though many of his biographers would have us believe that ,savonarola made him ,protestant1 ,lutheran1 or what not1 according to the sect of the biographer4 ,michael ,angelo loved the sermons of the eloquent ,frate as works of art2 no doubt1 if the prophets of the ,sistine could speak1 they would preach with the voice of ,savonarola4 ,michael ,angelo set to work and carved a ,san ,giovannino for ,lorenzo di ,pier ,francesco1 a cousin of the exiled ,medici4 ,the ,berlin ,museum acquired1 in #ahhj1 a marble statue of a young ,st4 ,john1 which had been placed in the palace of the ,counts ,gualandi ,rosselmini1 at ,pisa1 in #ahag1 and was rediscovered there in #ahgd4 ,it is supposed to be this ,san ,giovannino by ,michael ,angelo1 though it has nothing of the large quality of ,michael ,angelo's work4 ,donatello has been suggested as the author1 but it has still less of the square planes and ascetic character of the great ,donato4 ,it is a charming1 almost a cloying statue4 ,st4 ,john seems to find his honeycomb distinctly sweet4 ,,chapter ,,ii ,,the ,,bacchus1 ,,and ,,the ,,madonna ,,della ,,piet ,,of ,,saint ,,peter',s ,the story of a ,cupid1 carved and coloured in imitation of the antique1 is given by ,condivi47#fi7 ,it was the cause of ,michael ,angelo's first visit to ,rome4 ,as soon as he reached the ,eternal ,city he set to work at his sculpture1 as the purchase of a piece of marble mentioned in his letter to ,pier ,francesco de' ,medici1 sent to ,florence under cover to ,sandro ,botticelli17#gj7 indicates4 ,during the whole of this very important visit he worked in marble4 ,we have1 however1 one record of a cartoon by him for a ,saint ,francis receiving the ,stigmata1 to be painted by a certain barber2 but that is all4 ,he studied the works of antique art and imitated the finish and softness of the ,hellenic style3 marbles of debased ,greek workmanship abound to this day in the ,roman collections4 ,messer ,jacopo ,gallo1 a ,roman gentleman and a banker1 commissioned a ,bacchus1 now in the ,bargello at ,florence1 and a ,cupid1 said to be the statue now in the ,victoria and ,albert ,museum1 ,south ,kensington4 ,condivi records these commissions47#ga7 ,this ,bacchus is the least dignified work that ,michael ,angelo ever executed4 ,perhaps1 like a young artist struggling to get on1 he listened too much to the wishes and suggestions of his intelligent patron4 ,the finish and the truth to nature of the unpleasant youth are exquisite4 ,the folds of the skin and the softness of the flesh are perfectly rendered1 but the work is repulsive1 save for the mischievous little ,satyr who steals the grapes2 he seems to take us out into the open air1 and away from the fumes of the wine shop4 ,condivi calls the second statue a ,cupid17#gb7 but ,springer points out7#gc7 that ,ulisse ,aldovrandi1 who saw the statue in ,messer ,gallo's house at ,rome1 talks of an ,apollo quite naked1 with a quiver at his side and an urn at his feet4 ,the work1 ,cupid or ,apollo1 at ,kensington1 is not so finely finished as the other statues of this first ,roman period2 the head is like a copy of the head of the ,david1 the division between the pectoral muscles is weak1 and their attachments to the breast-bone are round1 regular1 and without distinction1 very different from either the naturalism of the ,bacchus1 the delicate truth of the ,piet1 or the dignified abstraction of the ,david1 done very shortly afterwards4 ,this work at ,kensington was discovered some fifty years ago in the cellars of the ,gualfonda 7,rucellai7 ,gardens by ,professor ,miliarini and the sculptor ,santarelli4 ,the left arm was broken1 the right hand damaged1 and the hair unfinished1 as may be seen to-day2 ,santarelli restored the arm4 ,the statue is like the work of a poor imitator4 ,a work by ,michael ,angelo may easily have been destroyed in troublous times1 but can never have been lost and forgotten4 ,he has always had lovers in every age2 unlike the primitives and the quattrocentisti1 he has never been out of fashion4 ,whilst ,michael ,angelo was working away in ,rome he was much troubled by family affairs in ,florence4 ,after the expulsion of the ,medici in #adie1 ,lodovico lost his post at the ,customs1 and his three younger sons appear to have been put into trade4 ,buonarroto1 who was the only sensible one left at home1 and dearly loved by ,michael ,angelo1 was born in #adgg2 he was sent to serve in the ,strozzi cloth warehouse in the ,porta ,rossa4 ,all the noble families of ,florence practised some trade1 in order that they might share in the ,government4 ,giovan ,simone1 another brother1 born in #adgi1 led a vagabond life until he joined ,buonarroto in a cloth business that was bought for them by ,michael ,angelo4 ,sigismondo1 born in #adha1 was a soldier4 ,at the age of forty he settled down on the small paternal farm at ,settignano1 and became a mere peasant1 very much to the annoyance and chagrin of his famous brother1 ,michael ,angelo1 who spent his earnings for the advantage of his brothers1 and the advancement of his family1 with a kindness and generosity as beautiful as it is rare4 ,francesca1 the mother of ,michael ,angelo and of the other sons of ,lodovico ,buonarroti1 was married to him in #adgb4 ,when she died is not known1 but ,lodovico married his second wife ,lucrezia in #adhe4 ,she died childless in #adig1 and was buried upon ,july #i in the ,church of ,santa ,croce4 ,in the year #adig ,buonarroto visited ,rome1 and informed ,michael ,angelo1 the only hope of the family1 of their pecuniary troubles4 ,michael ,angelo wrote kindly to his father3 ,,domino ,,lodovico ,,buonarroti1 in ,florence4 ,in the name of ,god1 the #aith day of ,august1 #adig4 ,,dearest ,,father1 c4--,bonarroto arrived on ,friday2 as soon as ,i knew of it ,i went to seek him at the inn1 and he told me by word of mouth how you are doing1 and informed me that ,consiglio1 the mercer1 annoys you very much1 and will not1 by any means1 come to an agreement1 and that he wishes to have you arrested4 ,i tell you that you must satisfy him and pay him some ducats on account2 and whatever you agree to pay him for the balance1 send and tell me1 and ,i will send it to you1 if you have it not2 although ,i have but little myself1 as ,i have told you1 ,i will contrive to borrow it1 so that you need not take money out of the ,monte17#gd7 as ,bonarroto says4 ,do not wonder that ,i have sometimes written irritably1 for ,i often get very angry1 owing to the many annoyances that happen to one away from his home4 ,i had an order to do a work for ,piero de' ,medici and bought the marble2 but ,i never began it because he did not do as he had promised1 so ,i stayed at home and carved a figure for my pleasure4 ,i bought a piece of marble for five ducats2 it was not good2 the money was thrown away4 ,afterwards ,i bought another piece1 another five ducats1 and worked at it for my pleasure2 so you must believe that ,i also have expenses and troubles1 and you must make allowances4 ,i will send you the money1 though ,i should have to sell myself into slavery4 ,buonarroto arrived in safety and has returned to his inn2 he has a room2 he is all right and lacks nothing for as long as he likes to stay4 ,i have no accommodation for him to stay with me1 because ,i am living in another's house4 ,it suffices that ,i do not let him want for anything4 ,well1 as ,i hope you are4 ,,michael ,,angelo1 in ,rome4 7,in the hand of ,lodovico47 ,he says he will help me to pay ,consiglio47#ge7 ,nevertheless1 ,milanesi tells us in a note1 ,lodovico settled with ,consiglio1 to whom he owed ninety gold florins1 in the way ,michael ,angelo did not approve and after going to law about it4 ,a letter of ,lodovico's refers to the kindness of ,michael ,angelo in establishing his brothers in the cloth business4 ,it is dated ,december #ai1 #aejj4 444 and more1 ,i know that you have advanced money1 and the love you have for your brothers2 it is a great consolation to me4 ,about this matter of the money with which you wish to set up ,buonarroto and ,giansimone in a shop1 ,i have hunted and ,i am still hunting1 but as yet ,i have not found anything to please me4 ,true it is ,i have my hands on a good thing1 but it is necessary to keep one's eyes open and to take care not to get into difficulties2 ,i want to go slowly and with good counsel1 and ,i will tell you all about it day by day4 ,buonarroto tells me how you live yonder1 very economically1 or rather penuriously2 economy is good1 but penuriousness is evil1 for it is a vice displeasing to ,god and man1 and1 moreover1 it is bad for the body and soul4 ,whilst you are young you will be able to bear these hardships for a time1 but when the strength of youth fails you1 disease and infirmities will develop1 for they are engendered by hardship1 mean living1 and penurious habits4 ,as ,i said1 economy is good4 ,but1 above all1 do not be penurious2 live moderately and do not stint yourself2 above all things avoid hardships1 because in your art1 if you fall ill 7which ,god forbid71 you are a lost man2 above all things have a care of your head1 keep it moderately warm1 and never wash2 have yourself rubbed down1 but never wash4 ,buonarroto also tells me that you have a swelling on your side2 it comes from hardship or fatigue1 or from eating something bad and windy1 or suffering the feet to be cold or damp4 ,i have had one myself1 and it still troubles me when ,i eat windy food1 or when ,i endure cold or such like things4 ,our ,francesco formerly had one1 too1 and also ,gismondo similarly4 ,be careful about it because it is dangerous4 ,the name of ,michael ,angelo's good friend1 ,jacopo ,gallo1 appears in the agreement drawn up concerning the crowning work of this the first ,roman period1 the ,piet1 called the ,madonna della ,febbre1 first placed in the ,chapel of ,santa ,petronilla1 and now in the ,chapel of ,santa ,maria della ,febbre1 on the right of the entrance to ,st4 ,peters1 in ,rome4 ,the commission for this work was given by the ,cardinal ,jean de la ,grostaye de ,villiers ,franois1 ,abbot of ,st4 ,denis1 called in ,italy ,cardinal di ,san ,dionigi4 ,it is dated ,august #bf1 #adih4 ,image #d ,,the ,,madonna ,,bella ,,piet ,,saint ,,peter',s1 ,,rome 7,by permission1 of the ,fratelli ,alinari1 ,florence7 ,be it known and manifest to whoso shall read the ensuing document1 how the ,most ,reverend ,cardinal of ,san ,dionigi has agreed with the master1 ,michael ,angelo1 sculptor of ,florence1 that the said master shall make a ,piet of marble at his own cost2 that is1 a ,virgin ,mary clothed1 with the dead ,christ in her arms1 of the size of a proper man1 for the price of four hundred and fifty golden ,papal ducats1 within the term of one year from the day of the beginning of the work 7the ,cardinal agrees to pay certain sums in advance74 ,the contract concludes3 ,and ,i1 ,jacopo ,gallo1 promise to his ,most ,reverend ,monsignore that the said ,michael ,angelo will finish the said work within one year1 and that it shall be the most beautiful work in marble which ,rome to-day can show1 and that no master of our days shall be able to produce a better4 ,and similarly ,i promise the said ,michael ,angelo that the ,most ,reverend ,cardinal will disburse the payments as written above2 and in good faith1 ,i1 ,jacopo ,gallo1 have made the present writing with my own hand1 according to date of year1 month1 and day1 as above47#gf7 ,jacopo's boast and promise were justified1 for even now there is no finer complete work of sculpture in the whole of ,rome than the ,piet at ,st4 ,peter's4 ,it is said that ,michael ,angelo overheard certain ,lombards ascribe the ,piet to their own sculptor1 ,cristoforo ,solari1 called ,il ,gobbo4 ,he therefore carved his name upon the belt of the ,madonna's robe4 ,he never signed any other work4 ,nothing closes the great period of the fifteenth century so fitly as the ,piet of ,michael ,angelo1 prophesying at the same time the power of the art of the sixteenth4 ,,chapter ,,iii ,,the ,,david ,,and ,,the ,,cartoon ,,of ,,pisa ,family affairs recalled ,michael ,angelo to ,florence in the spring of #aeja4 ,he returned full of honours gained in ,rome1 and took up his position as the first sculptor of the day4 ,his next commission came from ,cardinal ,francesco ,piccolomini1 afterwards ,pope ,pius ,,iii4 ,a contract was signed on ,june #e1 #aeja1 by which ,michael ,angelo agreed to complete some fifteen statues of male saints within the time of three years1 for the ,piccolomini ,chapel1 in the ,duomo of ,siena4 ,a ,saint ,francis was begun by ,piero ,torrigiano1 and may have been finished by ,michael ,angelo4 ,the rest of the four works that were the outcome of this commission can have had nothing to do with the chisel of the sculptor of the ,madonna della ,febbre and the ,david4 ,michael ,angelo must have merely contracted to supply them1 as the master sculptor of a sculptor's yard1 possibly furnishing the designs himself4 ,there is a drawing at the ,british ,museum of a bearded saint1 cowled and holding a book in his left hand1 which may be a design for one of these inferior works4 ,image #e ,,david ,,the ,,academy1 ,,florence 7,by permission of the ,fratelli ,alinari ,florence7 ,image #f ,,david ,,in ,,the ,,piazza 7,by permission of the ,fratelli ,alinari1 ,florence7 ,image #g ,,saint ,,matthew ,,the ,,court ,,of ,,the ,,academy1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,in ,august of the same year1 #aeja1 ,michael ,angelo began the colossal statue of ,david1 that used to stand in the ,piazza and is now in the ,academy at ,florence4 ,the first contract for this work1 signed between ,michael ,angelo1 the ,arte della ,lana1 and the ,opera del ,duomo1 is dated ,august #af1 #aeja4 ,it states ,that the worthy master1 ,michael ,angelo1 son of ,lodovico ,bonarroti1 citizen of ,florence1 has been chosen to fashion1 complete1 and perfectly finish the male statue1 already rough hewn and called the giant1 of nine cubits in height17#gg7 now existing in the workshop of the ,cathedral1 badly blocked out afore-time by ,master ,agostino17#gh7 of ,florence4 ,the work shall be completed within the term of the next ensuing two years1 dating from ,september1 at a salary of six golden florins7#gi7 per month2 and whatever is needful for the accomplishment of this task1 as workmen1 wood1 c41 which he may require1 shall be supplied him by the said ,operai2 and when the said statue is finished1 the ,consuls and ,operai1 who shall be in office1 shall estimate whether he deserve a larger recompense1 and this shall be left to their consciences4 ,michael ,angelo began to work in a wooden shed1 erected for that purpose near the ,cathedral1 on ,monday morning1 ,september #ac1 #aeja1 and the ,david is said to be almost entirely finished in a note1 dated ,january #be1 #aejc17hj7 when a solemn council of the most important artists1 then resident in ,florence1 met at the ,opera del ,duomo to consider where the statue should be placed4 ,what an original way of deciding sthetic questions6 ,they came to the admirable conclusion that the choice of the site should be left to ,michael ,angelo4 ,amongst those who spoke at the meeting were ,francesco ,monciatto1 a wood carver1 who suggested that the statue should be erected in front of the ,duomo1 where the block was originally meant to be set up2 he was supported by the painters ,cosimo ,rosselli and ,sandro ,botticelli4 ,giuliano da ,san ,gallo proposed to place it under the ,loggia dei ,lanzi1 because the imperfection of the marble1 which is softened by exposure to the air1 renders the durability of the statue doubtful4 ,messer ,angelo de ,lorenzo ,manfidi 7second herald7 objected because it would break the order of certain ceremonies held in the ,loggia4 ,leonardo da ,vinci followed ,san ,gallo2 he did not think it would injure the ceremonies4 ,salvestro1 a jeweller1 and ,filippino ,lippi supported ,piero di ,cosimo1 who proposed that the precise spot should be left to the sculptor who made it1 as he will know better how it should be4 ,michael ,angelo elected to have his ,david set up on the steps of the ,palazzo ,vecchio1 on the right side of the entrance4 ,its effect in that position may be well seen1 appropriately enough1 in a picture by the same ,piero di ,cosimo 7,no4 #hie71 in the ,national ,gallery1 where the ,piazza della ,signoria forms the background to a portrait of a man in armour4 ,il ,cronaca1 ,antonio da ,san ,gallo1 ,baccio d',agnolo1 ,bernardo della ,cecca1 and ,michael ,angelo were associated in the task of transporting the giant from the workshop near the ,duomo to the ,piazza della ,signoria4 ,it was encased in planks and suspended upright from great beams4 ,on ,may #ad1 #aejd1 the marble giant was dragged from the ,opera4 ,it came out at twenty-four o'clock1 and they broke the wall above the door enough to let it pass4 ,that night some stones were thrown at the ,colossus with intent to injure it2 a watch had to be set over it at night1 and it made way very slowly1 bound as it was upright1 suspended so that the feet were off the ground by enormous beams with much ingenuity4 ,it took four days to reach the ,piazza1 arriving on the #ahth at the hour of twelve4 ,more than forty men were employed to make it go1 and there were fourteen logs to go beneath it1 which were changed from hand to hand4 ,afterwards they worked until ,june #h1 #aejd1 to place it on a pedestal where the ,judith used to stand4 ,the ,judith was removed and set upon the ground within the palace4 ,the said giant was the work of ,michael ,angelo ,buonarroti47#ha7 ,the great marble ,david stood in the ,piazza three hundred and sixty-nine years2 it was removed to the hall of the ,accademia delle ,belle ,arti in #ahgc for its better preservation4 ,it has suffered very little from its exposure in the fine air of ,florence1 but the left arm was broken by a huge stone thrown during the tumults of #aebg4 ,giorgio ,vasari and his friend ,cecchino ,salviati collected the broken pieces and brought them to the house of ,michael ,angelo ,salviati1 father of ,cecchino4 ,they were carefully put together and restored to the statue in #aedc4 ,the ,david was the first work by ,michael ,angelo that displayed the awe-inspiring quality known as his ,terribilit2 from the fierce frown of the brow to the sharp1 strained forms of the feet and toes there is an expression of strenuous force struggling against an almost overwhelming power4 ,the force of the ,david may succeed against ,goliath2 but in ,michael ,angelo's later works the struggle always appears to be a hopeless one1 nobly as his ,titans fight against fate and omnipotence4 ,the face of the ,david is a development of the ,saint ,george of ,or ,san ,michele1 by ,donatello1 and the figure is of the same type1 only this triumphant boy of ,michael ,angelo's shows a more exact study of the antique than the naturalistic work of his master4 ,in ,donatello the planes are given as flat1 and their junctions are sharp and hard2 in ,michael ,angelo they are carefully rounded and finished with the grace of the antique and of life4 ,the details of the head1 although so high up1 are so absolutely perfect that the separate features have been1 and are still1 the models set before all students of art when they first begin to study the human figure1 and they are known as the nose1 the eye1 the ear1 and the mouth4 ,we have noticed that the young student is more interested in his work when he is told that they are the features of the ,david4 ,michael ,angelo carved his giant without modelling a full-size clay figure first1 but with the guidance of drawings and small wax models about eighteen inches high only1 carving the figure out of the block in the way that is so well seen in the unfinished ,saint ,matthew in the court of the ,accademia delle ,belle ,arti1 in ,florence4 ,there are two small wax models of the ,david in the ,casa ,buonarroti at ,florence1 said to be ,michael ,angelo's designs for this figure1 but they are of very doubtful authority4 ,later in his life he is said to have worked from full-sized models1 as ,benvenuto ,cellini tells us in his ,trattati dell' ,oreficeria1 c47#hb7 ,vasari tells the story of how ,michael ,angelo contented the ,gonfaloniere and silenced his criticism of the ,david3 ,while still surrounded by the scaffolding ,pier ,soderini inspected the statue1 which pleased him immensely1 and when ,michael ,angelo was re-touching it in parts1 ,soderini said to him that the nose appeared to him too big4 ,michael ,angelo1 knowing that the ,gonfaloniere was close under the statue and that from this point of view the truth was not to be discerned1 mounted the scaffolding1 which was as high as the shoulder of the giant1 and quickly took a chisel in his left hand with a little of the marble dust from the platform and began to let fall a little of it at each touch of the tool1 but he did not alter the nose from what it was before2 then he looked down to the ,gonfaloniere1 who stood watching below3 ',look at it now1' said ,michael ,angelo4 ',i like it better4 ,you have given it life1' said the ,gonfaloniere1 rubbing the dust out of his eyes4 ,on ,august #ab1 #aejb1 ,michael ,angelo undertook another commission for the ,republic--another giant ,david4 ,this time it was to be in bronze1 two cubits and a quarter in height2 in the casting he was to be assisted by ,benedetto da ,rovezzano4 ,it has been suggested that the pen and ink drawing in the ,louvre is a design for this second ,david1 but the drawing of an arm on the same sheet is so like the right arm of the first ,david that it is more probably an early idea for the first ,david1 in which we see that ,michael ,angelo's design needed more room than the cramped block of marble allowed2 it makes us wonder the more at the marvellous freedom of action that he managed to get out of the cramped stone4 ,the bronze ,david was intended for the ,french statesman1 ,pierre de ,rohan1 ,marchal de ,gi1 as a present from the ,florentine ,republic1 but before it was finished the ,marchal fell into disgrace and could be of no further use to the ,florentines4 ,the ,signory therefore determined to send the bronze to ,florimond ,robertet1 ,secretary of ,finance to the ,french ,king4 ,a minute of the ,signory dated ,november #f1 #aejh1 informs us that the bronze ,david1 weighing about #hjj pounds1 had been packed in the name of ,god1 and sent to ,signa on its way to ,leghorn4 ,florimond ,robertet placed it in the courtyard of his chteau of ,bury1 near ,blois4 ,it remained there for more than a hundred years1 then it was removed to the chteau of ,villeroy1 and disappeared no one knows whither4 ,on ,april #bd1 #aejc1 the ,consuls of the ,arte della ,lana and the ,operai of the ,duomo ordered ,michael ,angelo to carve out of ,carrara marble twelve ,apostles1 each four and a quarter cubits high1 to be placed inside the church4 ,one was to be finished each year1 the ,operai paying all expenses1 including the cost of living for the sculptor and his assistants1 and paying him two golden florins a month4 ,they built a house and workshops for him in the ,borgo ,pinti2 it was designed by ,il ,cronaca4 ,michael ,angelo lived there rent free until it was evident that the contract could not be carried out4 ,he then hired it on a lease1 but on ,june #ae1 #aejh1 the lease of the house was transferred to ,sigismondo ,martelli4 ,the ,st4 ,matthew1 now in the courtyard of the ,accademia delle ,belle ,arti1 in ,florence1 is the only work we know of resulting from this commission4 ,the apostle is just emerging from the marble1 and shows us ,michael ,angelo's method of work4 ,vasari says3 ,at this time he also began a statue in marble of ,san ,matteo in the works of ,santa ,maria del ,fiore1 which1 though but roughly hewn1 shows his perfections1 and teaches sculptors how to carve figures from the stone without maiming them1 always gaining ground by cutting away the waste stone1 and being able to draw back or alter in case of need4 ,the deep chisel marks in the stone are sometimes as much as four inches long1 and their directions indicate that ,michael ,angelo worked equally well with either hand1 a fact confirmed by ,raffaello de ,montelupo in his ,autobiographie47#hc7 ,here ,i may mention that ,i am in the habit of drawing with my left hand1 and that once1 at ,rome1 while ,i was sketching the arch of ,trajan from the ,colosseum1 ,michael ,angelo and ,sebastiano del ,piombo1 both of whom were naturally left-handed 7although they did not work with the left hand excepting when they wished to use great strength71 stopped to see me1 and expressed great wonder4 ,image #h ,,the ,,madonna ,,and ,,child1 ,,with ,,the ,,child ,,saint ,,john ,,the ,,bargello1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,the ,florentine love of bas-relief explains to some extent their extreme devotion to the tondo1 or circular shape1 in paintings and in sculptures4 ,according to ,vasari1 it was at this time that ,michael ,angelo carved two tondi3 one for ,bartolommeo ,pitti1 now in the ,bargello at ,florence1 and the other for ,taddeo ,taddei1 now at ,burlington ,house1 in the ,diploma ,gallery of the ,royal ,academy1 ,london4 ,it was acquired by ,sir ,george ,beaumont1 and is the most valuable work the ,academy possesses4 ,if it were in an out-of-the-way palace in ,florence many of us would see it more frequently than we do now1 although we have only to climb a few steps to visit this glorious work any day we are in ,piccadilly4 ,both of these reliefs represent the ,madonna and ,child1 with the child ,st4 ,john4 ,the one in the ,bargello appears to be the earlier2 the composition is very beautiful and simple1 and fills the circular space admirably4 ,the ,madonna is seated facing the spectator1 and looks out full towards him with an enigmatical expression on her proud features2 the ,child stands beside her1 ,his elbow on her knee1 as in the ,bruges ,madonna4 ,the ,st4 ,john is only roughly cut1 but the movement and forms are so well realised under the marble that one does not wish for any further finish4 ,in the ,royal ,academy tondo the ,madonna is seated more to the side of the circle1 and is in profile2 the ,child reclines upon her knee1 clinging to her arm1 startled but interested by the little bird ,st4 ,john has brought to show ,him 7a favourite motive with ,italian artists74 ,the head and shoulders of the ,madonna and the torso of the ,child ,jesus are the only parts that are near completion1 yet the whole group is so much there that we do not ask for another touch2 in fact1 the works of ,michael ,angelo were finished from the very first strokes4 ,the rough charcoal drawing upon the block of marble1 could we see it1 would have been complete to us1 only ,michael ,angelo could add anything to it2 and so it is with every fragment of stone or other piece of work by his hand1 from the lightest charcoal drawing to the great marble fragments in the grotto of the ,boboli ,gardens4 ,they are complete to us2 the thing he thought is there1 and the art is there1 and we are satisfied4 ,image #i ,,the ,,holy ,,family ,,the ,,uffizi1 ,,florence 7,reproduced by permission from a photograph by ,sig4 ,d4 ,anderson1 ,rome7 ,another tondo executed about this time is the painting now in the ,uffizi1 the only easel picture known with certainty to be by the hand of ,michael ,angelo4 ,this ,holy ,family1 with naked shepherds in the background1 was painted for ,angelo ,doni1 the same man whose portrait was painted by ,raphael4 ,vasari says that ,michael ,angelo asked seventy ducats for the work1 but that ,doni only offered forty when the picture was delivered4 ,michael ,angelo sent word that he must pay a hundred or send back the picture4 ,doni offered the original seventy2 but ,michael ,angelo replied that if he was bent on bargaining1 he should not pay less than one hundred and forty4 ,in this composition the ,madonna is seated upon the ground1 forming a pyramid1 of which the heads of ,joseph and the ,child form the apex2 her lithe and strong form has a ,greek loveliness as she turns quickly and receives the beautiful ,child on to her shoulder from the arms of ,joseph4 ,never in any painting have the drawing and modelling of the human figure been so perfectly executed as in the figure of this ,child and the arms of the ,madonna2 the hands and feet are modelled with the delicacy of a ,flemish miniature1 and at the same time have a beauty and suavity of modelling and a magnificent choice of line altogether ,italian4 ,on either side of the central triangle the spaces between it and the circumference of the tondo are filled by the introduction of the infant ,st4 ,john and some nude shepherds2 the landscape background is austere as the mountain tops of some primeval world where such titanic beings as these of ,michael ,angelo's alone could dwell4 ,the old painters loved to decorate their ,madonna pictures with all the most beautiful things they could think of1 or most loved4 ,the ,florentines with fair and pleasant gardens2 the ,umbrians with spacious colonnades1 distant landscapes1 and rare skies2 the ,venetians with fruits and garlands of foliage and fruit1 and even vegetables1 if they had a particular regard for them1 as ,crivelli had for the cucumber4 ,one painter only before this time decorated his pictures with nude human figures1 ,luca ,signorelli4 ,michael ,angelo may have seen a ,madonna of his1 with two nude figures in the background1 executed for ,lorenzo de' ,medici1 and now hung in the ,gallery of the ,uffizi4 ,michael ,angelo1 who knew the beauty of the human form better than any one1 would never be content to decorate his tondo with any less beautiful offering after seeing this picture by ,signorelli4 ,the tondo form was a favourite one with ,signorelli4 ,his two pictures of this shape in ,florence perhaps helped ,michael ,angelo in the three compositions we have been considering2 and this is the only debt ,michael ,angelo owes to the ,umbrian painter4 ,their way of looking at the nude and their ideals of its beauty are so absolutely different1 the one from the other1 that possibly the ,florentine could hardly bear to look at the work of the ,umbrian4 ,image #aj ,,the ,,cartoon ,,of ,,pisa ,,from ,,the ,,monochrome ,,at ,,holkham ,,hall 7,by permission of the ,earl of ,leicester7 ,in ,august #aejd1 ,michael ,angelo was commissioned to prepare cartoons for the decoration of a wall in the ,sala del ,gran ,consiglio in the ,palazzo ,vecchio1 opposite the wall for which ,leonardo da ,vinci was already preparing designs4 ,michael ,angelo had a workshop given him in the ,hospital of the ,dyers at ,san ,onofrio1 under the date ,october #ca1 #aejd2 a minute of expenditure shows that paper for the cartoon was provided4 ,leonardo's design was the famous ,fight for the ,standard4 ,michael ,angelo chose an episode from the war with ,pisa1 when1 on ,july #bh1 #acfd1 a band of four hundred ,florentines were surprised bathing in the ,arno by ,sir ,john ,hawkwood 7,giovanni ,acuto7 and his cavalry1 then in the service of the ,pisans1 a subject that enabled ,michael ,angelo to express his delight in the beauty of the human form1 and his power of drawing and foreshortening the naked limbs of the bathers as they hurry out of the river and don their armour at the sound of the alarm4 ,this great central work of ,michael ,angelo's prime has disappeared1 and we must be very careful in studying it to allow for the weakness of the work of the copyists and engravers who preserved what little record of it is left for us1 especially in the drawing of the nude4 ,if we compare the vault of the ,sistine ,chapel with the contemporary engravings we shall be able to estimate the enormous difference between the cartoon1 which may have been the greatest work of art produced in ,italy1 and the copies of it that exist4 ,the most complete copy of the cartoon is the monochrome painting belonging to the ,earl of ,leicester1 at ,holkham ,hall4 ,there is a sketch of the whole composition in the ,albertina ,gallery at ,vienna1 and the line engraving by ,marc ,antonio ,raimondi of three principal figures with a foolish ,italian rendering of a ,german engraved landscape in the background1 utterly destroying what little ,michael ,angelesque dignity the engraver was able to get into the figures1 with his poor knowledge of the nude4 ,the best remnants we have are some few of ,michael ,angelo's own studies from the nude1 done especially for this composition2 they are full of the power1 vigour1 and naturalism peculiar to this period1 rude forms hacked out of the paper with a broad pen1 altered with charcoal1 chalk1 white paint1 or anything handy and effective2 from them we must try and imagine the power1 breadth and dignity of the great composition4 ,the work was done upon ordinary paper1 stretched over canvas or linen fixed on a wooden frame1 like the few cartoons by the great masters that have come down to us4 ,the outlines were usually pricked1 and when finished the cartoon was cut into convenient sizes for pouncing on the wall or other foundation upon which the picture was to be painted1 unless the artist took the precaution of putting a plain piece of paper under the original drawing and pricking both together and transferring the outlines by the aid of the second sheet4 ,these cut-up cartoons became the property of the whole workshop1 and were used by the pupils when they wished4 ,no doubt the roughness of this treatment soon destroyed many of them4 ,vasari1 who cannot have seen the ,cartoon of ,pisa1 gives us a long1 enthusiastic description of it1 ending with some helpful notes as to the materials with which it was drawn1 and an account of its effect upon contemporary artists4 ,he continues3 ,in addition1 you discovered groups of figures sketched in various methods1 some outlined with charcoal1 some shaded with lines1 some rubbed in1 some heightened with white-lead1 the master having sought to prove his empire over all materials of draughtsmanship47#hd7 ,the craftsmen of design remained therewith astonished and dumbfounded1 recognising the fullest reaches of their art revealed to them by this unrivalled masterpiece4 ,those who examined the forms ,i have described1 painters who inspected and compared them with works hardly less divine1 affirm that never in the history of human achievement was any product of man's brain seen like to them in mere supremacy4 ,and certainly we have the right to believe this2 for when the cartoon was finished and carried to the hall of the ,pope1 amid the acclamation of all artists and to the exceeding fame of ,michael ,angelo1 the students who made drawings from it1 as happened with foreigners and natives through many years in ,florence1 became men of mark in several branches4 ,this is obvious1 for ,aristotele da ,san ,gallo worked there1 as did ,ridolfo ,grillandaio1 ,rafael ,santio da ,urbino1 ,francesco ,granaccio1 ,baccio ,bandinelli1 and ,alonso ,berugetta1 the ,spaniard2 they were followed by ,andrea del ,sarto1 il ,franciabigio1 ,jacomo ,sansovino1 il ,rosso1 ,maturino1 ,lorenzetto1 ,tribolo 7then a boy71 ,jacomo da ,puntormo1 and ,pierin del ,vaga1 all of them first-rate masters of the ,florentine school4 ,benvenuto ,cellini's account is important1 for he himself copied the cartoon in #aeac just before it disappeared4 ,he says3 ,michael ,angelo portrayed a number of foot soldiers1 who1 the season being summer1 had gone to bathe in the ,arno4 ,he drew them at the moment the alarm is sounded1 and the men1 all naked1 rush to arms4 ,so splendid is their action1 that nothing survives of ancient or of modern art which touches the same lofty point of excellence2 and1 as ,i have already said1 the design of the great ,leonardo was itself most admirably beautiful4 ,these two cartoons stood1 one in the ,palace of the ,medici1 the other in the hall of the ,pope4 ,so long as they remained intact they were the school of the world4 ,though the divine ,michael ,angelo in later life finished that great chapel of ,pope ,julius1 he never rose half-way to the same pitch of power2 his genius never afterwards attained to the force of those first studies4 ,these years spent under the shadow of the ,duomo1 away from which no ,florentine is happy1 working at his sculptures and drawings1 were probably some of the happiest years of ,michael ,angelo's whole life4 ,,chapter ,,iv ,,the ,,first ,,act ,,of ,,the ,,tragedy ,,of ,,the ,,tomb ,image #aa ,,moses ,,the ,,tomb ,,of ,,julius ,,ii4 ,,san ,,pietro ,,in ,,vincoli1 ,,rome 7,by permission of ,sig4 ,giacomo ,brogi1 ,florence7 ,the cartoon1 ,the ,apostles for the ,duomo1 and all these works1 had to be left unfinished1 as ,michael ,angelo was summoned to ,rome in the beginning of #aeje by ,pope ,julius ,,ii4 ,from this period ,michael ,angelo was the servant1 often the unwilling servant1 of the ,popes 7his ,medusa as he said74 ,much of his time was wasted owing to the different dispositions and likings of his patrons1 yet we must be thankful to them for the opportunities they gave him in their great undertakings4 ,now began what ,condivi called ,the ,tragedy of the ,tomb2 the phrase is so apt that we imagine he must have got it from ,michael ,angelo himself4 ,julius appears to have appreciated his artist from the first2 both were what the ,italians call uomini terribili1 men whose brains worked with furious energy1 grand and formidable in their imaginations4 ,michael ,angelo was packed off to ,carrara for marble as soon as his design was approved4 ,there is a contract signed by him and two shipowners of ,lavagna1 dated ,november #ah1 #aeje4 ,thirty-four cartloads of marble were then ready for shipment1 together with two blocked-out figures4 ,he probably left ,carrara soon afterwards1 returning to ,rome by way of ,florence4 ,the only authoritative account of the original project of the ,tomb is that of ,condivi2 ,vasari's account was not published until his second edition in #aeeh4 ,the architectural drawings1 said to be designs for this ,tomb1 are of doubtful authenticity2 most of them are certainly not by ,michael ,angelo4 ,we must therefore study ,condivi1 who probably got the details from ,michael ,angelo himself1 though he1 too1 must have had great difficulty in recalling the ideas of forty-eight years ago47#he7 ,the plans for the new church of ,st4 ,peter's1 the largest church in ,christendom1 were altered to embrace this huge monument1 but a transept of the little church of ,san ,pietro in ,vincoli gave ample space for the final scheme1 when it was set up in #aede4 ,the only statues we know belonging to it by ,michael ,angelo are the ,moses and the two bound ,slaves in the ,louvre2 the other six statues in ,san ,pietro in ,vincoli were finished by assistants4 ,the unfinished marble figures so unworthily housed in the stupid rock-work grotto of the ,boboli ,gardens1 ,florence1 may have been for the ,tomb1 although their measurements do not agree with the ,slaves of the ,louvre4 ,how well these superlative fragments would look in the corners of the ,loggia dei ,lanzi1 or in the courtyard of the ,bargello4 ,in the ,bargello two groups1 the ,victory and the ,dying ,adonis1 may have been originally intended for the ,tomb1 but we believe they have been finished and considerably altered by some later workman2 possibly they were only blocked out by ,michael ,angelo4 ,the movement of the figure and the position of the head have been altered in the ,victory1 and the whole subject of the ,adonis has been changed by the introduction of the insignificant boar4 ,vasari tells us that in his time there were1 besides the ,moses1 ,victory1 and two ,slaves1 eight figures blocked out by ,michael ,angelo at ,rome1 and five at ,florence2 possibly these five at ,florence were the four in the ,boboli ,gardens and an earlier state of the ,adonis4 ,after his flight from ,rome in #aejf ,michael ,angelo had some six months at ,florence1 working on his cartoon in the workshop at the ,spedale dei ,tintori4 ,when he went to ,julius at ,bologna in ,november it was finished1 and was exhibited in the ,sala del ,papa at ,santa ,maria ,novella4 ,all this time ,bramante and his set had the ,pope's ear in ,rome4 ,he has been accused of suggesting that ,michael ,angelo should paint the vault of the ,sistine ,chapel1 in the hope that he would ignominiously fail in such an unusual task2 but we do not think we can thank ,bramante even for that indirect service1 for ,michael ,angelo's friend1 ,pietro ,rosselli1 wrote on ,may #f1 #aejf3-- ,image #ab ,,two ,,of ,,the ,,unfinished ,,marble ,,statues ,,in ,,the ,,grotto ,,of ,,the ,,boboli ,,gardens1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,dearest in place of a brother1 after salutations and kind regards3--,i inform you how on ,saturday evening1 when the ,pope was at supper1 ,i showed him certain designs that ,bramante and ,i had to examine4 ,when the ,pope had supped and ,i had showed them to him1 he sent for ,bramante and said to him3 ',sangallo goes to ,florence and will bring ,michael ,angelo back with him4' ,bramante replied to the ,pope1 and said3 ',holy ,father1 he will do no such thing1 because ,i know ,michael ,angelo well enough1 and he has told me many a time that he will not undertake the ,chapel1 which you wanted to put upon him2 and that he intended to apply himself to sculpture all the time and not to painting4' ,and he said3 ',holy ,father1 ,i believe that he has not courage enough for it1 because he has not painted many figures1 and especially as these will be high up and foreshortened2 and that is quite another thing to painting on the ground4' ,then the ,pope replied1 and said3 ',if he does not come he will do me wrong1 so ,i think he will return anyhow4' ,upon this ,i up and abused him soundly there in the presence of the ,pope2 and said what ,i believe you would have said for me1 so that he did not know what to reply1 and he seemed to think he had made a mistake4 ,and ,i said further3 ',holy ,father1 he has never spoken to ,michael ,angelo1 and as to what he has now told you1 if it be true may you cut my head off1 for he never did speak to ,michael ,angelo2 and ,i believe he will return by all means1 whenever your ,holiness desires4' ,and so the thing ended4 ,i have nothing more to tell you4 ,god keep you from harm4 ,if ,i can do anything for you let me know2 ,i will do it willingly4 ,remember me to ,simone il ,pollaiuolo47#hf7 ,bramante was not far wrong in what he said about vault painting4 ,he alluded to the method of foreshortening employed by his fellow countryman1 ,melozzo da ,forli1 by which he made figures painted on domes and vaults look as if they were suspended in the air really above the spectators1 and not simply a pattern painted on the surface of the plaster2 this method was perfected by ,correggio1 but was never practised successfully by a ,florentine4 ,,chapter ,v ,,the ,,colossal ,,bronze ,,for ,,the ,,fa,,ade ,,of ,,san ,,petronio ,the ,pope entered ,bologna in triumph on ,november #aa1 #aejf1 after the marvellous campaign by which he restored two rich provinces to the ,church with only five hundred men-at-arms and his twenty-four ,cardinals4 ,less than ten days afterwards he inquired for his artist4 ,the ,cardinal of ,pavia wrote an autograph letter to the ,signory of ,florence on the #bast1 urgently requesting that they would despatch ,michael ,angelo immediately to that town1 inasmuch as the ,pope was impatient for his arrival1 and wanted to employ him on important works4 ,on ,november #bg ,soderini wrote to the ,cardinal of ,pavia introducing ,michael ,angelo and praising the cartoon the artist had to leave unpainted1 and to the ,cardinal of ,volterra more formally as follows3-- ,the bearer will be ,michael ,angelo1 the sculptor1 whom we send to please and satisfy his ,holiness our ,lord4 ,we certify your ,lordship that he is a worthy young man1 and in his own art without a peer in ,italy2 perhaps also in the universe4 ,we cannot recommend him too highly4 ,he is of such a nature1 that with good words and kindness one can make him do anything4 ,show him love and show him kindness1 and he will do things that will make all who see them wonder4 ,we inform your ,lordship that he has begun a story for the ,republic which will be admirable1 and also ,,xii ,apostles1 each #d-a_/b to #e braccia high1 which will be remarkable4 ,we recommend him to your lordship as much as we can4 ,the ,,xxvii of ,november1 #aejf47hg7 ,michael ,angelo says in his letter to ,fattucci7#hh7 that the portrait he now modelled of ,pope ,julius was in bronze1 sitting1 about seven cubits in height47#hi7 ,at the end of the two years that it took him to finish the work he had to cast it twice4 ,he says4 ,i found that ,i had four and a half ducats left4 ,i never received anything more for this work2 and all the moneys paid out during the said two years were the #ajjj ducats with which ,i promised to cast it4 ,michael ,angelo worked in the ,stanza del ,pavaglione behind the ,cathedral2 he employed three assistants1 from ,florence--,lapo ,antonio di ,lapo1 a sculptor2 ,lodovico del ,buono1 called ,lotti1 a founder2 and ,pietro ,urbano1 a man who worked for him for a long time4 ,his way of life was frugal and sordid in the extreme4 ,in his letter to his brother ,buonarroto he says7#ij73-- ,with regard to ,giovansimone coming here1 ,i do not advise it as yet1 for ,i am lodged in one wretched room1 and have bought one single bed1 in which we all four of us sleep4 ,and ,i shall not be able to receive him suitably4 ,but if he will come all the same1 let him wait till ,i have cast the figure ,i am doing1 and ,i will send away ,lapo and ,lodovico who are helping me1 and ,i will send him a horse so that he may come decently and not like a beggar4 ,no more4 ,pray to ,god for me that things may go well4 ,,michael ,,angelo1 ,sculptor1 in ,bologna4 ,another letter tells of a visit from the ,pope1 troubles with his workmen1 and his usual generosity to his brothers and father4 ,to ,,buonarroto ,,di ,,lodovico ,,simone1 in ,firenze7#ia7 ,to be delivered at the shop of ,strozzi1 wool merchant1 in the street of the ,porta ,rossa4 ,,buonarroto1--,i hear by one of yours how things went about the little farm2 it is a great comfort to me and pleases me well1 if it is a sure thing4 ,of the affairs of ,baronciello ,i am well informed1 and from what ,i understand it is a much more serious thing than you make out2 and for my part1 it not being to my taste1 ,i do not ask it4 ,we are all obliged to do all we can for ,baronciello1 and so we will1 especially everything that is in our power4 ,you must know that on ,friday evening at twenty-one o'clock ,pope ,julius came to my house where ,i work1 and stayed about half an hour while ,i was at work2 then he gave me the benediction1 and went away1 and showed himself well pleased with what ,i am doing4 ,for all this we must thank ,god heartily2 and so ,i beg you to do1 and pray for me4 ,i inform you further1 how that on ,friday morning ,i sent away ,lapo and ,lodovico1 who were with me4 ,lapo ,i dismissed because he is good for nothing and a rogue1 and would not serve me4 ,lodovico is better1 and ,i would have kept him another two months2 but ,lapo1 so as not to be the only one blamed1 so corrupted him that they both had to go4 ,i write this not because ,i care for them1 for they are not worth three halfpence between them1 but because1 if they come to talk to ,lodovico1 he must not be surprised4 ,tell him by no means to lend them his ears2 and if you want to know about them go to ,messer ,agnolo1 the ,herald of the ,signoria1 for ,i have written all the story to him1 and he1 out of his kindness1 will relate it to you4 ,of ,giovansimone ,i have heard4 ,i shall be pleased if he goes to the shop of your master and is careful to do his best2 and so comfort him1 because1 if all goes well1 ,i have hopes of placing you both in a good position1 if you will be discreet4 ,about that land which is beside that of ,mona 7#ib7 ,zanobia1 if ,lodovico likes it1 tell him to see about it and let me know4 ,i think1 according to what is rumoured here1 the ,pope will leave about the time of ,carnival4 ,the first day of ,february1 #aejf4 ,,michael ,,angelo ,,di ,,lodovico ,,di ,,buonarrota ,,simoni1 ,sculptor1 in ,bologna4 ,notwithstanding this warning1 the silly old man1 his father1 wrote a scolding letter to his son about the workmen4 ,michael ,angelo's humble reply was dated ,february #h1 #aejg47ic7 ,,most ,,revered ,,father1--,i have received a letter from you to-day1 from which ,i learn that you have been talked to by ,lapo and ,lodovico4 ,i am glad that you should rebuke me1 because ,i deserve to be rebuked as a miserable sinner1 as much as any one1 perhaps more4 ,but you must know that ,i have not been guilty in this affair for which you blame me now4 ,he goes on to explain his dealings with the rogue ,lapo4 ,there is also trouble about a sword-hilt7#id7 ,michael ,angelo had designed for ,pietro ,aldobrandini4 ,however1 ,aldobrandini objected that the blade was too short4 ,michael ,angelo affirmed that it was ordered exactly to the measure sent1 and bade his brother present it to ,filippo ,strozzi as a compliment from the ,buonarroti family2 but the stupid fellow bungled it in some way1 for ,michael ,angelo writes to say that he is sorry he behaved so scurvily towards ,filippo in so trifling an affair4 ,michael ,angelo must have spent his spare time in studying the bas-reliefs by ,jacopo della ,quercia upon the faade of ,san ,petronio1 for he used many of the motives in his next great work1 the ,sistine vault4 ,when the wax model of the statue of ,pope ,julius was ready1 ,michael ,angelo sent to ,florence for the ordnance founder to the ,republic1 ,maestro dal ,ponte1 of ,milan1 to cast it for him4 ,this master's leave of absence was signed on ,may #ae1 #aejg4 ,just before the casting ,michael ,angelo wrote to ,buonarroto3-- ,to ,,buonarroto ,,di ,,lodovico ,,simoni1 in ,florence1 at the ,shop of ,,lorenzo ,,strozzi1 ,wool ,merchant1 in ,porta ,rossa1 ,florence4 ,,buonarroto1--,i have received yours by the hand of ,master ,bernardo1 who has arrived2 by it ,i hear all are well except ,giovansimone1 who has not yet recovered4 ,i am very sorry1 and it grieves me not to be able to help him4 ,but soon ,i hope to be with you1 and ,i will do something that will please him1 and you others1 too4 ,therefore comfort him and tell him to be of good cheer4 ,tell ,lodovico also that about the middle of next month ,i hope to cast my figure without fail2 therefore1 if he will offer prayers1 or anything else for its good success1 let him do so betimes1 and say ,i beg this of him4 ,i have no time to write more4 ,things go well4 ,the twenty-sixth day of ,may 7#aejg74 ,,michael ,,angelo1 in ,bologna47#ie7 ,at last1 on ,july #a1 it is done1 but done badly2 and he writes3-- ,to the same4 ,,buonarroto1--,we have cast my figure1 and it has come out so badly that ,i truly believe ,i shall have to do it all again4 ,i cannot write all the particulars1 because ,i have other things to think of4 ,enough that it has come badly4 ,thanks be to ,god all the same1 because ,i believe everything is for the best4 ,before long ,i shall know what ,i have to do and will write to you4 ,tell ,lodovico about it1 and be of good cheer4 ,and if it should be that ,i have to do it all again1 and that ,i am not able to return to you1 ,i will find means somehow to do what ,i have promised in the best way ,i can4 ,the first day of ,july4 ,,michael ,,angelo1 in ,bologna47#if7 ,he gives further details in his next letter3-- ,,buonarroto1--,understand how that we have cast my figure4 ,i have not had much luck in it2 for ,master ,bernardino1 either by ignorance or misfortune1 did not sufficiently melt the bronze4 ,how it happened would be long to tell2 it is enough that my figure has come out up to the girdle2 the rest of the stuff1 that is to say the metal1 remained in the furnace2 it was not melted2 so that to get it out ,i shall have the furnace taken to pieces1 and that ,i am doing now1 and ,i will have it remade again this week4 ,next week ,i will recast the upper part and finish filling the mould1 and ,i believe that this bad business will go very well1 but not without the greatest devotion1 labour1 and expense4 ,i would have believed that ,master ,bernardino could have cast it without fire1 so much faith had ,i in him2 all the same1 it is not that he is not a good master and that he did not work with a will4 ,but he who fails1 fails4 ,and he has failed enough to my loss and his own1 for he blames himself so much that he cannot lift his eyes in ,bologna4 ,if you see ,baccio d',agnolo read him this letter and ask him to tell ,san ,gallo1 at ,rome1 and remember me to him and to ,giovanni da ,ricasoli1 and to ,granaccio give my respects4 ,i hope1 if the thing goes well1 in from fifteen to twenty days to be through with it and to return to you4 ,if it should not go well1 ,i should perhaps have to do it again4 ,i will tell you all4 ,let me know how ,giovansimone is4 ,the sixth day of ,july4 7,no signature47 ,with this will be a letter to go to ,rome for ,giuliano da ,san ,gallo4 ,send it safely and as quickly as you can2 but if he should happen to be in ,florence1 give it to him47#ig7 ,again1 to the same3-- ,,buonorroto1--,i hear by one of yours that you are well and happy4 ,it pleases me very much4 ,my business here1 ,i hope1 will turn out well after all1 but as yet ,i know nothing4 ,we have recast the upper part which was wanting1 as ,i informed you1 but have not been able to see how it has come1 for the sand is so hot that we cannot as yet uncover it4 ,by next week ,i shall know and will tell you4 ,master ,bernardino left here yesterday4 ,when he salutes you receive him kindly enough4 ,the tenth day of ,july4 ,,michael ,,angelo1 in ,bologna47#ih7 ,to the same1 later 7,july #ah1 #aeja73-- ,,buonarroto1--,my affairs might have turned out much better and also much worse2 at any rate1 all of it is there as far as ,i can make out1 for it is not yet all uncovered4 ,i estimate that it will take some months to chase1 for it has come out with a bad surface2 all the same1 we must thank ,god6 for1 as ,i say1 it might have been worse4 ,if anything is said to you by ,salvestro del ,pollaiolo7#ii7 or others1 tell them that ,i do not need any one1 so that no one will be sent here to be on my shoulders1 because ,i have spent so much that there hardly remains enough for me to live on1 let alone keeping others4 ,about next week ,i will let you know more when ,i have uncovered the whole figure4 ,,michael ,,angelo1 in ,bologna47#ajj7 ,after several letters describing his labours1 he writes1 ultimately1 to the same3-- ,,buonarroto1--,i marvel you write to me so seldom4 ,i am sure you have much more time to write to me than ,i to write to you1 so let me hear often how things go4 ,i understand by your last how1 with good reason1 you wish me to return soon4 ,it made me anxious for several days2 therefore1 when you write to me1 write strongly and clearly what the matter is so that ,i may understand it--and enough4 ,know that ,i desire to return soon even more than you desire it1 for ,i pass my life here in the greatest discomfort and with the hardest labour1 doing nothing but work day and night1 and ,i have endured so much fatigue and hardship that if ,i should have to go through it again1 ,i do not believe my life would hold out1 for it has been an enormous undertaking1 and if it had been in any one else's hands it would have come out very badly4 ,but ,i believe the prayers of some one have sustained me and kept me in health1 for all ,bologna was of opinion that ,i should never finish it after it was cast1 and before also1 when no one would believe that ,i should ever cast it4 ,enough that ,i have brought it to a good end1 but ,i shall not quite have finished it by the end of this month1 as ,i hoped2 but next month1 at any rate1 it will be done1 and ,i will return4 ,so be all of good cheer1 for ,i will do as ,i promised whatever happens4 ,comfort ,lodovico and ,giovansimone for me and write to me how ,giovansimone does4 ,mind and learn to keep shop1 so that you will know how to do it when you need1 which will be soon4 ,the tenth day of ,november4 ,,michael ,,angelo1 in ,bologna47#aja7 ,he worked on until ,february1 and wrote to the same3-- ,,buonarroto1--,it is now a fortnight since ,i expected to be with you1 for ,i thought that directly my figure was finished they would place it4 ,and now these people are dawdling and doing nothing2 and ,i have orders from the ,pope not to leave until it is placed1 so that it seems to me ,i shall be prevented4 ,i shall stay and look after it all this week too2 if there are no further orders ,i will come away at all costs1 without observing the command4 ,with this will be a letter to go to the ,cardinal of ,pavia1 in which ,i reply to him about it all1 so that he cannot complain4 ,so put it in a cover and direct it to ,giuliano da ,san ,gallo on my part1 and desire him to deliver it with his own hand4 ,di ,bologna 7the #ahth day of ,february1 #aejh747ajb7 ,on ,february #ba1 #aejh1 the statue of ,pope ,julius ,,ii4 was hoisted on to its pedestal above the great central door of ,san ,petronio4 ,alas6 this work which cost ,michael ,angelo a year and three months of hard1 unremitting labour only existed for about twice that period4 ,it was destroyed by the worst enemy of art--war4 ,the ,papal ,legate fled from ,bologna in #aeaa and the ,bentivogli again entered the city4 ,the people of their party dragged the heavy bronze to the ground and broke it into pieces on ,december #cj4 ,the broken fragments were sent to ,alfonso d',este1 ,duke of ,ferrara1 who cast a huge cannon with the metal1 which the ,italians1 with their usual mocking spirit1 immediately called ,la ,giulia4 ,the ,duke kept the head only1 and said he would not take its weight in gold for it2 it weighed six hundred pounds4 ,this head has disappeared too2 there is no drawing1 engraving1 or any fragment to help us to reconstruct in our minds this mighty bronze2 only1 perhaps1 we may imagine that we have an echo of this ,pope by ,michael ,angelo when we turn our eyes from the bare front of ,san ,petronio to the niche on the ,palazzo ,comunale to the right of the square1 where a bronze ,pope1 ,gregory ,,xiii41 stretches his hand to curse the iconoclastic people4 ,in the ,piazza ,dante1 at ,perugia1 is the bronze statue of ,pope ,julius ,,iii41 by ,vincenzio ,dante1 that makes us think of the master1 and in ,rimini a mighty bronze form stretches out his right hand with a threatening gesture4 ,he1 too1 is a ,pope--,paul ,v4 ,image #ac ,,the ,,creation ,,of ,,the ,,sun ,,and ,,moon1 ,,and ,,of ,,the ,,trees ,,and ,,herbs ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,,chapter ,,vi ,,the ,,vault ,,of ,,the ,,sistine ,,chapel ,michael ,angelo's work in ,bologna well over1 he returned to ,florence upon ,march #ah1 #aejh1 and hired his house at ,borgo ,pinti from the ,operai del ,duomo1 probably intending to proceed with the ,twelve ,apostles for that church4 ,michael ,angelo's father now emancipated his son from parental control4 ,the date of the document is ,march #ac2 it was entered in the ,state ,archives upon ,march #bh4 ,according to the law of ,florence a son was not of age until his father had executed this document4 ,michael ,angelo appears to have had the idea of settling in ,florence at this time1 but his ,medusa1 as he called the ,pope1 commanded the presence of his artist in ,rome as soon as he heard that the work at ,bologna was finished4 ,michael ,angelo obeyed at once this time4 ,we have a good account by his own hand of what happened when he arrived in ,rome1 his famous letter to ,fattucci1 written sixteen years later4 ,to ,,ser ,,giovan ,,francesco ,,fattucci1 in ,rome4 ,from ,,florence 7,january #aebd74 ,,messer ,,giovan ,,francesco1--,you ask of me in your letter how my affairs stood with ,pope ,julius4 ,i tell you that ,i estimate that ,i could demand payment and interest on it1 to receive money rather than give it4 ,for when he sent for me to ,florence1 ,i believe it was in the second year of his ,pontificate1 ,i had begun to decorate the half of the ,sala del ,consiglio of ,florence1 that is to paint it4 ,i was to have had three thousand ducats for it1 and the cartoon was already completed1 as was well known to all ,florence1 so that they seemed to me half earned4 ,and of the ,twelve ,apostles1 which ,i had still to do for ,santa ,maria del ,fiore1 one was sketched out1 as may still be seen2 and ,i had carried thither the greater part of the marbles4 ,pope ,julius calling me away1 ,i received nothing for either undertaking4 ,afterwards1 ,i being in ,rome with the said ,pope ,julius1 he commissioned me to make his tomb1 into which was to go a thousand ducats' worth of marbles4 ,he paid me the money1 and sent me to ,carrara for them2 there ,i stayed eight months having them blocked out1 and brought them almost all to the piazza of ,st4 ,peter's2 a part remained at the ,ripa4 ,after ,i had paid the freightage of these said marbles the money received for this work came to an end4 ,i furnished the house ,i had on the piazza of ,st4 ,peter's with beds and furniture with my own money1 on my hopes of the tomb1 and sent for workmen from ,florence 7some of whom are still living71 and paid them with my own in advance4 ,by this time ,pope ,julius had changed his mind1 and no longer wished to have it done4 ,i1 not knowing this and going to him for money1 was chased from the room2 and for this insult ,i immediately left ,rome1 and everything ,i had in my house went to the bad2 and these marbles which ,i had bought lay on the piazza of ,st4 ,peter's until the creation of ,pope ,leo2 and on every side things went wrong4 ,among other things that ,i can prove1 two pieces1 of four braccia and a half each1 on the ,ripa were stolen from me by ,agostino ,chigi1 which had cost me more than fifty gold ducats2 and these could be claimed for1 because there are witnesses4 ,but to return to the marbles4 ,from the time that ,i went for them1 and that ,i remained at ,carrara1 until ,i was driven from the ,palace1 was more than a year1 for which period ,i never received anything1 and ,i paid out many tens of ducats4 ,image #ad ,,creation ,,of ,,man ,,sistine ,,chapel 7,by permission of ,messrs4 ,braun1 ,clement ,co41 in ,dornach1 ,alsace7 ,afterwards1 the first time ,pope ,julius went to ,bologna1 ,i was obliged to take my courage in both hands and go there to beg his pardon2 then he ordered me to make his portrait in bronze1 which was seated1 about seven braccia high4 ,he asking me what it would cost1 ,i said ,i believed ,i could cast it for a thousand ducats1 but that it was not my art and that ,i could not promise4 ,he replied to me3 ',go to work and cast it until it come well1 and we will give you what will content you4' ,to be brief1 it was cast twice4 ,at the end of the two years that ,i stayed there ,i found myself four ducats and a half in pocket2 and during that time ,i never received anything for all the expenses that ,i had1 except the thousand ducats which ,i had said that ,i could cast it for2 these were paid me in several installments by ,messer ,antonio ,maria da ,legnia 7me71 the ,bolognese4 ,having hoisted the figure on to the faade of ,san ,petronio1 and returned to ,rome1 ,pope ,julius did not yet wish me to go on with the tomb1 but set me to paint the vault of ,sisto1 and we made an agreement for three thousand ducats4 ,the first design was for twelve apostles in the lunettes1 and for the rest certain compartments filled with ornaments of the usual sort4 ,after beginning the said work it seemed to me it would be but a poor thing4 ,he asked me why8 ,i told him1 because they also were poor4 ,then he gave me a new order to do what ,i would1 and that he would satisfy me1 and that ,i was to paint down to the stories below4 ,when the vault was almost finished the ,pope returned to ,bologna1 where ,i went twice for money ,i needed1 uselessly1 and lost all my time1 until he returned to ,rome4 ,i returned to ,rome and set myself to work on the cartoons for the said vault1 that is1 for the ends and sides of the said ,chapel of ,sisto1 hoping to have money to finish the work4 ,i never could obtain anything2 and complaining one day to ,messer ,bernardo da ,bibbiena and ,attalante how that ,i was unable to stay any longer in ,rome1 but that ,i must go away1 with the help of ,god1 ,messer ,bernardo said to ,attalante that he must remember that he was to give me money in any case1 and he had two thousand ducats of the ,chamber given to me1 which are the moneys1 with that first thousand for marbles1 that they put to the account of the tomb2 and ,i estimate that ,i should have more for the time lost and the work done4 ,and of the said moneys1 ,messer ,bernardo and ,attalante having obtained it for me1 ,i gave to the one a hundred ducats1 to the other fifty4 ,then came the death of ,pope ,julius1 and in the first years of ,leo1 ,aginensis1 wishing to enlarge the tomb1 that is1 to make a greater work than the design ,i had at first prepared1 we made a contract1 and ,i not wishing the said three thousand ducats ,i had received to be put to the account of the tomb1 and showing that ,i ought to have much more1 ,aginensis said to me that ,i was a swindler47#ajc7 ,image #ae ,,creation ,,of ,,man ,,detail1 ,,sistine ,,chapel ,the preliminary works for the vault of the ,sistine ,chapel were carried on without delay1 and there is a note in ,michael ,angelo's hand1 saying3 ,i record how on this day1 the tenth of ,may1 in the year one thousand five hundred and eight1 ,i1 ,michael ,angelo1 ,sculptor1 have received from the ,holiness of our ,lord ,pope ,julius ,,ii4 five hundred ducats of the ,camera1 the which were paid me by ,messer ,carlino1 chamberlain1 and ,messer ,carlo degli ,albizzi1 on account of the painting of the vault of the ,chapel of ,pope ,sisto1 on which ,i begin to work this day1 under the conditions and contracts set forth in a document written by his ,most ,reverend ,lordship of ,pavia1 and signed by my hand4 ,for the painter assistants who are to come from ,florence1 who will be five in number1 twenty gold ducats of the ,camera a-piece1 on this condition1 that is to say1 that when they are here and are working in accord with me1 the said twenty ducats shall be reckoned to each man's salary2 the said salary to begin upon the day they leave ,florence to come here4 ,and if they do not agree with me1 half the said money shall be paid them for their travelling expenses and for their time47#ajd7 ,from this important record we learn that ,michael ,angelo1 who still calls himself sculptor1 intends to engage five painter assistants1 and very wisely arranges terms by which he can send them away if he does not get on with them1 and also that he began to work upon ,may #aj1 #aejh4 ,this must not be taken to mean that he began to paint1 but only to prepare the vault by carefully pointing the bricks and covering it with rough cast plaster ready for the fine coat called intonaca1 in this case made of marble dust and ,roman lime1 prepared each day and plastered on the wall in patches sufficient for one day's work only4 ,in true fresco painting the colour is put on the plaster only whilst it is still wet4 ,michael ,angelo must also have prepared a general scheme to scale from his small design1 approved by the ,pope1 and set it off with very careful measurements on the surface of the rough cast1 at least as to the architectural framework4 ,the cartoons for the figure-subjects and details he may have left until they were needed4 ,he considerably altered the scale of the figures in his stories as he proceeded with the work2 this alteration in scale is not only observable in the central subjects or pictures of the vault1 but also in the decorative figures on the framework1 called ,athletes2 those at the end1 near the stories of ,noah and the ,flood1 and where ,michael ,angelo began to work1 are at least a head smaller than those at the other end of the chapel over the altar1 where the stories relate to the ,creation4 ,this can be seen even in a photographic reproduction4 ,although the development of the great scheme was so much upon the traditional lines of ,italian art1 yet the details of arrangement and placing must have fully occupied the artist for some months4 ,he cannot have begun actually to paint on the vault until late autumn1 at least1 not any of the work we see now1 for his assistants did not arrive from ,florence until ,august1 and he had to experiment with their work1 and find it wanting1 before he dismissed them1 destroyed their work1 and began alone4 ,all the work of the part of the vault executed first is by ,michael ,angelo's own hand1 as far as can be judged from the floor of the chapel1 or from the cornice level with the windows4 ,the following receipts for the plaster1 or for rough-coating the vault1 show that painting cannot have begun so early as has been assumed37#aje7 ,image #af ,,the ,,creation ,,of ,,eve ,,sistine ,,chapel1 ,,rome ,in the name of ,god1 the #aath day of ,may1 #aejh4 ,i1 ,piero di ,jacopo ,roselli1 ,master ,mason1 have this day received1 the #aath of ,may as above said1 from ,michael ,angelo ,bonaroti1 ,sculptor1 ten ducats in gold1 full weight1 on account of ',scialbatura' on the vault of ,pope ,sixtus1 and for rough plastering in his chapel1 and doing that which was needful by order of ,pope ,julius2 and in faith of the truth ,i have done this with my own hand1 this day above said4 ,ducats #aj of gold1 full weight4 ,this payment was made by ,michael ,angelo4 ,the second receipt of ,rosselli for fifteen ducats was made out on ,may #bd1 to ,francesco ,granacci1 so he was already in ,rome1 helping his friend4 ,the next payment of ten ducats was also made by ,granacci on ,june #c1 and another on ,june #aj4 ,on ,july #ag ,michael ,angelo himself paid the mason2 so ,granacci had gone to ,florence by then to hire the other assistants4 ,on ,july #bg ,michael ,angelo paid ,rosselli thirty golden ducats1 full weight1 for rough plastering and other details4 ,the amount paid1 and the time taken1 go to prove that the whole vault was plastered4 ,granacci7#ajf7 wrote from ,florence about the assistants4 ,heath ,wilson gives a literal translation of his rather bewildering letter4 ,,very ,,dear ,,friend1--,i recommend myself and wish you infinite health4 ,this is to your ,excellency1 as to-day ,i met ,raffaelino1 the painter1 and gathered from him in fine that if you have need of him he will come at your bidding1 should you be pleased to pay him the salary which he has received from the ,master ,pietro ,matteo d',amelia1 who1 he says1 gave him ten ducats a month4 ,ever faithful to your ,excellency1 ,i give the advice as from myself4 ,if you have need to employ him1 offer him your amount of salary2 he is ready to do what you may command as to work4 ,he is a good master and honest4 ,and if for me there is anything1 advise me1 for ,i am always here to do for you those things which are useful and honourable4 ,if ,i can do one thing more than another let me know2 ,i will do it with love and solicitude4 ,nothing more4 ,christ have you in his keeping4 ,bene ,valeti4 ,this day1 #bbnd of ,july1 #aejh4 ,,yours1 ,,francesco ,,granacci4 ,if you can employ me as above is said1 ,i shall be willing to be with you4 ,nothing more4 ,,giovanni ,,michi1 ,san ,lorenzo1 ,florence 7,faithful service and honest man74 ,directed to the ,excellent ,master ,michael ,angelo1 ,florence1 at ,st4 ,peter's1 ,sculptor1 ,rome4 ,given from the ,bank of ,baldassare in ,campo di ,fiore4 ,image #ag ,,the ,,expulsion ,,sistine ,,chapel1 ,,rome 7,by permission of ,messrs4 ,braun1 ,clment ,co41 in4 ,dornach1 ,alsace7 ,neither ,raffaellino del ,garbo nor ,giovanni ,michi were employed1 but the next letter of ,granacci1 dated ,july #bd1 #aejh1 mentions ,giuliano ,buggiardini and ,jacopo ,l',indaco1 who were both tried4 ,vasari informs us that ,granacci1 ,jacopo di ,sandro1 and the elder ,indaco1 ,agnolo di ,donnino1 and ,aristotile da ,sangallo also accepted work4 ,we have another proof that the actual fresco painting did not begin at this period1 in a document preserved in the ,national ,archives at ,florence4 ,heath ,wilson obtained legal opinion that ,michael ,angelo must have been in ,florence in person when this deed was executed4 ,it runs3 ,in the year of our ,lord1 #aejh1 on the #aath day of ,august1 ,michael ,angelo1 the son of ,ludovico ,lionardo di ,buonarroto1 cancelled his lawful claim upon the estate of his uncle ,francis by a deed drawn up by ,ser ,giovanni di ,guasparre da ,montevarchi1 ,florentine notary1 on the #bgth of the month of ,july1 #aejh4 ,another instance of ,michael ,angelo's generosity to his family4 ,if ,michael ,angelo at once proceeded to ,rome1 he and his assistants may have begun work towards the end of ,august4 ,during all this period we must notice how troubled he was by the affairs of his family and his household arrangements4 ,michael ,angelo1 while living like a poor man in ,rome1 sent money to1 and purchased land for1 his family in ,florence1 and helped to establish ,buonarroto in business1 but they were never satisfied1 and his letters to his father and ,giovan ,simone show how his mind was troubled4 ,there is a letter in the ,british ,museum that belongs to this summer of #aejh4 ,,most ,,reverend ,,father1--,i have learnt by your last how things go with you1 and how ,giovan ,simone behaves himself4 ,i have not had worse news for ten years than on the evening when ,i read your letter1 for ,i thought that ,i had arranged their affairs so that they had reason to hope they would make a good shop with my aid4 ,now1 ,i see1 they do the contrary1 especially ,giovan ,simone4 ,from this ,i know that it is profitless to try and do him good4 ,had it been possible on the day when ,i received your letter ,i should have mounted on horseback and by this time should have settled everything2 but not being able to do so1 ,i write him such a letter as appears to me to be necessary1 and if from now he does not change his nature1 or if ever he takes from the home so much as a stick1 or does anything to displease you1 ,i pray you to let me know1 because ,i will obtain leave from the ,pope to come to you1 when ,i shall show him his error4 ,i wish you to be certain that all the labours which ,i have continually endured have been more for your sake than for my own1 and the property which ,i have bought ,i have bought that it may be yours whilst you live4 ,had it not been for you ,i should not have bought it4 ,therefore1 if it please you to let this house or the farm1 do so2 and with that income and with what ,i shall give you you will live like a gentleman4 ,were it not that the summer were coming on ,i would say come and live with me here1 but it is not the season1 for here in summer you would not live long4 ,it has occurred to me to take from him 7,giovan ,simone7 the money which he has in the shop1 and to give it to ,gismondo1 so that he and ,buonarroto may get on together as well as they can 444 and if you let these said houses and the farm of the ,pazolatica1 and with that income and with the help that ,i will give you besides1 you will take refuge in some place where you will be comfortable1 and you will be able to keep some one to serve you either in ,florence or outside ,florence1 and leave that good-for-nothing 444 ,i pray you to consider yourself1 and in all things whatever you wish to do--that is1 for yourself in all you desire--,i will aid you all ,i know and can4 ,let me hear about ,cassandra's affairs4 ,i am advised not to go to law about it here4 ,i am told that ,i shall spend here three times as much as there2 and this is certain1 for a grosso goes further there than two carlini here4 ,besides1 ,i have no friend here to trust to1 and ,i could not attend to such things4 ,it seems to me1 when you desire to attend to it1 that you should go by the usual way1 as reason demands1 and you must defend yourself as well as you are able and know how2 and for the money that is necessary to spend ,i will not fail as long as ,i have any4 ,have as little fear as you can1 for it is not a case of life and death4 ,no more4 ,let me know1 as ,i told you above4 ,from ,,michael ,,angelo1 in ,rome47#ajg7 ,image #ah ,,the ,,deluge ,a ,,detail1 ,,sistine ,,chapel1 ,,rome 7,reproduced by permission from a photograph by ,sig4 ,d4 ,anderson1 ,rome7 ,truly his family did all they could to disturb his mind during this important period of the development of his greatest work4 ,the mind that wrote the following letter to ,giovan ,simone cannot have been in a good state for work2 but as he never lets a thought about his art appear in his letters1 so1 no doubt1 when once the mood of work was upon him1 all other thoughts were left without the workshop door3 ,,rome1 ,july #aejh4 ,,giovan ,,simone1--,it is said that when one does good to a good man it makes him become better1 but a bad man becomes worse4 ,i have tried now many years with words and deeds of kindness to bring you to live honestly and in peace with your father and the rest of us4 ,you grow continually worse4 ,i do not say that you are a bad man1 but you are of such sort that you have ceased to please me or anybody4 ,i could read you a long lesson on your ways of living1 but they would be idle words1 like all the rest that ,i have wasted on you4 ,to cut the matter short1 ,i will tell you for a certain truth that you have nothing in the world4 ,what you spend and your house-room ,i give you1 and have given you these many years1 for the love of ,god1 believing you to be my brother like the rest4 ,now1 ,i am sure that you are not my brother1 else you would not threaten my father4 ,nay1 you are a beast2 and as a beast ,i mean to treat you4 ,know that he who sees his father threatened or roughly handled is bound to risk his own life in this cause4 ,enough1 ,i tell you that you have nothing in the world2 and if ,i hear the least thing about your goings on1 ,i will come post-haste and show you your error1 and teach you to waste your substance and set fire to houses and farms you have not earned4 ,indeed1 you are not where you think yourself to be4 ,if ,i come1 ,i will open your eyes to what will make you weep hot tears1 and let you know on what false grounds you found your pride4 ,i have something else to say to you which ,i have not said before4 ,if you will endeavour to live rightly1 and to honour and revere your father1 ,i will help you like the rest1 and make you able shortly to open a good shop4 ,if you do not do so1 ,i shall come and settle your affairs in such a fashion that you will know what you are better than you ever did1 and will understand what you have in the world1 and it will be seen in every place where you may go4 ,no more4 ,what ,i lack in words ,i will supply with deeds4 ,,michael ,,angelo1 in ,rome4 ,image #ai ,,athlete ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,i cannot refrain from adding two lines4 ,it is this3 ,i have gone these twelve years past1 drudging about through all ,italy1 borne every shame1 suffered every hardship1 worn my body in every toil1 put my life into a thousand dangers1 solely to help the fortunes of my house1 and now that ,i have begun to raise it up a little1 you alone choose to destroy and ruin in one hour all that ,i have done in so many years1 and with such labours4 ,by ,christ's body this shall not be6 for ,i am the man to confound ten thousand such as you whenever it be needed4 ,be wise in time then1 and do not try one who has other things to vex him4 ,so with hindrances enough1 private and public1 we must imagine the great artist climbing his scaffolding to the vault of the ,pope's chapel1 followed by his assistants1 and setting them their task1 transferring his full-size outline cartoons1 prepared from the general designs1 to the roof4 ,we may fancy ,l',indaco1 ,buggiardini1 and the rest1 staring with amazement at the huge figures and the great flowing lines before them1 and trying to fit their dry manner of painting to the new grandeur of design4 ,it could but end in one way4 ,the clause prepared beforehand by ,michael ,angelo in the contracts came into effect1 and they had to be sent away1 with plenty of grumbling on their part1 no doubt4 ,michael ,angelo was too exacting in the perfection of his taste to allow any work short of the absolute ideal he had imagined4 ,unlike ,raphael1 who was working in the neighbouring stanze1 and who was contented to pass1 and some would have us believe to execute1 ill-turned foreshortenings and false drawing1 so long as his general effect was preserved and the work done in reasonable time4 ,perhaps his gentle and sunlike genius could not bear to use harsh words and shut the door against the mediocre men with whom he was surrounded4 ,michael ,angelo could brook no imperfection of whatever kind1 so that he destroyed all that his assistants had done and shut himself up alone in the chapel4 ,he was the only man who could do the work to his satisfaction2 so he did it1 alone and unaided1 as to the actual painting1 and produced a work unequalled in perfection since ,phidias worked in ,athens4 ,the dismissal of his assistants appears to have begun about the ,new ,year #aeji4 ,it is hinted at in this letter3-- ,,dearest ,,father1--,i have to-day received one of yours4 ,when ,i read it ,i was sufficiently displeased4 ,i doubt that you are more timid and fearful than you need be4 ,i should like you to tell me what you imagine they can do to you1 that is1 if it should come to the worst4 ,i have no more to say4 ,it grieves me that you should be in such fear1 so ,i comfort you by advising you to be well prepared against their power1 with good advice1 and then think no more about it2 for if they took away all you have in the world you should not lack means to be comfortable as long as ,i was there4 ,therefore be of good cheer4 ,i am still in a great quandary1 for it is now a year since ,i received a groat from the ,pope1 and ,i do not ask for it1 for my work does not go forward in such a fashion as to deserve it1 as it seems to me4 ,and this is because of the difficulty of the work1 and also that it is not my profession4 ,and so ,i lose my time fruitlessly4 ,god help me4 ,if you are in need of money go to the ,spedalingo7#ajh7 and make him give you anything up to fifteen ducats1 and let me know what remains4 ,jacopo17#aji7 the painter whom ,i brought here1 has just left1 and as he has been grumbling here about my doings1 ,i expect he will grumble there also4 ,turn a deaf ear to him4 ,it is enough4 ,for he is a thousand times in the wrong4 ,i have good reason to complain of him4 ,take no notice of him4 ,tell ,buonarroto that ,i will reply to him another time4 ,the day twenty #g of ,january4 ,,michael ,,angelo1 in ,rome47#aaj7 ,image #bj ,,athlete ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,buggiardini appears to have fared better than ,l',indaco4 ,he painted a portrait of ,michael ,angelo with a towel tied round his head like a turban1 now in the ,casa ,buonarroti1 at ,florence4 ,from the age of the sitter it appears to belong to this period2 the towel may have been used to protect the hair and head of the artist from falling colour as he painted the roof above him4 ,it is an energetic head1 with jet black hair and sallow complexion1 with many lines and wrinkles for so young a face1 determined1 sad1 and scornful in expression2 a slight weakness and affectation may be due to the personality of the painter4 ,buggiardini also executed a painting from the cartoon of the master1 the ,madonna and ,child with ,angels1 number #hji1 of the ,national ,gallery4 ,the beauty and grandeur of the lines of this design are far above the imagination of any one except ,michael ,angelo1 but the details of the execution of the hands and the feet are inferior to any authentic work of his4 ,the hatchings in the shadows1 especially of the draperies1 are made up of short and feeble lines1 and do not express the form of the folds at all in the same way as we are accustomed to see ,michael ,angelo express them1 even in his earlier drawings1 the copies from ,giotto and the primitives4 ,the form of the mouths1 and the expression and shape of the heads1 especially in the second angel on the right1 are similar to the work of ,buggiardini as seen in ,florence1 ,milan1 and the ,cathedral of ,pisa4 ,buggiardini is the only one of the assistants who seems to have reaped any benefit1 beyond their wages1 from the work they did for the great master4 ,this trouble with his assistants was not the only difficulty that ,michael ,angelo had to contend with in the execution of his work4 ,vasari says that he shut himself alone in the chapel1 without any one to help him even in the grinding of his colours2 but1 as he adds1 that he took great precautions to prevent the workmen informing the public as to what he was doing1 we must assume that ,vasari was repeating a fable that had grown up about the marvellous work forty years after it was executed1 much as we might at this day repeat stories of the making of the ,wellington ,monument by ,alfred ,stevens4 ,the carpenters and plasterers ,michael ,angelo employed would soon learn to perform the more mechanical part of his work1 such as laying the intonaco1 pricking the cartoons1 and grinding colours1 and as they could not have inserted into the work any tradition contrary to the new manner of the artist1 would be preferred by him to second-rate artist assistants2 no doubt1 too1 the boy he employed in household work would be made to help4 ,the trouble he had in his household arrangements before the time of his trusted servant1 ,urbino1 may be illustrated by a letter relating to the boy he got from ,florence about this time4 ,he never would have a woman to work for him in any way4 ,image #ba ,,athlete ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,to ,,lodovico ,,di ,,buonarrota ,,simoni1 in ,florence4 ,,rome 7,january #aeaj74 ,,most ,,revered ,,father1--,i answered you about the business of ,bernardino1 as ,i wished first to settle the affairs of my household as you know1 and so ,i now reply to you4 ,i sent first for him because ,i was promised that within a few days he would be ready and that ,i might get to work4 ,afterwards ,i saw that it would be a long business2 in the meantime ,i am seeking another suitable one to get out of it4 ,i won't have any work done until ,i am ready1 but tell him how the matter stands4 ,about the boy who came1 that rascal of a muleteer did me out of a ducat4 ,he took an oath that he had agreed for two broad golden ducats1 and all the lads who come here with the muleteers do not give more than ten carlinos4 ,i was more angry than if ,i had lost twenty-five ducats1 because ,i see it is the fault of the father1 who wanted to send him on muleback in state4 ,oh6 ,i had never such good fortune6 not ,i4 ,although the father declared1 and the son likewise1 that he would do anything1 attend to the mule1 and sleep on the ground if necessary2 and now ,i have to look after him4 ,did ,i need any more bothers than ,i have had since my return8 ,here ,i have my boy1 whom ,i left here1 ill since the day ,i returned until now4 ,he is now better it is true1 but he has been between life and death1 given up by the doctors1 so that for about a month ,i have not been in bed1 let alone many others4 ,now ,i have this nuisance of a boy1 who says1 and says again1 that he does not want to lose time1 that he must learn4 ,and he told me that he would be satisfied with two or three hours a day4 ,now all day is not enough1 so that he will be drawing all night also4 ,these are counsels of the father4 ,if ,i say anything he would declare that ,i did not wish him to learn4 ,i want some one to mind the house1 and if he did not feel like doing it they should not have put me to this expense4 ,but they are no good1 no good at all1 and are working for their own ends2 but enough4 ,i beg you to have him taken away from before me1 for he annoys me so much that ,i cannot stand him any longer4 ,the muleteer has had so much money that he can very well take him back again2 he is a friend of his father's4 ,tell the father to send for him4 ,i'll not give him another farthing1 for ,i have no money1 ,i will have patience until he sends for him1 and if he is not sent for ,i will turn him out1 for ,i have done so already1 on the second day after his arrival and other times as well1 and he won't believe it4 ,for the business of the shop ,i will send you a hundred ducats next ,saturday4 ,with this1 if you see that they are diligent and do well1 give it to them and make me their creditor1 as ,i was to ,buonarroto when he went away4 ,if they are not diligent1 and do badly1 place it to my account at ,santa ,maria ,nuova4 ,it is not yet time to buy4 ,your ,,michael ,,angelo1 in ,rome4 ,if you are speaking to the father of the boy1 put the matter nicely1 mannerly2 that he is a good lad1 but too genteel1 and that he is not fit for my work1 and that he must send for him47#aaa7 ,image #bb ,,athlete ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,the more gentle tone of the postscript is very characteristic4 ,outwardly he would be rough1 consumed with anger and indignation2 but inwardly his nature was kindly to a degree to those he had about him4 ,condivi tells us of the delay in the works in the ,sistine due to the mould on the surface of the fresco1 and of the haste of ,julius4 ,the progress was fast enough1 one would have thought1 even for that exacting ,pontiff2 for although the whole work consists1 on counting heads1 of some three hundred and ninety-four figures1 the majority ten feet high2 the prophets and sibyls1 twelve in number1 would be eighteen feet high if they stood up2 yet by the following letters to his brother ,buonarroto1 of ,october #aeji1 we know he had finished the first half1 consisting probably of some two hundred figures1 even then2 or assuming that he began to paint when the assistants were dismissed in ,january #aeji1 he worked at the rate of about a figure a day4 ,to ,,buonarroto ,,di ,,lodovico ,,di ,,buonarrota1 in ,florence4 ,from ,,rome1 the #agth of ,october1 #aeji4 ,,buonarroto1--,i got the bread3 it is good1 but it is not good enough to make a trade of1 for there would be little gain4 ,i gave the knave five carlini1 and he would hardly hand it over4 ,i learn by your last how ,lorenzo7#aab7 will pass this way1 and how ,i am to give him a good reception4 ,it appears you do not know how ,i am situated here1 all the same ,i excuse you4 ,what ,i can do1 ,i will4 ,about ,gismondo and how he intends to come here to advance his business1 tell him from me not to have any designs on me1 not because ,i do not love him as a brother1 but because ,i am unable to help him in anything4 ,i am obliged to love myself more than others1 and ,i have not enough for my own needs4 ,i live here in great distress and with the greatest fatigue of body1 and have not a friend of any sort1 and do not want one1 and have not even enough time to eat necessary food2 therefore1 do not annoy me any more1 for ,i cannot bear another ounce4 ,for the shop ,i encourage you to be careful4 ,it pleases me to hear that ,giovanni ,simone begins to do well4 ,endeavour to advance a little1 or1 at least1 maintain what you have got1 so that you will know how to manage larger affairs afterwards2 for ,i have a hope1 when ,i return to you1 that you will be men enough to manage for yourselves4 ,tell ,lodovico that ,i have not replied to him because ,i had not the time1 and not to wonder if ,i do not write4 ,,michael ,,angelo1 ,sculptor1 in ,rome47#aac7 ,to the same4 ,from ,,rome 7,oct4 #aeji74 ,,buonarroto1--,i hear by your last how that all are well1 and how ,lodovico has another office4 ,it all pleases me1 and ,i encourage him to accept it if it will allow him to return when necessary to his post in ,florence4 ,i am here just as usual1 and shall have finished my painting by the end of next week1 that is1 the part of it ,i began2 and when ,i have uncovered it ,i believe ,i shall receive my money1 and ,i will endeavour again to get leave to come to you for a month4 ,i do not know whether it will be1 but ,i need it for ,i am not very well4 ,i have no time to write more4 ,i will tell you what happens4 ,,michael ,,angelo1 ,sculptor1 in ,rome47#aad7 ,image #bc ,,the ,,delphic ,,sibyl ,,sistine ,,chapel1 ,,rome 7,reproduced by permission from a photograph by ,sig4 ,d4 ,anderson1 ,rome7 ,the work was exposed to view upon ,november #a1 #aeji4 ,so at the longest possible estimate of time from ,may #aj1 #aejh1 to ,november #a1 #aeji1 ,michael ,angelo took four hundred and sixty-two working days to paint it4 ,the more probable1 in fact1 almost certain estimate of the time occupied in painting the fresco1 as we now see it1 is from the time his assistants left him1 about ,new ,year's ,day #aeji1 to ,november #a in the same year1 or two hundred and thirty-four working days4 ,as the plaster could only be painted on whilst wet1 we can tell1 by the marks of the divisions between the separate days' plasterings1 how many days the larger individual figures took4 ,one of the largest and most prominent1 as well as one of the finest and most finished1 the ,adam in the ,creation of ,man1 was painted in three sittings only4 ,the lines of the junctions of the plaster may be seen in a photograph2 one is along the collar bone1 and one across the junction of the body and the thighs4 ,there is also a division all round the figure1 an inch or so from the outline1 so we know that the beautiful and highly finished head and neck were painted in one day2 the stupendous torso and arms in another2 and the huge legs1 finished in every detail1 in a third4 ,such power of work and of finish is utterly inconceivable to any artist of to-day4 ,some will even excuse the imperfection of the study of a head by saying that they had only three or four sittings4 ,condivi asserts1 and ,vasari follows him1 that the part uncovered in ,november #aeji1 was the first half of the whole vault1 beginning at the large door of entrance and ending in the middle4 ,but ,albertini states in his ,mirabilia ,urbis7#aae7 that the upper portion of the whole vaulted roof had been uncovered when he saw it in #aeji1 and this statement is corroborated by the work itself4 ,there is a distinct enlargement of the style from the ,sin of the ,sons of ,ham through the series of the ,creation and the ,athletes to the ,prophets and ,sibyls1 and again from the first of these1 near the large door1 to those near the altar wall4 ,so it may have been the complete work on the flat part of the vault that was shown to the world1 including the story of the ,creation and ,fall of ,man2 and it was not1 therefore1 so very unreasonable of ,bramante to propose that ,raphael should continue the work1 for he probably did not know of ,michael ,angelo's intention of commemorating the promise of the ,redeemer by his prophets and sibyls upon the curved surface of the vaulting4 ,michael ,angelo was naturally indignant at his action1 but ,julius1 who probably was the only man who knew ,michael ,angelo's scheme1 commanded him to complete his work4 ,we gather from a letter to his father that the scaffolding for completing the painting of the vault was not put up on ,september #g1 #aeaj4 ,image #bd ,,the ,,prophet ,,joel ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,to ,,lodovico ,,di ,,buonarrota ,,simoni1 in ,florence4 ,from ,,rome1 ,september #g1 #aeaj4 ,,dearest ,,father1--,i have received your last1 and hear with the greatest anxiety that ,buonarroto is ill2 therefore1 as soon as you see this1 go to the ,spedalingo7#aaf7 and make him give you fifty or an hundred ducats2 you may need them4 ,arrange that all things necessary be provided in good time1 and that there be no lack of money4 ,let me tell you how that ,i am waiting to receive from the ,pope five hundred ducats1 well earned1 and he should give me as much again to put up the scaffolding and go on with the other part of my work4 ,and he has gone from here without leaving me any orders4 ,i have written him a letter4 ,i do not know what will follow4 ,i should have come to you immediately on the receipt of your last1 but if ,i left without permission ,i doubt the ,pope would be angry1 and ,i should lose all that ,i ought to have4 ,nevertheless1 let me know immediately if ,buonarroto should still be very bad1 because if you think ,i ought to come ,i will ride post and be with you in two days1 for men are worth more than money4 ,let me know at once1 for ,i am very anxious4 ,on the #gth day of ,september4 ,your ,,michael ,,angelo1 ,sculptor1 in ,rome47#aag7 ,the following note tells of the end of the work3 ,i have finished the ,chapel which ,i painted4 ,the ,pope is very well satisfied1 but other things do not happen as ,i wished4 ,lay blame on the times1 which are unfavourable to art4 ,it is a note by ,michael ,angelo in the ,buonarroto manuscripts of the ,british ,museum1 but undated4 ,it is probably of ,october #aeab1 and marks the close of this period of enormous work4 ,the decoration of the ,sistine ,chapel now consisted1 firstly1 on the flat of the vault1 of ,michael ,angelo's history of the ,creation and the ,fall of ,man1 of the ,punishment of the ,flood1 and the ,second ,entry of ,sin into the ,world2 secondly1 on the pendentives1 of the ,prophets and ,sibyls proclaiming the coming of a ,redeemer2 and thirdly1 of the ,ancestors of ,christ1 filling the arches of the windows and the arches on the two end walls4 ,those on the altar wall are now covered by angels bearing the instruments of the ,passion of ,christ1 parts of the great fresco of the ,last ,judgment1 finished by ,michael ,angelo thirty years afterwards4 ,at ,oxford there are two drawings after these two destroyed frescoes of the ,ancestors of ,christ series4 ,fourthly1 at the four corners the four great ,deliverances of the ,chosen ,people1 emblems of the ,redemption2 fifthly1 below1 between the windows1 a row of the figures of the ,popes by ,sandro ,botticelli and others2 these are still in existence1 except the three that were on the wall of the high altar1 now occupied by the ,last ,judgment4 ,they were the earliest of the ,popes1 ,st4 ,peter probably in the centre4 ,lastly1 below again1 the great series of frescoes of the ,history of ,christ and the ,history of ,moses by ,sandro ,botticelli1 ,domenico del ,ghirlandaio1 ,cosimo ,rosselli1 ,pietro ,perugino1 ,bernardino ,pintoricchio1 ,luca ,signorelli1 and ,bartolomeo della ,gatta4 ,this splendid series forms a worthy predella to the epic work of ,michael ,angelo above2 that they are worthy the one of the other is the highest compliment that can be paid to either4 ,these stories well repay prolonged study1 and help to keep our mind fresh to enjoy the idea of the advance ,michael ,angelo made in the art of painting4 ,it is very instructive to compare his work with these frescoes of men who were almost his contemporaries4 ,above the altar three of this series were destroyed to make way for the ,last ,judgment2 they were all three by ,perugino1 and represented the ,assumption of the ,virgin in the centre1 the ,nativity on the right1 and the finding of ,moses on the left4 ,at the opposite end1 over the great door1 were two pictures by ,domenico del ,ghirlandaio1 representing the ,resurrection of ,christ1 and ,michael contending with ,satan for the ,body of ,moses1 completing the series of the lives of the ,redeemer and of his prototype in the ,old ,testament3 ,moses1 the ,deliverer4 ,these last two works were destroyed for the ridiculous caricatures of ,arrigo ,fiammingo and ,mattei da ,lecce4 ,ultimately the ,tapestry woven after the cartoons by ,raphael1 now at ,south ,kensington ,museum1 completed the cycle of decoration down to the ground level4 ,image #be ,,the ,,prophet ,,ezekiel ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,when ,pope ,julius prevented ,michael ,angelo from going on with his beloved project of the ,tomb and made him paint the vault1 the master set to work to produce a similar conception to the ,tomb in a painted form4 ,the vault became a great temple of painted marble and painted sculptures raised in mid-air above the walls of the chapel4 ,the cornices and pilasters are of simple ,renaissance architecture1 the only ornaments he allowed himself to use being similar to those he would have used as a sculptor4 ,acorns1 the family device of the della ,rovere1 rams' skulls1 and scallop shells1 and the one theme of decoration that ,michael ,angelo always delighted in--the human figure4 ,the ,prophets and ,sibyls took the positions occupied by the principal figures designed for the ,tomb1 like the great statue of ,moses4 ,the ,athletes at the corner of the ribs of the roof were in place of the bound captives1 two of which are now in the ,louvre1 and the nine histories of the ,creation and the ,flood fill the panels like the bronze reliefs of the ,tomb4 ,the detail and completeness of this fresco are the best refutation of the frequent criticism that ,michael ,angelo did not finish his work4 ,the fact is1 that he finished more than any one4 ,had ,michael ,angelo done no work but this vault of the ,sistine ,chapel1 it would have represented an output equal in quantity alone to that of the most prolific of his brother ,italian artists4 ,it is veritably a large picture-gallery of his works in itself4 ,an idea of its numerical magnitude may be got by dividing it up into its component units and making an inventory of them4 ,the vault itself1 according to ,heath ,wilson1 is one hundred and thirty-one feet six inches long1 by forty-five feet two and a half inches wide at the large door end1 and forty-three feet two and a half inches at the altar end1 an area of nearly six thousand square feet1 which apparently does not represent the arch measurement but only the plane covered by the arch1 nor does it take account of the triangular and semicircular spaces above the windows4 ,this vast surface is divided into3-- ,four large pictures stretching over more than one-third of the width of the roof1 and containing from five to more than forty-five figures1 some of them twelve feet in height4 ,five pictures1 half the size of the last1 with from one to eight figures in each4 ,twenty colossal nude figures of ,athletes4 ,ten circular medallions4 ,seven large figures of ,prophets4 ,five large figures of ,sibyls2 these ,prophets and ,sibyls would be eighteen feet high if they stood upright1 and most of them have secondary figures of angel boys between them1 twenty-three in all4 ,twenty-four decorative pilasters of two children each1 in monochrome4 ,image #bf ,,the ,,prophet ,,daniel ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,four large triangular compositions representing the ,redemptions of ,israel1 and containing from five to twenty-two colossal figures4 ,eight triangular spaces above the windows1 representing the ,ancestors of ,christ1 containing from two to four colossal figures4 ,twenty-four groups in the semicircular spaces above the windows1 also of the ,ancestors of ,christ1 of from one to four colossal figures4 ,ten large figures of children forming brackets under the figures of ,prophets and ,sibyls1 at the springing of the arches between the windows4 ,twenty-four bronze-coloured colossal figures filling up the spaces in the architectural framework4 ,thus1 the vault may be regarded as a gallery of one hundred and forty-five separate pictures by ,michael ,angelo4 ,there is one reservation1 and that is1 that the twenty-four groups of two children forming pilasters are in pairs1 of the same outline but reversed2 as they are differently lighted they may still be taken as different pictures4 ,these pilasters form the sides of the thrones of the ,prophets and ,sibyls1 and repeating them in reversed outline on either side of the same throne has a very valuable decorative effect1 well known to the old ,italian workmen1 who frequently repeated the forms of their fruit and flower decorations in this manner1 by the expedient of reversing the paper-pricking from one and the same cartoon4 ,it is interesting to find ,michael ,angelo resorting to this simple trick to get the effect of balance in figure decoration4 ,the light and shade of the reversed figures follow the general scheme of the illumination1 so that the figures traced from the same cartoons look very dissimilar when painted1 but if the outlines are traced from a photograph1 and reversed on the corresponding figures1 they will be seen to coincide4 ,it seems impossible to explain the exactness in any other way1 a few measurements on the vault itself would make it certain4 ,probably the same method was employed in transferring the twenty-four bronze-coloured decorative figures also4 ,the historical sequence of the events in the nine pictures on the central space of the vault represents the ,story of the ,creation1 the ,fall1 the ,flood1 and the second entry of ,sin into the world1 demonstrating the need for a scheme of ,salvation1 promised by the ,prophets and ,sibyls in the second part of the decoration4 ,the series represented is an old invention1 and all the scenes may be found in ,byzantine and early ,italian works2 but the new treatment gives them a character of grandeur only equalled by the ,old ,testament narrative which they illustrate4 ,all the human figures and most of the angels appear to be dominated by an idea of impending doom1 but they nobly act their part in a fateful present1 although they know that the future cannot be changed by any effort of theirs1 however noble it may be4 ,they are all fatalists1 but all noble in their pessimism2 they reflect the mind of the artist4 ,the individual motives of the figures1 their grouping and their action1 are frequently taken from earlier art1 especially sculpture1 and they show how carefully and reverently ,michael ,angelo studied the works of his predecessors1 ,massaccio1 ,lorenzo ,ghiberti1 ,donatello1 and ,jacopo della ,quercia4 ,image #bg ,,the ,,libyan ,,sibyl ,,sistine ,,chapel1 ,,rome 7,reproduced by permission from a ,photograph by ,sig4 ,anderson1 ,rome7 ,image #bh ,,the ,,prophet ,,jeremiah ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,the first division above the ,high ,altar represents the creation of light4 ,god separates light from darkness1 and brings order out of chaos4 ,in the second division1 one of the larger pictures1 ,god creates the sun and moon2 ,he passes on and spreads ,his hand in blessing over a segment of the earth where the trees and herbs spring forth4 ,in the third1 ,god gathers together in one place the waters which were under the firmament4 ,in these works ,michael ,angelo designed a figure of the ,creator that has remained ever since the only possible pictorial symbol of ,god the ,father4 ,he is like an old man in appearance and in wisdom1 but as alert and powerful as a young man4 ,the creation of ,adam is the central composition of the ceiling4 ,the ,deity1 accompanied by six angels1 gives life to ,adam by the touch of finger tips4 ,the figure of ,adam is the most beautiful in modern art4 ,it appears to have been inspired by a ,greek intaglio4 ,the angels are much varied in type4 ,they are without the tinsel and gold embroidery used by earlier artists to represent celestial glory4 ,the simple and solemn lines of the landscape showing the curved surface of the globe give a cosmic character to the scene1 and the beautiful indigo blue of the distance forms a fine background for the supremely modelled flesh4 ,this composition is the first in the order of execution in which ,michael ,angelo fully realised his scheme of decoration1 as to scale and form1 making a few figures fill the space allotted to them with ease and freedom of movement4 ,truly the space occupied appears to have been arranged and cut specially to suit the figures1 and not the figures made1 as was the fact1 to fit the space4 ,the next compartment1 the creation of ,eve1 is only less beautiful than that of the ,adam4 ,it is small1 and the space is a little crowded3 the composition is taken exactly from the beautiful bas-relief by ,jacopo della ,quercia at ,bologna4 ,the ,almighty is shrouded in a voluminous mantle2 ,eve joins her hands in worship4 ,the figure is modelled with a delicious softness1 and the pearly colour is a delightful rendering of the lighter flesh tints of woman1 something like the quality sought by ,correggio in later times4 ,the ,adam reclining in the corner fills that part of the space as a good medal design fits its circumference2 the grey of the shadow1 especially in the darker parts1 envelops the figures in a way that had never been attempted in fresco painting1 but is somewhat like a hand in shadow by ,rembrandt4 ,the representations of the ,fall and the ,expulsion fill the next compartment1 a large one4 ,here we have another rendering of a female nude2 the type1 and especially the modelling of the flank1 is a prophecy of the figure of ,dawn in the ,sacristy of ,san ,lorenzo4 ,the upper part of the serpent has a woman's form1 and the junction is most admirably managed after the manner of the sea maidens in ,grco-,roman art4 ,in this story is the only foreground tree in full leaf ever painted by ,michael ,angelo1 and yet it is as supreme as everything else4 ,it is remarkable that the ,paradise of ,michael ,angelo should be such a rocky place1 like the side of a marble mountain1 for in his time such places were regarded with distaste4 ,the landscape into which ,adam and ,eve are expelled is a lone flat desert1 where no marble could be found4 ,this part of the composition is taken almost exactly from ,massaccio's version in the ,brancacci ,chapel4 ,the ,sacrifice of ,noah fills the next1 a smaller compartment4 ,it is placed1 historically1 before the ,deluge1 and must be taken to represent how ,noah1 the just man and perfect1 and his family1 found grace in the eyes of the ,lord4 ,as there are five male persons present1 this scene cannot represent the sacrifice immediately after the ,flood1 nor is any rainbow to be seen as was usual in the traditional representations of that subject1 like the one in the ,chiostro ,verde at ,santa ,maria ,novella4 ,raphael also gives more figures than can be accounted for as having been in the ark in his composition of the sacrifice of ,noah1 in the series called the ,bible of ,raphael in the ,loggia4 ,the large composition of the ,deluge gives us some idea of what the cartoon of ,pisa may have been like4 ,there never was a collection of naked figures so many and so beautiful4 ,one is filled with sorrow at the idea of their being drowned4 ,they are all1 too1 engaged in noble works2 charity1 energy1 and inventiveness are amongst the virtues they exhibit2 there is no panic1 or struggling one with another2 no anger or selfishness1 excepting only in the boat in the middle distance2 a woman helps her children1 a man his wife1 an old man bears a young man in his arms1 ,priam carrying neas1 an even more pathetic imagination than ,homer's2 others attempt to save their household goods2 others erect a tent2 others1 again1 attempt to scale the sides of the ark or break into it with axes--one cannot but hope they will succeed4 ,the female figures are especially beautiful in this picture1 and again we have a foretaste of that wonderful modelling of the flank and thigh seen to perfection in the tombs at ,san ,lorenzo4 ,the weird sea and sky1 the ark and the dead tree1 show what ,michael ,angelo could do when he liked1 in departments of art other than the human figure4 ,the individual figures in the ,deluge are difficult to see on account of the smallness of scale in this part of the vault4 ,it must have been after seeing them from the floor of the chapel1 by removing some of the boards of his scaffolding1 that ,michael ,angelo determined to alter the scale in the remaining compositions4 ,in no other way can we account for the change in the size of the ,athletes1 at any rate4 ,the difference of scale between those surrounding the ,sin of ,ham over the large door1 and those surrounding the separation of ,light from ,darkness over the ,high ,altar1 must be almost two feet4 ,the increase is gradual along the ceiling4 ,similarly the ,sybilla ,delphica is very much smaller than the ,sybilla ,lybica1 and the ,prophet ,joel than the ,prophet ,jeremiah4 ,the last composition of this series--a small one--represents the ,sin of ,ham1 and was the first painted4 ,the vat and the wine jug are wonderful still-life1 reminding us of ,bassano4 ,image #bi ,,the ,,flood ,a ,,detail1 ,,sistine ,,chapel1 ,,rome 7,reproduced by permission from a photograph by ,sig4 ,d4 ,anderson1 ,rome7 ,the twenty ,athletes that decorate the corners of these central compositions1 and support bronze medallions held in place by oak garlands or by draperies1 are nothing but the most direct of transcripts from the nude model1 but the most noble that have been executed in the art of painting4 ,they are finished to the smallest detail1 and are as truthful to nature as it was possible for a man with an innate sense of grandeur of line to make them4 ,italian models have been posed in the positions of most of them1 and drawings from them compared with the photographs of these figures2 they are marvellously true1 to the very wrinkles of the skin under the arms and about the knees1 and the drawing of the curves and creases of the torso as the body bends4 ,so naturalistic are they that ,michael ,angelo must have posed a model and made drawings in the chapel itself1 perhaps even on the scaffolding1 and worked straight away4 ,he appears to have used only three models for this purpose4 ,the ,athletes drawn from the same model can easily be distinguished2 they are actual portraits4 ,one was the man who sat for the ,adam1 and was of a noble proportion with a small head1 a beautiful brow1 and a solemn mouth4 ,his hair was wavy and of a wispy character2 he had broad shoulders2 his extremities were small1 the thighs large and well developed1 showing the individual muscles by large forms with flat planes4 ,he may be seen1 as we have said1 in the ,adam1 and in the four figures surrounding the fresco representing ,god dividing the ,light from the ,darkness2 in the two figures near the ,adam in his creation of ,eve2 and best of all1 for comparison1 in the figures near the foot of ,adam in the creation of ,man4 ,another model was of a rounder and more bacchanalian character1 not unlike the ,dancing ,fawn in the ,uffizi2 but he was not in such good training4 ,he was decidedly fat1 his face was mobile1 and very easily took jovial expressions1 his cheeks dimpled1 his eyes round and large1 the pupils very dark and the whites very white2 his hair went into short1 soft1 frizzy curls2 his shoulders were small and round1 the arms feeble1 the thighs short1 round1 and formless2 his back was well developed1 the folds of the skin in the torso1 when he bent1 were very large and fat in line4 ,it was probably for this that ,michael ,angelo chose him4 ,he is well seen in three of the figures surrounding the third panel from the ,high ,altar representing ,the ,spirit of ,god upon the ,face of the ,waters1 and the two figures nearest to the ,adam and ,eve in the scene of the ,expulsion4 ,the other model was of more ordinary but of still very fine proportion4 ,his head was rather large1 and his mouth petulant in expression1 the upper eyelids very thick2 his hair is broken into large1 hard curls4 ,he is seen in the figures surrounding the ,sin of ,ham1 and was probably the first employed for this work4 ,these ,athletes are the very epitome of the work of ,michael ,angelo4 ,if a man does not love them he cannot care for the work of ,michael ,angelo4 ,they express his highest idea of beauty--man created in the image of ,god1 as he testifies in this vault1 and in the sonnet ending3-- ,n ,dio1 suo grazia1 mi si mostra altrove1 ,pi che'n alcun leggiadro e mortal velo2 ,e quel sol amo1 perch'n quel si specchia4 ,nor hath ,god deigned to show himself elsewhere ,more clearly than in human form sublime ,which1 since they image ,him1 alone ,i love47#aah7 ,no leaves or branches1 minor works of the ,great ,artist1 still less draperies of cloth or even of gold brocade1 the works of the hand of man1 shall cover any portion of the ,divine ,image4 ,so all these figures are frankly naked1 the genii of the ,beauty of the ,human ,race4 ,the festoons these ,athletes carry support large medallions painted like bronze4 ,they were probably the portion that ,michael ,angelo intended to finish with gilding1 but owing to the impatience of the ,pope they were left in their present state4 ,they are a most valuable part of the decorative scheme4 ,continuity is given by the repetition of these bronze-coloured circles4 ,image #cj ,,the ,,brazen ,,serpent ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,a great cornice divides the scheme of the flat part of the vault already described1 and perhaps the first portion executed1 from the curved part containing the ,prophets and ,sibyls4 ,they are larger in scale and freer in style than any portion of the flat part of the vault1 as though with practice ,michael ,angelo's hand had grown even bolder than before4 ,he may1 too1 have thought the new scale of figures easier to see from the floor of the chapel1 for we must remember that this was his first experiment in vault painting1 and no doubt he would be glad to see its effect from below when he was ordered to remove the scaffolding1 and he must have learnt by it4 ,the ,prophets and ,sibyls appear to be the last word of ,michael ,angelo in decorative painting1 as ,raphael knew1 for he assimilated the teaching both in the beautiful figures of ,sibyls at ,santa ,maria della ,pace and the ,prophet ,isaiah of ,san ,agostino4 ,the motives of the genii or angels1 wise children whispering in the ears of the foretellers1 seem to be inspired by the sculpture of ,giovanni ,pisano as seen in the pilasters of the pulpit of the ,church of ,san ,andrea at ,pistoia4 ,it would be endless to try and tell all the thoughts and emotions1 both literary and artistic1 suggested by the contemplation of these figures and by the groups representing the ,ancestors of ,christ4 ,suffice it to say1 that all the thoughts that come into the minds of the beholders are as nothing compared to the thoughts that passed through the mind of the solitary artist composing and painting upon the high scaffolding of the quiet chapel4 ,the series of the ,ancestors of ,christ illustrate the life of a being upon this earth1 from the terrible moment when the pregnant woman first feels the pangs of approaching labour1 in the semicircle of the window 7inscribed ,roboam1 ,abias7 to the lean and slippered pantaloon1 who needs a stick to help him rise from his seat 7over the window inscribed ,salmon1 ,boaz1 ,obeth72 there is the happy mother sleeping with her infant wrapped in swaddling-clothes 7,salmon1 ,boaz1 ,obeth72 and the old man playing with the children1 7,eleazr1 ,matthew72 the student attentively poring over his book regardless of the female figure1 possibly ,inspiration1 speaking to him from the other side of the window 7,naason74 ,these figures1 the ,ancestors of ,christ1 are more slightly painted than the rest of the vault4 ,they loom out of the darkness1 caused by contrast to the light of the windows they surround1 grow in and out of the background and have an atmospheric effect unequalled in fresco painting4 ,those who walk from the ,ponte ,saint ,angelo up the ,borgo to the ,vatican any morning early may see at the back of the dim recesses of the arched cellar-like shops such groups as these4 ,the series may be regarded as the sketch-book of ,michael ,angelo1 in which he recorded his impressions of the life about him as he trudged to his work4 ,the four triangular compositions that fill the corners of the chapel1 the four great ,redemptions of ,israel1 are absolute masterpieces of space arrangement1 different methods of overcoming the same difficulty being used in each picture1 from the two principal figures and the tent in the ,david and ,goliath to the marvellous crowd of twisted limbs in the story of the ,brazen ,serpent4 ,in the composition of the ,death of ,holofernes ,judith covers with a napkin the severed head1 which is carried in a basket on the head of her handmaid2 a most lovely group1 said to have been taken from an intaglio representing a vintage scene1 in which a nymph fills with grapes a basket supported on the head of a companion4 ,under each of the ,prophets and ,sibyls1 upon the side walls1 is a decorative putto supporting the name plate1 standing at the springing of the arches1 as in ,donatello's bas-relief representing ,christ before ,pilate1 in the pulpit of ,san ,lorenzo4 ,these ten beautiful figures are seldom noticed1 but evidently ,raphael thought them worthy of study1 as may be seen in the lovely child-figure attributed to him in the ,accademia di ,san ,lucca4 ,image #ca ,,judith ,,with ,,the ,,head ,,of ,,holofernes ,,sistine ,,chapel1 ,,rome 7,by permission of ,messrs4 ,braun1 ,clement ,co41 in ,dornach1 ,alsace7 ,the whole vault contains hardly one unworthy human being1 the only sins they commit are the ,sins of ,adam and of ,ham1 necessary for the story4 ,they are all beautiful and all holy4 ,can ,michael ,angelo have had any thought of the doom of these his creations1 as exemplified by him on the altar wall1 twenty-two years afterwards8 ,the great work was finished1 the public saw it1 and1 as ,michael ,angelo says1 the ,pope was very well pleased4 ,,chapter ,,vii ,,the ,,risen ,,christ ,,of ,,the ,,minerva ,julius ,,ii4 died on ,february #ba1 #aeac4 ,he will ever be remembered as the man who compelled ,michael ,angelo to paint the ,sistine vault4 ,he was the best friend ,michael ,angelo ever had1 notwithstanding their bickerings1 and he understood him as no one ever did afterwards2 but he bequeathed to him the ,tragedy of the ,tomb4 ,in #aead ,michael ,angelo signed the agreement for a new commission3-- ,deed with ,michael ,angelo for the figure in marble7#aai7 of a ,risen ,christ for the ,church of the ,minerva1 in ,rome4 ,the #ad day of ,june1 #aead4 ,let it be known and manifest to whoever reads this scrip1 how ,messere ,bernardo ,cencio1 ,canon of ,st4 ,peter's1 and ,messeri ,mario ,scappucci and ,metello ,vari1 have ordered ,michael ,angelo di ,lodovico ,simoni1 ,sculptor1 to carve a figure in marble of ,christ as large as life1 nude1 standing1 bearing a cross1 in whatever attitude the said ,michael ,angelo thinks good1 for the price of two hundred gold ducats of the ,camera1 to be paid in this manner1 that is to say3 ,at the present time one hundred and fifty gold ducats of the ,camera1 and the remainder1 that is fifty similar ducats1 the said ,messeri ,mario and ,metello delli ,vari promise to pay when the work is finished4 ,as soon as the said ,michael ,angelo begins to work on the said figure1 which he promises to place in the ,minerva in whatever position the before-mentioned shall approve2 and at his own expense to make a niche where the said figure is to be placed2 and every other adornment that should be needful1 it is understood that the before-mentioned ,messer ,bernardo and ,messer ,mario shall supply at their own expense4 ,this figure the said ,michael ,angelo promises to do by the end of the next four years1 more or less as appears to him good1 engaging1 however1 that he will not exceed four years4 ,image #cb ,,one ,,of ,,the ,,ancestors ,,of ,,christ1 ,,over ,,the ,,window ,,inscribed ,,jesse ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,then follow their affirmations in due form4 ,metello ,vari dei ,porcari1 a ,roman of an old family1 appears to have been the real patron to whom ,michael ,angelo was responsible4 ,the first block of marble was found to be faulty1 so another one had to be carved4 ,the work was not completed until #aeba4 ,it is now in the ,church of ,santa ,maria ,sopra ,minerva at ,rome4 ,in #aeae ,michael ,angelo was still at work on the ,tomb1 but apprehensive of interruption from ,pope ,leo4 ,to ,,buonarroto ,,di ,,lodovico ,,simoni1 in ,florence4 ,,buonarroto1--,i have written the letter to ,filipo ,strozzi2 see if you like it and give it to him4 ,if it is not well1 ,i know he will hold me excused1 for it is not my profession2 enough if it serves its purpose4 ,i wish you to go to the ,spedalingo7#abj7 of ,santa ,maria ,nuova1 and tell him to pay to me here one thousand and four hundred ducats of what he has of mine1 because ,i must make a great effort this summer to finish my work quickly1 because ,i expect soon to have to enter the ,pope's service4 ,and for this ,i have bought perhaps twenty thousands of bronze for casting certain figures4 ,i must have money2 so when you see this arrange with the ,spedalingo to have it paid over to me2 and if you are able to arrange with ,pier ,francesco ,borgerini1 who is there1 that he should have it paid to me by his people here1 ,i should be glad1 for ,pier ,francesco is my friend and will serve me well2 and do not talk about it for ,i wish it to be paid to me here secretly2 and for what remains at ,santa ,maria ,nuova1 accept security from the ,spedalingo1 on account4 ,i wait for the money4 ,no more4 ,on the #afth day of ,june1 #aeae4 ,,michael ,,angelo1 in ,rome47#aba7 ,so now1 besides the ,moses and the ,captives in marble1 the panels in relief were1 perhaps1 ready for casting4 ,the lower portions of the architectural base1 now in ,san ,pietro in ,vincula1 were also probably finished4 ,half the period spent by ,michael ,angelo in quarrying and road-making for ,pope ,leo would have sufficed for the completion of the ,tomb1 which would then have been a monument of ,michael ,angelo's power as a sculptor1 fit to rank with the monument of his power as a painter in the ,sistine ,chapel3 a monument containing four figures1 equal in execution and size to the ,moses1 twelve figures like the ,slaves1 altogether some forty statues and numerous bronze bas-reliefs besides4 ,it is a great misfortune that we have no bronze bas-reliefs by ,michael ,angelo1 for all his works prove that his genius would have been well expressed in this art4 ,image #cc ,,one ,,of ,,the ,,ancestors ,,of ,,christ1 ,,over ,,the ,,window ,,inscribed ,,ioram 7,reproduced by permission from a photograph by ,sig4 ,d4 ,anderson1 ,rome7 ,the early years of the ,pontificate of ,leo ,x4 were wasted over the project for the facade of ,san ,lorenzo4 ,michael ,angelo was continually at ,carrara4 ,in a letter1 dated ,may #h1 #aeag1 to ,domenico ,buoninsegna1 ,michael ,angelo writes with enthusiasm about his new scheme1 and undertakes to carry it out for #ce1jjj golden ducats in six years4 ,buoninsegna replied that the ,cardinal expressed the highest satisfaction at the great heart he had for conducting the work of the faade4 ,the friendly relations of ,michael ,angelo with the natives of ,carrara continued until the ,pope obliged him to leave their quarries and open up those of ,pietra ,santa1 in ,tuscan territory1 by which act ,michael ,angelo lost much time4 ,he had positively to make roads down the mountains and over the marshes before he could get a single block to the river4 ,the ,marquis of ,carrara became his enemy1 and the contracts with the people of ,carrara caused him much annoyance and great loss4 ,the orders from ,rome were peremptory and had to be obeyed47#abb7 ,ten years of the best of ,michael ,angelo's working life were wasted2 the numberless delays of this period1 and the delays over the ,tomb of ,julius1 positively seem to have changed the character of the artist from a man of action to a man of thought4 ,possibly advancing age had something to do with it2 but the fact remains that the man who executed the bronze statue of ,julius in two years1 and painted the vault of the ,sistine in less than three years1 took seven years to finish the ,last ,judgment1 which covers a surface about one-third the extent of the vault1 and also is in a much more favourable position for painting4 ,there is a document shown in the rooms of the ,state ,archives at the ,uffizi that belongs to this period2 it is a memorial addressed by the ,florentine ,academy to ,pope ,leo ,x41 asking him to authorise the translation of the bones of ,dante from ,ravenna1 where they still rest under the little cupola1 more neat than solemn1 to ,florence4 ,it is dated ,october #bj1 #aeah4 ,all but one of the signatures appended are written in ,latin2 that one is as follows3--,i1 ,michael ,angelo1 the sculptor1 pray the like of your ,holiness1 offering my services to the divine poet for the erection of a befitting sepulchre to him in some honour-place in this city4 ,michael ,angelo's devotion to ,dante was well known to his contemporaries2 he is known to have filled a book with drawings to illustrate the ,divina ,com media2 this volume perished at sea1 whilst in the possession of the sculptor ,antonio ,montanti1 who was shipwrecked on a journey from ,leghorn to ,rome4 ,on ,april #ag1 #aeag1 ,michael ,angelo bought some ground in the ,via ,mozza1 now ,via ,san ,zanobi1 ,florence1 from the ,chapter of ,santa ,maria del ,fiore1 to build a workshop for finishing his marbles2 the purchase was completed on ,november #bd1 #aeah4 ,this studio remained in his possession until his death4 ,he describes it to ,lionardo di ,compago1 the saddle-maker1 as an excellent workshop1 where twenty statues can be set up together4 ,meanwhile he went on working at ,pietra ,santa for the faade4 ,in ,august #aeah1 he writes3---- ,image #cd ,,one ,,of ,,the ,,ancestors ,,of ,,christ1 ,,over ,,the ,,window ,,inscribed ,,asa 7,by permission of the ,fratelli ,alinari1 ,florence7 ,the place of quarrying is very rugged1 and the workmen are very ignorant of this sort of work4 ,so for some months ,i must be very patient until the mountains are tamed and the men are mastered4 ,then we shall get on more quickly4 ,enough1 what ,i have promised that will ,i do by some means1 and ,i will make the most beautiful thing that has ever been done in ,italy if ,god helps me4 ,the melancholy end of this scheme is told in a ,ricordo in the ,archivio ,buonarroti1 ,march #aj1 #aebj4 ,now ,pope ,leo1 perhaps1 to carry out more quickly the above-mentioned faade of ,san ,lorenzo than according to the agreement he made with me1 and ,i consenting1 sets me free1 and for all the above-said money that ,i have received1 are counted the road that ,i have made to ,pietra ,santa1 and the marbles that were quarried there and rough-hewn as may be seen to-day2 and he declares himself content and satisfied with me1 as is said1 about all the money received for the said faade of ,san ,lorenzo1 and every other work that ,i have had to do for him until this tenth day of ,march1 #aeai2 and so he leaves me my freedom1 and not obliged to render account to any one for anything that ,i have had to do for him or with others for him47#abc7 ,we have a series of most interesting letters from ,sebastiano del ,piombo1 ,michael ,angelo's favourite gossip in ,rome2 most of them are dated from #aebj to #aecc1 and give ,michael ,angelo at ,carrara news of ,sebastiano and the art world of ,rome1 ,they often relate to designs that ,sebastiano wished to get from ,michael ,angelo in order that he might be entrusted with commissions from the ,pope that would otherwise be given to the scholars of ,raphael4 ,in one1 dated ,october #bg1 #aebj1 he says3-- ,for ,i know how much the ,pope values you1 and when he speaks of you it is as if he were speaking of his own brother1 almost with tears in his eyes2 for he has told me that you were brought up together1 and shows that he knows and loves you4 ,but you frighten everybody1 even ,popes67#abd7 ,michael ,angelo seems to have taken exception to the remark1 for ,sebastiano in his next letter but one says3-- ,as to what you reply to me about your terribleness1 ,i for my part do not find you terrible2 and if ,i have not written to you about this1 do not wonder1 for you do not appear to me terrible except only in art--that is to say1 the greatest master that has ever been2 so it seems to me if ,i am in error ,i am to blame4 ,i have no more to say4 ,christ keep you safe4 #ith day of ,november1 #aebj4 ,remember me to friend ,leonardo and to ,master ,pier ,francesco4 ,your most faithful gossip1 ,,bastiano1 ,painter1 in ,rome4 ,the ,lord ,michael ,angelo de ,bonarotis1 the most worthy sculptor1 ,florence47#abe7 ,after ,michael ,angelo had been dismissed from the work of the faade of ,san ,lorenzo he appears to have remained quietly at ,florence1 possibly engaged upon the marbles for the ,tomb of ,julius ,,ii4 ,about the same time1 at the instigation of the ,cardinal de' ,medici1 he began to design the new sacristy and the tombs at ,san ,lorenzo4 ,image #ej ,,the ,,prophet ,,jonah ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,in the ,ricordi1 which run from ,april #i to ,august #ai1 #aeba1 he says that on ,april #i he received two hundred ducats from the ,cardinal de' ,medici to go to ,carrara and lodge there1 to quarry marbles for the tombs which are to be placed in the new sacristy at ,san ,lorenzo4 ,and there ,i stayed about twenty days and made out drawings to scale1 and measured models in clay for the said tombs4 ,on ,august #af the contractors for the blocks1 all of which were excavated from the old ,roman quarry of ,polvaccio1 came to ,florence1 and were paid on account4 ,the statue of the ,risen ,christ was forwarded to ,rome during the summer4 ,the smaller detached1 or more easily broken portions1 were left in the rough to prevent accidents during the journey1 and ,pietro ,urbino went to ,rome with orders to complete the work there4 ,sebastiano del ,piombo1 like the good friend he was1 kept ,michael ,angelo informed of the progress of the young scamp of a pupil1 from whom his master had extracted a promise that he would avoid the company of dissolute ,florentines in ,rome more than he had previously done4 ,on ,november #i1 #aebj1 ,sebastiano writes that his gossip1 ,giovanni da ,reggio1 goes about saying that you have not done the figure yourself1 but that it is the work of ,pietro ,urbino4 ,be sure that it may be seen to be from your hand1 so that poltroons and babblers may burst4 ,this was written whilst the work was still at ,florence4 ,on ,september #f1 #aeca1 after it had arrived at ,rome1 ,sebastiano says of ,pietro3 ,firstly1 you sent him to ,rome with the statue1 to finish and erect it4 ,what he did and did not do you know2 but ,i must let you understand that wherever he has worked he has maimed it4 ,chiefly1 he has shortened the right foot1 and it is plainly seen that he has cut off the toes4 ,he has shortened the fingers of the hands1 too1 more especially those of the one which holds the cross1 the right2 ,frizzi says1 it seems to have been worked by a cake-maker1 not carved in marble4 ,it looks as if it had been made by one who worked in dough1 it is so stunted4 ,i do not understand these things1 not knowing the manner of working in marble2 but ,i can very well tell you that those fingers look to me very stumpy4 ,i can tell you1 too1 that it is easy to see he has been working on the beard4 ,i believe a baby would have had more discretion2 it looks as though he had done the hair with a knife without a point2 but this can easily be remedied4 ,he has also cut one of the nostrils1 so that with a little more the whole nose would have been spoiled1 so that no one but ,god could have mended it1 and ,i believe ,god inspired you to write your last letter to ,master ,zovane da ,reggio1 my comrade1 for if the figure had remained in the hands of ,pietro he would undoubtedly have ruined it4 ,michael ,angelo transferred the work of finishing from ,pietro to ,federigo ,frizzi4 ,sebastiano goes on to say3 ,pietro is most malignant now that he is cast off by you4 ,he does not seem to value you or any one else alive1 but thinks he is a great master2 he will find out what he is fast enough1 for ,i believe the poor young man will never know how to make statues4 ,he has forgotten the art4 ,the knees of your statue are worth more than all ,rome4 ,frizzi mended up the mistakes and finished the work on the hair1 face1 hands1 feet1 cross1 and the parts undercut4 ,michael ,angelo was evidently anxious as to the result of this touching up1 and as he was much attached to ,vari1 he offered to make a new statue1 but the courtly ,roman replied that he was entirely satisfied with the one he had received4 ,he regarded it and esteemed it as a thing of gold1 and said that ,michael ,angelo's offer proved his noble soul and generosity1 inasmuch as when he had already made what could not be surpassed and was incomparable1 he still wanted to serve his friend better47#abf7 ,this ,christ of the ,minerva is like a late ,greek embodiment of the ,christian ideal2 it is a work that has been a good deal criticised1 particularly as to the details1 which the letters just quoted prove to have been finished by assistants away from the supervision of the master4 ,the arms and torso1 and1 as ,sebastiano justly says1 the knees1 are very splendid1 and if the spoiled head and extremities were broken away the fragment1 that is to say1 the part really executed by the master1 would be as famous as many a fine work of ,greece or of ,old ,rome4 ,as it stands near a column in the centre of the church in a subdued light it has a presence of great beauty and sweetness1 never allied with so much power before1 notwithstanding that brazen draperies and a sandal hide much of the reverent workmanship4 ,,chapter ,,viii ,,the ,,sacristy ,,of ,,san ,,lorenzo ,after the death of ,leo ,x41 on ,december #a1 #aeba1 ,adrian ,,iv4 was elected to fill the seat of ,st4 ,peter4 ,he was not an ,italian and loved not the arts4 ,he is recorded to have called statues idols of the ,pagans1 and he spent no money on pictures or frescoes4 ,no wonder the artists who were accustomed to the patronage of the ,popes rejoiced when he died1 notwithstanding his goodness1 and hailed his physician as saviour of the ,fatherland4 ,the ,cardinal ,giuliano de' ,medici was elected in his stead1 under the name of ,clement ,,vii41 and ,michael ,angelo expressed the feelings of most of his countrymen and all the artists when he wrote to his friend1 ,topolino1 at ,carrara ,you will have heard how the ,medici is made ,pope2 it seems to me that all the world is glad of it1 so ,i imagine that here 7,florence7 many things will soon be set going in art4 ,therefore1 serve well and with faithfulness1 so that we may have honour47#abg7 ,image #ce ,,the ,,tomb ,,of ,,lorenzo ,,de' ,,medici1 ,,duke ,,of ,,urbino ,,the ,,new ,,sacristy1 ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,in the year #aebc the ,senate of ,genoa banked #cjj ducats towards the expenses of a colossal statue of ,andrea ,doria1 the great sea-captain1 to be carved by ,michael ,angelo4 ,unfortunately ,michael ,angelo was unable to execute this congenial task4 ,there is a magnificent portrait of this prince1 as ,neptune1 by ,sebastiano del ,piombo in the private rooms of the ,doria ,palace at ,rome4 ,the admiral points down with ,michael ,angelesque forefinger as though he were condemning his enemies to descend to the lowest depths of the sea4 ,it looks as if it had been inspired by a drawing of ,michael ,angelo's1 possibly for this statue1 which may have been designed as a nude figure of ,neptune2 the parapet in front of the picture is decorated with a painted bas-relief of a ,roman galley4 ,michael ,angelo's last known letter to his father is supposed to have been written in ,june #aebc47abh7 ,it is a bitter complaint of the testy manner in which his father always treated him1 and the continual interruptions of his work4 ,it must have been a great grief to ,michael ,angelo when the old man came to die if he had not made up this quarrel with him1 for he loved him in a way that is marvellous to us when we consider the character of the old man as evidenced in the correspondence4 ,clement ,,vii4 lost no time1 after he was elected ,pope1 in setting ,michael ,angelo to work1 but again it was against the inclination of the artist1 who passionately desired to complete the ,tomb of ,julius1 partly for the love of his memory and partly to free himself from the importunity of the executors1 who threatened him with a lawsuit4 ,michael ,angelo replied to the agent of ,clement1 ,francesco ,fattucci1 who requested plans for the ,laurentian ,library3 ,i understand from your last that his ,holiness our ,lord wishes that the design for the ,library should be by my hand4 ,i have heard nothing and do not know where he wishes it to be built4 ,true1 ,stefano talked to me about it1 but ,i did not give my mind to it4 ,when he returns from ,carrara ,i will inform myself about it from him1 and will do all ,i can1 although it is not my profession4 ,clement1 who really seems to have had a regard for the artist1 and wished to bind him to his interests1 desired to provide for him for life4 ,if ,michael ,angelo would have consented to make the vows of celibacy he would have given him an ecclesiastical appointment1 failing that he offered him a pension4 ,michael ,angelo only asked for fifteen ducats a month4 ,fattucci1 on ,january #ac1 #aebd1 rebuked him for this modesty1 and wrote that ,jacopo ,salviati has given orders that ,spina should be instructed to pay you a monthly provision of fifty ducats4 ,a house also was assigned to him at ,san ,lorenzo1 rent free1 that he might be near his work4 ,stefano di ,tomaso1 miniatore1 was ,michael ,angelo's right-hand man at this time1 and his name continually recurs in the ,ricordi4 ,he was not altogether a satisfactory servant1 and in ,april #aebd1 ,antonio ,mini seems to have taken his place4 ,this helps us to date the roofing of the sacristy of ,san ,lorenzo1 as in an undated letter to ,pope ,clement ,michael ,angelo says that ,stefano finished the lantern and it was universally admired4 ,this is the work of which it is recorded that when folk told ,michael ,angelo it would be better than the lantern of ,brunelleschi1 he replied3 ,different1 perhaps2 but better1 no6 ,in the ,british ,museum there is a drawing with a bit of advice to young artists1 personified in his new pupil1 ,antonio ,mini4 ,it is in ,michael ,angelo's own hand3-- ,disegna ,antonio1 disegna ,antonio1 disegna e non perder tempo4 ,draw ,antonio1 draw ,antonio1 draw and do not lose time4 ,and now in ,august #aebd17abi7 the ,tombs of the ,medici in the new sacristy were fairly under way4 ,there are several preliminary designs in the ,print ,room of the ,british ,museum1 the ,albertina at ,vienna1 and the ,uffizi1 ,florence47#acj7 ,the first idea was for the tombs to be isolated in the centre of the chapel1 but we gather from a letter1 written in ,may #aebd17aca7 that it had already been decided to have mural monuments4 ,the sarcophagi were to support portrait statues of the ,dukes and ,popes1 of ,lorenzo and his brother ,giuliano4 ,at the foot were to be six rivers1 two under each tomb--the ,arno1 ,tiber1 ,metauro1 ,po1 ,taro1 and ,ticino4 ,the drawings go to prove that the architectural background1 as we see it now1 is as incomplete as it looks4 ,some of the drawings have elaborate candlesticks at the top2 others a circular panel supported by putti4 ,in several the first ideas for some of the final forms may be seen1 but one point is very important3 in almost every case the sarcophagi are large enough to support the figure or figures to be placed upon them1 and never do we see that uncomfortable arrangement by which the figures appear to be sliding off their supports4 ,letters to ,fattucci in ,october #aebe1 and ,april #aebf17acb7 give us an idea of the progress of the works4 ,i am working as hard as ,i can1 and in fifteen days ,i intend to begin the other captain4 ,afterwards the only important things left will be the four rivers4 ,the four figures on the top of the sarcophagi1 the four figures on the ground which are the rivers1 the two captains and ,our ,lady1 who is to be placed upon the tomb at the head of the chapel2 these are the figures ,i mean to carve with my own hand1 and of them ,i have begun six2 and ,i have sufficient spirit to finish them in a convenient time1 and bring partially forward the others which are not of so much importance4 ,the six he had begun are those that are now in the chapel4 ,the ,giuliano and ,lorenzo1 ,day and ,night1 ,dawn and ,evening4 ,the ,madonna1 perhaps ,michael ,angelo's finest work in sculpture1 was also carved by his own hand2 the two other works1 now in the chapel representing the patron saints of the ,medici family1 ,cosmo and ,damiano1 were carved by ,montelupo and ,montorsoli2 they do not seem to have anything of ,michael ,angelo about them1 not even in design4 ,meanwhile ,francesco ,maria1 ,duke of ,urbino1 the executor of ,julius1 was pressing the affair of the ,tomb2 he threatened a lawsuit to recover money advanced for the work4 ,michael ,angelo appeals to the ,pope in a letter addressed to ,giovanni ,spina1 of ,april #ai1 #aebe3-- ,image #cf ,,the ,,tomb ,,of ,,giuliano ,,de' ,,medici1 ,,duke ,,of ,,nemours ,,the ,,new ,,sacristy1 ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,it seems to me it is no good sending a power of attorney about the ,tomb of ,pope ,julius1 because ,i do not want to plead4 ,they cannot bring a suit against me if ,i acknowledge that ,i am in the wrong2 so ,i assume that ,i have sued and lost1 and have to pay2 and this ,i am disposed to do if ,i am able4 ,therefore1 if the ,pope will help me in this1 as intermediary1 and it would be the greatest blessing to me1 seeing that ,i am not able to finish the said ,tomb of ,julius1 both on account of my age and infirmity1 he might express his will that ,i should repay what ,i have received for doing it1 so as to release me of this burden1 and so that the relatives of ,pope ,julius1 with this repayment1 may have the work done to their satisfaction by any one they like4 ,thus his ,holiness our ,lord could please me very greatly4 ,still1 ,i wish to pay back as little as possible in reason4 ,making them listen to some of my arguments1 such as the time spent for the ,pope at ,bologna1 and other time lost without any payment1 as ,ser ,giovanni ,francesco1 whom ,i have informed of everything1 knows4 ,as soon as ,i know clearly what ,i have to restore1 ,i will make a division of what ,i have1 sell1 and arrange my affairs so as to repay all4 ,then ,i shall be able to think of the ,pope's business1 and work4 ,if this is not done ,i cannot work4 ,there is no way more safe for myself1 nor more agreeable1 nor more likely to clear my spirit4 ,it can be done amicably without a lawsuit4 ,i pray to ,god that the ,pope may become willing to arrange it in this fashion1 for it does not seem to me that any one else can do it47#acc7 ,michael ,angelo had a wholesome fear of the law1 not because he was guilty but because of the power of his antagonist4 ,there can be no doubt that he was perfectly honest in these transactions1 and1 as ,pope ,clement said1 he was rather creditor than debtor4 ,clement appears to have arranged matters to some extent with the executors1 and we have a hint of the new arrangement in a letter by ,michael ,angelo to ,fattucci17#acd7 dated ,florence1 ,october #bd1 #aebe3-- ,,messer ,,giovan ,,francesco1--,in reply to your last1 the four statues ,i have in hand are not yet finished1 and much has still to be done upon them4 ,the four others1 for rivers1 are not begun1 because the marble was wanting1 but now it has come4 ,i do not tell you how because there is no need4 ,with regard to the affair of ,julius1 ,i wish to make the ,tomb like that of ,pius in ,st4 ,peter's1 as you have written1 and will do so little by little1 now one piece and now another1 and will pay for it out of my own pocket1 if ,i hold my pension and my house1 as you have written2 that is to say1 the house where ,i lived yonder in ,rome1 with the marbles and movables therein4 ,so that ,i should not have to give to them1 ,i mean to the heirs of ,julius1 in order to be quit of the ,tomb contract1 anything of what ,i have received hitherto1 except the said ,tomb1 completed1 like that of ,pius in ,saint ,peter's4 ,moreover1 ,i undertake to perform the work within a reasonable time1 and to finish the statues with my own hand4 ,he now turns to his annoyances at ,san ,lorenzo3 ,and given my pension as was said1 ,i will never stop working for ,pope ,clement with what strength ,i have1 though that be little1 for ,i am old4 ,at the same time ,i must not be slighted and affronted as ,i am now1 for it weighs greatly on my spirits1 and has prevented me from doing what ,i wished to do these many months2 one cannot work at one thing with the hands1 and at another with the brain1 and especially in marble4 ',tis said here that these annoyances are meant to spur me on2 but ,i maintain that those are scurvy spurs that make a good steed jib4 ,i have not touched my pension during the last year1 and struggle with poverty4 ,i am alone in my troubles1 and have many of them1 which keep me more busy than my art1 for ,i cannot keep a servant for lack of means4 ,there is a kind letter from ,michael ,angelo to ,sebastiano del ,piombo that belongs to this period1 ,may #aebe47ace7 ,it refers to a picture by ,sebastiano1 probably the portrait of ,anton ,francesco degli ,albizzi1 referred to in letter cccxcvi43-- ,,my ,,most ,,dear ,,sebastiano1--,last evening our friend the ,capitano ,cuio7#acf7 and certain other gentlemen were so good as to invite me to sup with them1 which gave me very great pleasure1 since it took me a little out of my melancholy1 or rather folly4 ,not only did ,i enjoy the supper1 which was very good1 but ,i had far more pleasure in the conversation1 and more than all it increased my pleasure to hear your name mentioned by the said ,capitano ,cuio2 nor was this all1 for it further rejoiced me exceedingly to hear from the ,capitano that1 in art1 you are peerless in the world1 and that so you were esteemed in ,rome4 ,if ,i could have rejoiced more ,i would have done so4 ,so you see my judgment is not false1 therefore do not any more deny that you are peerless1 when ,i tell it you1 for ,i have too many witnesses4 ,and behold there is a picture of yours here1 ,god be thanked1 which wins credence for me with every one who can see daylight4 ,from the ,ricordi we learn that ,michael ,angelo was busy with the ,library of ,san ,lorenzo4 ,he had in his employ stone hewers and masters in various crafts3 ,tasio and ,carota for wood carving1 ,battista del ,cinque and ,ciapino for carpentry1 and ,giovanni da ,udine1 a pupil of ,raphael1 for the grotesque decoration for the dome of the chapel4 ,clement added a postscript in his own hand to one of his secretary's letters3 ,thou knowest that ,popes have no long lives2 and we cannot yearn more than we do to behold the chapel with the tombs of our kinsmen1 or1 at any rate1 to hear that it is finished4 ,and so also the library4 ,wherefore we recommend both to thy diligence4 ,meanwhile we will betake us 7as thou said'st erstwhile7 to a wholesome patience1 praying ,god that ,he may put it into thy heart to push the whole forward together4 ,fear not that either work to do or rewards shall fail thee while we live4 ,farewell2 with the blessing of ,god and ours4--,,julius4 7,clement signs with his baptismal name477#acg7 ,the ,pope set ,michael ,angelo to make a ,sacrarium for the relics belonging to ,san ,lorenzo4 ,it was placed above the entrance door of the church1 and the details of that portion of the interior were altered for it4 ,a design by ,michael ,angelo at ,oxford is for part of these alterations4 ,another commission ,clement desired ,michael ,angelo to undertake was of a curiously absurd character4 ,fattucci wrote to say that the ,pope wished a colossal statue to be erected on the piazza of ,san ,lorenzo1 opposite the ,stufa ,palace4 ,the giant was to top the roof of the ,medician ,palace1 with its face turned in that direction and its back to the house of ,luigi della ,stufa4 ,being so huge it would have to be constructed of separate pieces fitted together4 ,this project1 evidently intended as a truly ,florentine insult to the house of ,stufa1 did not please ,michael ,angelo1 and his letter1 of ,october #aebe1 in reply is an instance of his heavy1 elephantine humour3-- ,image #cg ,,lorenzo ,,de ,,medici1 ,,duke ,,of ,,urbino ,,the ,,new ,,sacristy1 ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,to my dear friend ,,messere ,,giovan ,,francesco1 priest of ,saint ,mary of the ,flower of ,florence1 in ,rome4 ,,messer ,,giovan ,,francesco1--,if ,i had as much strength as ,i have had pleasure from your last letter1 ,i should expect to carry out1 and that quickly1 all the things you write to me about1 but as ,i have not ,i will do what ,i can4 ,about the colossus of forty braccia1 of which you tell me1 that is to go1 or rather to be erected1 at the corner of the loggia of the ,medician garden1 opposite the corner of ,messer ,luigi della ,stufa1 ,i have thought of it not a little1 as you told me1 and it seems to me that it would not do in that corner1 for it would take up too much of the roadway2 but in the other corner1 where the barber's shop is1 it would turn out much better according to my way of thinking1 because it has the piazza in front of it and would not be so much in the way2 and perhaps as they would not allow the shop to be removed1 for love of the income from it1 ,i have been thinking that the said figure might be in a sitting position1 and the seat high1 the said work to be hollow within1 as is right when working in pieces1 so that the barber's shop would come underneath1 and the rent would not be lost4 ,and again1 so that the said shop may have wherewithal to dispose of its smoke as it has now1 it occurred to me to give the said statue a horn of plenty in its hand1 hollow within1 which would serve for the chimney4 ,then having the head of the said figure empty1 like the other members1 of that also ,i believe we could make some use1 for there is here in the piazza a huckster1 very much my friend1 who tells me in secret that it would make a very fine dovecot4 ,another fancy strikes me that would be much better1 but we should have to make the figure ever so much larger4 ,and it might be done1 for a tower is built up of pieces2 and that is1 that the head should serve as campanile for ,san ,lorenzo1 which needs one badly4 ,and the bells hanging within1 the sound clanging from the mouth1 it would seem that the said colossus were howling for mercy1 and especially on feast days1 when they ring oftenest and with the largest bells4 ,about the transport for the marbles for the above-mentioned statue1 so that no one shall know of it1 meseems they should come by night and well covered up1 so that they may not be seen4 ,there will be danger at the gates1 and we must provide for it somehow2 at the worst1 we shall have ,san ,gallo47#ach7 ,as to doing1 or not doing1 the things that are to do1 and which you say may stand over1 it is better to let them be done by those who will do them1 for ,i have so much to do that ,i do not care to undertake more4 ,to me it will suffice if it be something worthy4 ,i do not reply to all you say1 for lo ,spina comes shortly to ,rome1 and will answer your letter by word of mouth1 and more in detail than ,i can with the pen4 ,your ,,michael ,,angelo1 ,sculptor1 in ,florence4 ,this letter had its desired effect1 nothing more was heard of the colossus4 ,the ,sack of ,rome in #aebg by the rabble of ,germany and ,spain1 called the ,imperial army1 naturally stopped all artistic work1 for war is the worst enemy of art4 ,clement was besieged in the ,castle ,saint ,angelo for nine months1 and the ,medici lost their power in ,florence4 ,the ,cardinal of ,cortona1 with the young princes ,ippolito and ,alessandro de' ,medici1 fled1 and ,niccolo ,capponi was elected ,president of the ,popular ,government4 ,michael ,angelo was in ,florence all this time4 ,a ,ricordo given in ,lettere1 p4 #eih1 says3 ,i record how1 some days ago1 ,piero di ,filippo ,gondi asked to enter the new sacristy at ,san ,lorenzo to hide there certain goods of his because of the peril in which we now find ourselves4 ,this evening of the #bith of ,april1 #aebg1 he has begun to bring in certain bundles4 ,he says they are linen of his sisters1 and ,i1 not to witness what he does1 or where he hides the stuff1 have given him the key of the said sacristy this said evening4 ,upon ,july #b1 #aebh1 ,michael ,angelo's favourite brother1 ,buonarroto1 died of the plague4 ,gotti tells how ,michael ,angelo held his brother in his arms7#aci7 while he was dying1 notwithstanding the great risk to his own life1 and took care of his family after his death4 ,there are minutes of the expenses he incurred2 the clothes were burnt to avoid infection2 he repaid the widow ,bartolommea her dowry1 placed his niece ,francesca in a convent until she was of an age to marry1 and provided for his nephew ,lionardo1 as if for a son of his own4 ,the citizens of ,florence1 fearing the anger of the ,pope and his new allies1 now that their power was in the ascendant1 prepared to endure a siege4 ,michael ,angelo was appointed general over the construction of the walls and defences of the city in #aebi4 ,he had many difficulties with the council2 often they objected to his plan of fortifying the heights of ,san ,miniato4 ,michael ,angelo went to ,pisa and ,arezzo to superintend the strengthening of the works there4 ,he was sent also to ,ferrara with letters from the ,signori and the ,ten to the ,duke1 the greatest ,italian authority upon fortification1 and to their envoy1 ,galeotto ,giugni1 who wrote to inform the ,florentines that ,michael ,angelo refused to abandon the inn and receive the hospitality of the ,duke1 who with great honour personally conducted him over the fortresses and walls of ,ferrara2 no doubt at the same time showing him his art collections4 ,it would be interesting to know if ,michael ,angelo looked upon the portrait-head of ,julius ,,ii41 broken from his ,bologna statue1 when the bronze was turned into a cannon4 ,perhaps he also saw ,la ,giulia1 the cannon herself4 ,it may be that amongst the engraved gems in the ,duke's collection was one representing ,leda and the ,swan1 and that ,michael ,angelo talked with the ,duke as to the possibilities of this composition for pictorial treatment4 ,soon after ,michael ,angelo returned to ,florence he received warning from a mysterious person that there was treachery in the garrison1 so he fled to ,venice4 ,he had no idea of wasting his life uselessly when he thought certain destruction was before the city1 and so he determined to leave ,italy and accept the overtures that had been made to him from the ,court of ,france4 ,the courage that fears not to undertake the greatest and most difficult works is of a different temper from that of a soldier1 a bravo1 or a ,benvenuto ,cellini2 all the noble and virtuous qualities cannot belong to one hero4 ,unfortunately1 the judgment of ,michael ,angelo turned out to be right after all4 ,nevertheless1 hearing better news1 and hoping against hope1 he courageously returned to ,florence in her extremity and went on with the fortifications4 ,some of the works at ,san ,miniato still remain4 ,vauban is said to have found them of such interest that he surveyed and measured them4 ,during this sad time ,michael ,angelo laboured in secret at the tombs of the ,medici4 ,the sad and despairing thoughts of the artist are evident in the work he produced4 ,no one can enter that solemn sacristy without feeling the spirit of deepest sadness brooding over all--,il ,penseroso1 and the figures of ,day and of ,night1 of ,morning and of ,evening4 ,the city fell in ,august #aecj4 ,marco ,dandolo1 of ,venice1 when he heard of it1 exclaimed aloud1 ,baglioni has put upon his head the cap of the biggest traitor upon record4 ,the prominent citizens who escaped1 including ,michael ,angelo1 were outlawed and their property confiscated4 ,many who remained in the city were imprisoned1 tortured1 and beheaded4 ,michael ,angelo hid himself1 the ,senator ,filippo ,buonarroti says1 in the bell-tower of ,san ,nicolo beyond ,arno47#adj7 ,after the fury was over and ,clement's anger abated1 ,michael ,angelo1 hearing a message of peace from the ,pope1 came forth from his hiding-place and resumed work on the statues at ,san ,lorenzo1 moved thereto more by fear of the ,pope than by love of the ,medici4 ,during ,november or ,december his pension of fifty crowns a month was renewed1 the ,pope's agent in ,florence being ,battista ,figiovanni1 ,prior of ,san ,lorenzo4 ,in #aebh a block of marble had been assigned to ,michael ,angelo1 from which he determined to extract a heroic group of ,hercules and ,cacus4 ,there is a small wax model of this composition at ,south ,kensington1 attributed to ,michael ,angelo1 which may be for this design4 ,the ,medici ,government handed over the blocks to the craven ,baccio ,bandinelli1 who produced the horrible work1 representing the same subject1 now in front of the ,palazzo ,vecchio4 ,the ,leda for the ,duke of ,ferrara17#ada7 but presented by ,michael ,angelo to his pupil ,mini1 was painted during the siege4 ,it was probably a design from some antique gem in the ,duke's cabinet4 ,the original1 and a copy by ,benedetto ,bene1 were taken to ,paris by ,antonio ,mini1 where they passed into the possession of the ,king4 ,michael ,angelo's ,leda hung at ,fontainebleau until the time of ,louis ,,xiii41 when a ,minister of ,state1 ,m4 ,desnoyers1 ordered its destruction1 as it seemed to him to be an improper picture4 ,pierre ,mariette informs us that the picture was only hidden away1 and that it reappeared and was seen by him4 ,it was restored and sent to ,england4 ,in the offices of the ,national ,gallery is the best edition of this picture4 ,the head and arm are repainted1 but the thigh and hip are modelled in a magnificent style that reminds us of the figure of ,night in the ,medician tombs that he was at this very time carving4 ,from the power of this portion of the work we may assume that it is the damaged and much restored original by ,michael ,angelo4 ,image #ch ,,the ,,head ,,of ,,the ,,dawn ,,the ,,new ,,sacristy1 ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,vasari informs us that about this time he began a statue1 of three cubits1 in marble4 ,it was an ,apollo drawing a shaft from his quiver4 ,this he nearly finished4 ,it stands now in the chamber of the ,prince of ,florence1 a thing of rare beauty1 though not quite completed4 ,this work was presented by the artist to ,baccio ,valori1 the powerful agent of the ,medici4 ,it is now in one of the upper rooms of the ,bargello1 in ,florence4 ,the rough hatchings of the chisel lines are everywhere visible2 the figure is palpitating with life under a veil of hewn marble2 the pose of the young god as he glides along and turns his head over his shoulder is one of the most beautiful and graceful ,michael ,angelo ever imagined4 ,until #aecc ,michael ,angelo worked at the ,medici monuments4 ,the ever recurring trouble about the ,tomb of ,julius distracted him in #aecb2 a new contract was made out in the ,may of that year1 and ,michael ,angelo evidently expected that he would have to go to ,rome about it4 ,this may be gathered from the important letter written on ,february #bd1 #aeca1 by ,sebastiano del ,piombo1 in ,rome1 to ,michael ,angelo1 in ,florence2 it marks the renewal of the intercourse of the two old friends after the dangers and troubles they had passed through during the siege of ,florence and the sack of ,rome4 ,sebastiano's previous letter1 as far as we know1 is dated ,april #be1 #aebe3-- #aeca1 #bdth ,february4 ,,my ,,dearest ,,comrade1--,by ,master ,domenico1 called ,menichella1 who has been to see me on your behalf4 ,god knows how dear it was to me4 ,after so many sorrows1 hardships1 and dangers1 ,almighty ,god has left us alive and well in ,his mercy and pity4 ,a fact truly miraculous when ,i think over it2 everlasting thanks to ,his ,divine ,majesty1 and if ,i could express to you with my pen the anxiety and worry ,i have had on your account you would marvel at it4 ,the ,signor ,fernando di ,gonzaga will bear me witness1 and ,god knows what sorrow ,i had when ,i heard you had been to ,venice4 ,if you had found me at ,venice things would have been very different2 but enough4 ,now gossip mine1 now that we have been through fire and water1 and experienced things one could never have imagined1 let us thank ,god for all things1 and for the little life that is left to us2 at least1 let us spend it in what quiet we may4 ,verily1 we must put no faith in fortune1 she is so perverse and sad4 ,i am come to this2 for aught ,i care the universe may be ruined4 ,i should laugh at everything4 ,menichella will tell you by word of mouth of my life and how ,i am4 ,i do not as yet seem to myself to be the same ,bastiano that ,i was before the sack4 ,i cannot collect my thoughts4 ,i say no more4 ,christ keep you well4 ,the #bdth day of ,february1 #aeca1 in ,rome4 ,about your coming here1 according to what ,master ,menichella tells me1 it does not seem to be necessary1 unless you come for a jaunt or to put your house in order2 which1 in truth1 is going to the bad in more ways than one1 as in the roofs and other things4 ,i suppose you know that the workshop1 with the carved marbles in1 has tumbled to pieces2 it is a great pity4 ,you will be able to remedy this and make some arrangements4 ,as for me ,i should dearly love to enjoy your company for a while2 truly ,i am dying to see you4 ,i am all impatience2 but do as you think best4 ,your very faithful gossip1 ,,sebastiano ,,lucianis4 ,,lord ,,michael ,,angelo ,,de ,,bonarotis1 ,most rare ,sculptor1 in ,florence4 ,image #ci ,,apollo ,,the ,,national ,,museum1 ,,the ,,bargello1 ,,florence 7,by permission from the photograph by ,sig4 ,g4 ,brugi1 ,florence7 ,sebastiano continued his good services to his friend with regard to the ,tomb of ,julius all through #aeca4 ,the course of events may be followed in his letters4 ,the ,pope was interested1 and always consulted1 in the affair1 and most favourably disposed to ,michael ,angelo4 ,all this anxiety preyed upon the master and injured his health4 ,paolo ,mini1 the father of ,antonio1 ,michael ,angelo's assistant1 wrote to ,baccio ,valori on ,september #bi7adb73 ,michael ,angelo will not live long unless some measures are taken for his benefit4 ,he works very hard1 eats little and poorly1 and sleeps less4 ,in fact1 he is afflicted with two kinds of disorder3 the one in his head1 the other in his heart4 ,neither is incurable1 since he has a robust constitution2 but1 for the good of his head1 he ought to be restrained by our ,lord the ,pope from working through the winter in the sacristy1 the air of which is bad for him27#adc7 and for his heart1 the best remedy would be if his ,holiness could accommodate matters with the ,duke of ,urbino4 ,on ,november #ba ,clement addressed a brief to his sculptor1 whereby ,buonarroti was ordered1 under pain of excommunication1 to lay aside all work1 except what was strictly necessary for the ,medician monuments1 and to take better care of his health4 ,on the #bfth ,benvenuto ,valpaio added that his ,holiness desired ,michael ,angelo to select some workshop more convenient than the cold and cheerless sacristy4 ,sebastiano's letters during #aecc often refer to an edition of some madrigals written by ,michael ,angelo and set to music by ,bartolomeo ,tromboncino1 ,giacomo ,arcadelt1 and ,constanzo ,festa47#add7 ,gottif7#ade7 publishes an essay by ,leto ,puliti on this music with the score of three of the madrigals4 ,many of ,michael ,angelo's poetical compositions may be referred to this period of comparative inaction as to painting and sculpture4 ,all through his life he wrote sonnets and poems when his other work did not proceed quickly4 ,in #aece ,michael ,angelo finally left ,florence4 ,his father and his favourite brother were dead1 and so he left the shadow of the great ,duomo1 all ,florentines love1 for ever4 ,at ,rome he dreamed a dream of another ,dome1 that has given to that city the feature by which we know it best1 and to ,romans a possession not less beloved than ,bruneleschi's gift to the ,florentines4 ,image #dj ,,the ,,head ,,of ,,the ,,night ,,the ,,new ,,sacristy ,,of ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,when ,michael ,angelo left1 the works at ,san ,lorenzo were all unfinished2 the faade was not begun1 the ,sagrestia ,nuova1 the ground plan of which is similar to ,bruneleschi's ,sagrestia ,vecchia1 was left in the rough1 and the ,library he designed to hold the priceless ,medician manuscripts1 collected by ,cosimo ,pater ,patri and ,lorenzo the ,magnificent1 now known as the ,biblioteca ,laurenziana1 was only begun4 ,as ,michael ,angelo's designs and working drawings were of the roughest description1 and he usually left a great deal to be settled after he had seen the effect of the earlier part of his works1 we cannot blame him only for certain faults1 such as1 for instance1 the awkward approach to the ,library4 ,if he had completed the work he very likely would have made an entrance from the piazza1 as roomy and convenient1 as the curious staircase in the corner of the cloister is awkward and cramped4 ,it was completed by ,giorgio ,vasari1 whose letters to ,michael ,angelo about this difficult work1 and ,michael ,angelo's chaotic replies1 belong to a much later period4 ,the curious manner of cutting up the wall by pilasters and framed spaces cannot properly be judged without the bronze bas-reliefs that they were intended to contain4 ,considered as a method of hanging or displaying a collection of works of art they are admirable1 and might well serve for the interior decoration of a great museum4 ,the vestibule1 with its curious stairway1 large consoles1 and green and white colour1 leaves an impression of power and eccentricity in architecture like the effect of the serious caricatures of ,leonardo da ,vinci in drawing4 ,the buildings at ,san ,lorenzo should be regarded as the prentice work of the architect of the ,dome of ,st4 ,peter's4 ,the decorations of the ,sagrestia ,nuova1 too1 were left unfinished2 the statues of ,day1 ,night1 ,morning1 and ,evening were left where he had worked upon them1 on the floor of the chapel4 ,from ,vasari's letter to him of #aefb1 instigated by the ,duke ,cosimo1 who desired to complete the work according to ,michael ,angelo's designs1 asking for help and advice17#adf7 we gather that ,michael ,angelo intended to have placed statues in all the niches above the sepulchres1 and in the frames above the doors works of painting1 stucco for the arches1 and painting to adorn the flat walls and semicircular spaces of the chapel4 ,michael ,angelo1 on account of his great age1 was unable or unwilling to assist in the work4 ,the present sarcophagi cannot have been intended to hold the allegorical figures in the way they do1 for the under surfaces of the statues do not fit the top of the mouldings1 and certainly the rough stones that project over them1 forming a base for the feet1 must have been intended to be supported by solid marble1 and not to rest uneasily on air4 ,the sarcophagi are of a greyer marble than the figures or than the panelling behind them4 ,the architectural ornament appears to be of three dates3 ,first1 the niches and panels of the walls2 second1 the sarcophagi and their supports2 third1 the doors of the chapel and niches over them4 ,in the first1 the grotesque heads in the mouldings are like the dull grotesques ,michael ,angelo appears to have designed in the architecture of the ,tomb of ,julius and on the armour of the captains in this chapel4 ,in the second1 the four-horned skulls of rams on the sides of the supports of the sarcophagi are very feeble and poor in design4 ,if we compare them with the powerful and true drawing of the rams' heads used in the frame-work of the vault of the ,sistine ,chapel1 we shall see that it is impossible for ,michael ,angelo to have designed them1 or even let them pass whilst he was superintending the works4 ,the shell and rope patterns are even worse and more feeble2 they are easily seen to be executed by different hands4 ,the simple bosses of the base under ,dawn and ,evening are still unfinished3 that would go to prove that ,michael ,angelo had designed them and seen them cut as far as they go--not necessarily that he had seen them in position--and that the academicians1 when they did their best to complete the chapel1 rightly decided to leave them as they were4 ,the base under ,day and ,night has no bosses2 they had not been begun as in the former case2 we may presume the academicians thought it best to have them flat4 ,these simple bases are the most effective portions of the architectural scheme of the monument1 in character with the allegorical figures1 reminding us of the plinths or seats provided for the ,athletes and the ,prophets of the ,sistine4 ,perhaps they were the only portions1 except the figures and the panelling of the walls1 seen by ,michael ,angelo himself4 ,the supports and lid of the sarcophagi1 and the sarcophagus of ,giuliano1 are of different marble to the actual receptacle of the body of ,lorenzo1 that is under ,dawn and ,evening4 ,the quiet mouldings of the latter are much finer and more in character with the walls4 ,the lids are of a white sugary marble1 the mouldings coarse and semicircular in section1 and the volutes and circular endings of the lids are of a perfectly stupid design4 ,these lids cannot have been seen by ,michael ,angelo2 and1 therefore1 he cannot have seen the figures in their places upon them4 ,the sarcophagus under the ,day and ,night has been copied from the one seen by ,michael ,angelo3 its mouldings are still beautiful1 but heavier1 more deeply cut1 and of less subtle line in the section4 ,the difference is perceptible to the eye and evident with the aid of a good foot-rule4 ,this sarcophagus is of a different marble1 as has been said4 ,as to the third period1 the garlands and little pretty vases over the doors of the chapel1 and the consoles and niches above1 are like nothing else in the world but those carved frames that in ,florence to this day are called ,vasari frames4 ,the marble candlesticks upon the altar of the chapel are of different marble from the altar on which they stand1 and appear to be of an earlier date4 ,the grotesques on the bases are of good design1 and the drill holes of the marble cutting are simply left to tell their story of how the work was done1 instead of being cut away and hidden as in later work4 ,may they not have been designed in ,michael ,angelo's time1 possibly for the brackets on the cornice of the panelling behind the tombs8 ,on the altar is the inscription3 ,,paulus ,v4 ,,pont4 ,,max4 ,,mdcx4 ,the figures of ,giuliano and ,lorenzo are perfectly finished2 they cannot be regarded as portraits1 but as symbols4 ,the armour of the warrior ,giuliano is magnificently designed1 and must have been founded upon some antique example4 ,the grotesque upon the breastplate is not unlike a grotesque in a similar place upon an antique marble bust in the ,naples ,museum4 ,the helmeted ,lorenzo1 ,il ,penseroso1 broods over what might have been1 had he acted his part in ,florence4 ,under his elbow rests a box of peculiar design1 possibly the representation of a political instrument used in the offices of his family's unwise government4 ,the unfinished head of ,day is an example of how the master appears to complete his work from the first stroke of his chisel4 ,the vigorous giant1 just rising to his work1 looks over his shoulder at the bright sun4 ,the rough chiselling of the face suggests already the dazzle of the light in his eyes2 how he tears his right hand as yet half stone from out his stony breast6 ,with his left hand behind his back he appears to count the quattrini of his wage2 this action of the thumb placed on the second finger is ,michael ,angelo's favourite one for the hand2 it may be seen many times in this chapel alone4 ,the shortness of the feet in the figure of ,day appears to be due to a miscalculation as to the size of the block2 but1 perhaps1 had the head and torso been thinned down in the finishing they would have been correct in proportion4 ,at the same time1 the feet are finished most carefully and beautifully1 and are so true that photographs of them look almost like photographs from the finest of living models4 ,image #da ,,night ,,the ,,new ,,sacristy ,,of ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,how much has been written about the ,night and her meanings6 ,we have good proof that her maker intended her to have some of these many meanings in the reply of ,michael ,angelo to ,giovan ,battista ,strozzi's complimentary verses3-- ,la ,notte1 che tu vedi in si dolci atti ,dormire1 fu da un ,angelo scolpita ,in questo sasso1 e perch dorme ha vita2 ,destala1 se no'l credi1 e parleratti4 ,the ,night1 that thou seest1 so sweetly sleeping1 ,was by an angel carved in the rude stone1 ,sleeping1 she lives1 if thou believ'st it not1 ,wake her1 and surely she will answer thee4 ,the reply of ,michael ,angelo is in a much higher vein1 and teaches us to look to a far different aim in his work than the mere form represented3-- ,grato m' 'l sonno e pi l'esser di sasso2 ,mentre che 'l danno e la vergogna dura ,non veder1 non sentir m' gran ventura2 ,per non mi destar2 deh6 parla basso6 ,dear is my sleep1 more dear to be but stone2 ,whilst deep despair and dark dishonour reign ,not to hear1 not to feel is greatest gain2 ,then wake me not2 speak in an undertone4 ,no one ever before gave such tragic beauty to the worn and tired figure of a woman who has lived through her many days of toil and suffered many labours4 ,it is believed by a medical authority that the master meant the statue to represent rest after a labour1 but it is rather the nightmare-troubled sleep of a tired woman1 whose beautiful firm hips and worn breasts prove her to have bravely met and passed through many cares1 and suckled many children4 ,a horrid mask1 symbolising these memories1 in bad dreams1 grimaces beside her left hand4 ,the eyes of the mask are cut double so that the thing alters its glance as you move about the chapel1 fascinates and is intolerable4 ,the noble and splendid thighs of the woman again realise a favourite problem of ,michael ,angelo's4 ,he represented these powerful limbs in the ,flood and other parts of the ,sistine vault1 and in the ,leda4 ,beneath is seen an owl2 never before in sculpture has a bird been represented with such power and dignity1 save only by the ,greeks in the eaglets head on the coin of ,eiis4 ,there are wreaths of poppy heads1 symbols of sleep1 and a moon and stars to crown the head that is like the head of a greater than ,diana4 ,evening1 a brawny1 hard-worked man1 looks across the chapel with pity towards the ,night4 ,he appears to be in the act of straightening and stretching out his limbs1 lately bent by the toils of the day1 in longed-for rest4 ,image #db ,,the ,,madonna ,,and ,,child ,,the ,,new ,,sacristy1 ,,san ,,lorenzo1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,the virgin ,dawn lifts her weary head1 as it were1 in despair1 that another day of shame and reproach is beginning2 her long1 lithe limbs and narrow hips contrast with the ample girth and muscular power of the ,night4 ,the modelling of the torso of this figure is1 perhaps1 the finest piece of workmanship in the chapel1 and should be studied from every point of view1 even from the back of the monument4 ,the muscular forms and the disposition of the lines are so beautiful and true that it is a veritable marvel and wonder of the world4 ,the right proportion of development necessary for a figure of that colossal size to move and live has never been so well calculated4 ,the head is so beautiful that it cannot be spoken about2 but must be seen in the position ,michael ,angelo designed it for1 and not tilted upright on an ordinary pedestal as it is always seen in the art schools4 ,all the four figures struggle with the trials1 difficulties1 and despair of their lives1 as who should say1 to such a pass has ,medici rule reduced existence in ,florence4 ,one other statue in the ,chapel is entirely by the hand of the master1 a ,madonna suckling the child ,jesus1 a strong boy straddling across her knee and turning right round to reach the breast4 ,although unfinished1 it is one of ,michael ,angelo's noblest works2 it is a notable example of compactness of design1 and of how he left the shape of the block of marble evident in his finished work4 ,,chapter ,,ix ,,the ,,last ,,act ,,of ,,the ,,tragedy ,,of ,,the ,,tomb1 ,,and ,,the ,,day ,,of ,,judgment ,as soon as ,michael ,angelo arrived in ,rome1 in #aece1 he set to work to complete his contract for the ,tomb of ,julius1 and marbles that had waited in silence for his liberating hand began to resound with the clink of the iron4 ,the two ,slaves in the ,louvre appear to have been worked upon once again at this date1 if we may judge by their likeness to the work in the ,dawn and the ,day4 ,after the death of ,clement the new ,pope1 ,paul ,,iii41 ,farnese1 sent for him and requested him to enter his service1 as ,condivi tells us47#adg7 ,paul ,,iii41 in a brief dated ,september #a1 #aece17adh7 appointed ,michael ,angelo chief architect1 sculptor1 and painter at the ,vatican2 he became a member of the ,pope's household1 with a pension of #abjj golden crowns1 raised on the revenue from a ferry across the river ,po1 at ,piacenza4 ,this was so unremunerative1 however1 that it was exchanged for a post on the ,chancery at ,rimini4 ,and now the doors of the ,sistine ,chapel once more close upon the master1 not to be opened again until the ,christmas of #aeda4 ,image #dc ,,the ,,day ,,of ,,judgment 7,from a print in the ,british ,museum7 ,michael ,angelo had to destroy three frescoes by ,perugino and two lunettes of his own upon the altar wall of the ,sistine ,chapel for his new scheme4 ,he is said to have had the wall rebuilt of well-baked bricks1 so possibly the old frescoes had suffered from damp and dirt4 ,vasari says ,fra ,sebastiano del ,piombo prepared the wall for ,michael ,angelo1 and secretly had it grounded for oil painting1 no doubt hoping himself to be employed in the work1 as oil was his special medium4 ,michael ,angelo was very wroth with his old friend for this1 and declared that oil painting was an art only fit for women and crazy fellows4 ,we hear of no further intercourse between ,michael ,angelo and the jovial frate4 ,vasari attributes their coolness to this incident4 ,hieronimo ,staccoli wrote a letter in ,july #aecg17adi7 to the ,duke of ,camerino1 son and heir to the ,duke of ,urbino1 about a salt-cellar designed for him by ,michael ,angelo4 ,this prince was afterwards a good friend to the master1 and his letter of ,september #g1 #aeci1 informs us of the position of affairs with regard to the ,tomb of ,julius during the progress of the large painting in the ,sistine3-- ,,dearest ,,messer ,,michael ,,angelo1--,it always has been1 and now is1 more than ever our infinite desire1 as you will naturally imagine1 to see the ,tomb to the sainted memory of ,pope ,julius1 my uncle1 brought to a good conclusion by you1 and we know well that it belongs to our duty to have good care of it1 and see it ultimately finished1 being held to it as you so well know by that sainted spirit3 nevertheless1 having heard by letters from our ambassador at ,rome the great desire of our ,lord1 we must comfort ourselves with all patience whilst this said work is passed over by you4 ,as long as ,his ,holiness holds you busy in finishing the picture in the said chapel of ,sisto2 not being able or willing1 but by our duty and our natural inclination in this as in all things to otherwise than comply with his wishes1 we are contented to agree with a good grace1 on reflection and by the reverence we bear to ,his ,holiness4 ,you may1 therefore1 fairly go on with the painting until the work is finished2 but with a firm hope and belief that when it is done you will give yourself up entirely to finishing the said ,tomb1 redoubling your diligence and care to make up for the loss of time1 as ,his ,holiness has also promised you shall1 kindly offering himself to urge you to do it2 and to this end we have written you this letter4 ,so long a time has passed since this said ,tomb was begun that we cannot persuade ourselves but that you are equally desirous with us to see it finished2 and esteeming you an honourable man1 as we certainly believe you are--you cannot be otherwise with your singular virtue--we judge it superfluous to give you any admonition except that you keep yourself in good health1 in order that you may honour those sainted bones that living honoured you and the other gifted men of that age1 by all that we have so often heard4 ,we beg you will make use of us if there is any other matter in which we can do you pleasure1 for we shall do it with that good will which your most rare gifts deserve4 ,and keep well4 ,image #dd ,,the ,,judge4 ,,from ,,the ,,day ,,of ,,judgment ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli1 ,alinari1 ,florence7 ,shortly before the fresco was finished1 ,vasari informs us that ,michael ,angelo had a bad fall from the scaffolding1 and injured his leg4 ,he returned home1 shut himself up in his house1 and would not allow any doctor to come near him or even enter the house4 ,a certain ,florentine physician and lover of the arts1 ,baccio ,rontini1 contrived to creep in by a back door1 and roamed about until he found the master4 ,he then insisted upon remaining with him1 looking after him until he had effected a complete cure4 ,the ,last ,judgment was shown to the public upon ,christmas ,day1 #aeda4 ,in this picture of the ,day of ,wrath1 ,michael ,angelo has concentrated all his energies to represent the terror of the wrath of ,god4 ,it is ,jehovah with ,his thunders that rises before the frightened mass of human souls4 ,the ,holy ,mother crouches beside ,him1 turning her face away so as not to see the wrath to come4 ,even the saints look with dread towards the great ,judge1 fearing lest they too should be condemned4 ,martyrs brandish the emblems of their martyrdom before ,his eyes to plead for them1 and1 as some have said1 claim vengeance for their pains4 ,michael ,angelo would have us realise that no human soul is innocent beside the ,holiness of ,heaven4 ,the gentle happiness of the redeemed1 as represented by the blessed ,frate ,angelico is absent from the scene--it could not appear without destroying the unities of the tragedy4 ,peace will follow as the blessed walk in the ,elysian fields after they have passed1 with a fearful joy1 from the judgment seat4 ,michael ,angelo has followed the traditional composition of the subject in all its lines and details1 adapting it with the least change possible to the space at his command1 and to the superior knowledge of the drawing of the human form that he possessed4 ,it is most interesting to compare this rendering with the same subject in the ,campo ,santo at ,pisa4 ,every part of the composition is repeated1 the action of the ,judge1 the ,madonna beside ,him on ,his right1 ,apostles on either side1 the resurrection of the dead1 the descent into hell1 the angels blowing the trumpets in the centre of the lower part1 the angels bearing the cross and other implements of the ,passion in the upper corners4 ,this crowded mass of figures is divided into nine several parts1 all the figures and groups having room enough to move1 and to spare4 ,the more this work is studied in detail the more beautiful the forms appear1 and the more daring and skilful the foreshortenings are found to be4 ,every figure is beautiful1 and every one of them noble4 ,the picture is full of symbolism in the details1 and may be studied every day1 and new thoughts and new meanings found in it4 ,souls that help each other in their upward struggle4 ,beads of prayers with which one good righteous man draws souls to heaven4 ,the wife who lifts up her despairing husband2 his expression of awe and doubt as he rises upward4 ,souls long separated by death rush together in close embrace2 father and son1 husband and wife4 ,dante is there thirsting for deepest mysteries1 his face positively thrust between ,st4 ,peter and ,st4 ,paul4 ,souls driven down to hell1 beautiful and noble as are those destined for heaven2 even their despair is dignified as if they assented to their doom as just4 ,old ,charon1 in his boat1 with eyes of brass1 who beats the delaying souls with uplifted oar1 is taken directly from ,dante3-- ,caron demonio con occhi di bragia ,loro accenando1 tutte le raccoglie1 ,batte col remo qualunque si adagia4 ,image #de ,,spirits ,,of ,,the ,,blessed1 ,,part ,,of ,,the ,,day ,,of ,,judgment ,,sistine ,,chapel1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,those portions of the fresco in the semicircular spaces at the top1 angels bearing implements of the ,passion1 appear to have been painted the last4 ,they approximate in style to the works afterwards done in the ,pauline ,chapel1 and are not so absolutely true in drawing as the rest of the work4 ,here1 for the first time1 is a sense of fatigue in the workmanship4 ,they appear to have been treated as two separate compositions filling their lunettes4 ,michael ,angelo has used the favourite device of ,raphael to give movement1 direction1 and force of line1 two figures pointing almost side by side in almost exactly parallel actions4 ,nothing gives so much sense of rush1 as may be seen in many of the compositions in the ,loggia4 ,one instance here is the angel bearing the ,crown of ,thorns and the figure near him4 ,another is just below1 two figures near the right arm of the ,judge4 ,one of the finest and most superb groups ever designed by ,michael ,angelo is the group of angels blowing the trumpets of doom in the forefront of the fresco4 ,their energy and power1 compared with the placid angels of ,pisa and ,orvieto1 exhibit the different aims of the artist most effectively4 ,it must be noticed how carefully ,michael ,angelo has arranged his composition1 so that the baldacchino used behind the ,high ,altar upon great occasions shall not injure his composition4 ,the group of angel trumpeters1 the ,charon and the devils in a cave1 are all hidden and cut off exactly by the curtains1 and the composition generally is positively improved by their absence4 ,michael ,angelo1 no doubt1 thought the fresco would be most seen on such occasions1 and designed his work accordingly4 ,the space hidden1 however1 he did not neglect1 but placed in it some of his finest work4 ,the prophet above this end of the chapel is ,jonah1 whose history is a symbol of the resurrection of the dead4 ,his presence there makes us suppose that ,michael ,angelo always contemplated the possibility of his having to paint the ,last ,judgment upon this wall1 although he himself painted the lunettes now covered by the larger composition4 ,the colour of this fresco is very much darkened by dust and by smoke from the altar candles2 and1 as it is more within reach than the vault1 it has been retouched4 ,it should be a source of comfort to those who get tired with looking upward at pictures in high places1 if they will but remember that their beloved paintings have often been protected from the restorer by their high position4 ,there is an interesting early copy of this fresco in the ,corsini ,gallery in ,florence1 which1 though rather crude1 gives us a good idea of the light tone of the painting in its early state4 ,this work was received by artists with enthusiasm1 reflected in the pages of ,vasari4 ,they came from all parts to study it2 in fact1 most of the drawings attributed to ,michael ,angelo in collections are their studies from it1 and not his studies for it1 as they are called4 ,as a general rule1 whenever there are two or more figures drawn in a group1 all equally finished and accurately in the same position as the figures in the fresco1 the drawing may be assumed to be a copy4 ,two sections of the public1 even then1 were unable to receive ,michael ,angelo's message of the beauty and purity of the human figure4 ,not only scandalous persons1 like ,aretino1 objected to them1 but pious people1 who could not and cannot yet be brought to believe in the splendour and holiness of the ,creator's work4 ,vasari tells us that when ,michael ,angelo had almost finished the work ,pope ,paul came to see it1 and ,messer ,biagio da ,cesena1 ,master of the ,ceremonies1 a very particular person1 was with him in the chapel1 and was asked what he thought of it4 ,messer ,biagio da ,cesena replied that he considered it highly improper to paint so many shameless1 naked figures in such an honourable building1 and that it was not a fit work for the ,pope's chapel1 but more suitable to a bagno or an inn4 ,michael ,angelo nettled by this resolved to revenge himself at once4 ,as soon as they left the chapel he set to work and drew ,messer ,biagio's portrait1 from memory1 in hell as ,minos1 with a great serpent twisted round his legs1 surrounded by a crowd of devils4 ,messer ,biagio complained to the ,pope1 who asked him where he was placed8 ,in hell1 was the reply4 ,then ,i can do nothing to help you1 said the ,pope2 had the painter sent you to purgatory ,i would have used my best efforts to get you released1 but ,i exercise no influence in hell1 ubi nulla est redemptio4 ,some years afterwards ,paul ,,iv4 objected to the naked figures1 and employed ,daniele da ,volterra to patch draperies on to some of them1 with ,michael ,angelo's consent1 whereby ,daniele obtained the nickname of ,il ,braghettone1 or the breeches-maker4 ,daniele did his work with a good deal of discretion1 hiding as little of the original fresco as possible3 the additions are unfortunately offensive in colour4 ,the early engravings show the picture in its original state1 and show that the additions are not so many or so important as might be supposed1 as most of the larger masses of draperies are seen to be ,michael ,angelo's own work4 ,when the ,pope obtained ,michael ,angelo's consent to this alteration1 the artist replied to his messenger3 ,tell his ,holiness this is a small matter1 and can easily be set right4 ,let him look to setting the world in order3 to reform a picture costs no great trouble4 ,pius ,v4 also employed ,girolamo da ,fano to make some further alterations4 ,these retouches a secco have destroyed to a great extent the atmospheric quality and the relation of the planes in ,michael ,angelo's suave true-fresco method1 which1 as may be seen in the vault1 gives the grey half-tints of the flesh-tones in a way only equalled by ,andrea del ,sarto in fresco and ,rembrandt in oil painting4 ,as soon as ,michael ,angelo had finished the ,last ,judgment1 ,paul ,,iii4 set him to work again to fresco the walls of the chapel of the ,holy ,sacrament1 just completed by ,antonio da ,san ,gallo1 and now known as the ,cappella ,paolina4 ,michael ,angelo had hoped to complete the ,tomb of ,julius at once1 with his own hand1 but the ,pope's determination necessitated further negotiations with the ,duke of ,urbino4 ,the ,duke wrote to ,michael ,angelo upon ,march #f1 #aedb1 saying that he would be quite satisfied if the three statues by his hand1 including the ,moses1 were assigned to the ,tomb1 the execution of the rest being left to competent workmen under him47#aej7 ,there is also a petition from ,michael ,angelo to ,paul ,,iii47#aea7 stating that his ,holiness the ,pope's commission for ,michael ,angelo to work and paint in his new chapel prevents him finishing the ,tomb as agreed with the illustrious signor ,duke of ,urbino4 ,already ,raffaello da ,monte ,lupo1 the ,florentine1 considered one of the best masters of the time1 was well forward with the standing group of the ,madonna with the ,child in her arms1 and a ,prophet and a ,sibyl seated1 for four hundred scudi4 ,the rest of the decoration1 excepting the part in front1 was in the hands of ,master ,giovanni de' ,marchesi and ,francesco da ,urbino1 chisellers and carvers in stone1 for seven hundred scudi4 ,but there still remained to be supplied the three figures to be carved by ,michael ,angelo's own hand1 that is to say1 a ,moses and two captives4 ,but as the two said captives were designed for the work when it was to have been on a much larger scale1 they would not fit in the reduced design1 nor could they in any way be made to look well there4 ,accordingly the said ,messer ,michael ,angelo1 not to lose his honour1 had blocked out two new statues to go on either side of the ,moses1 representing the ,active and ,contemplative ,life1 which are well advanced1 so that they may be easily finished by another master4 ,michael ,angelo desires and supplicates his ,holiness our ,lord the ,pope ,paul the ,third1 in order that he may work in his chapel1 which needs all his energies and his entire care1 and he being aged1 and desiring to serve the ,pope with all his power1 to free him from his obligation to the signor ,duke of ,urbino with regard to the said ,tomb1 cancelling and annulling every obligation4 ,especially1 to allow him to hand over the two statues that remain to be done to the said ,raffaello da ,montelupo1 or to some one pleasing to his ,excellency1 for a good price1 which it is thought would be #bjj scudi4 ,the ,moses will be finished entirely by ,michael ,angelo1 and arrangements will be made by ,michael ,angelo to pay the money due for these workers 444 and so he will be free in all things and able to serve and satisfy his ,holiness4 ,finally1 he deposits a sum of #abjj crowns1 and guarantees that the work shall be efficiently executed in all its details4 ,the final contract in agreement with this petition was signed upon ,august #bj1 #aedb47aeb7 ,the mighty design of ,michael ,angelo's early years of enthusiasm dwindled down to the ,moses1 but what a height above other men's biggest designs is this single figure6 ,the ,cardinal was right who said the statue of ,moses alone was a sufficient memorial of ,julius4 ,in a letter to ,salvestro da ,montauto1 of ,february #c1 #aede7aec71 ,michael ,angelo says that the ,duke of ,urbino ratified the deed1 and the five statues were given to ,raffaello da ,montelupo to be carved4 ,of these five statues my ,lord the ,pope having at my earnest prayer and for my satisfaction conceded to me a little time1 ,i finished two of them with my own hand1 that is to say1 the ,contemplative ,life and the ,active ,life for the same sum that the said ,raffaello was to have had4 ,from the works themselves we may be sure that there is a good deal of ,raffaello da ,montelupo about these figures all the same4 ,notwithstanding all this evidence of the desire of ,michael ,angelo to carry out his contract1 we have a letter7#aed7 from ,annibale ,caro to ,antonio ,gallo as late as #aeec entreating him to plead with the ,duke of ,urbino for ,michael ,angelo4 ,i assure you that the extreme distress caused him by being in disgrace with his ,excellency is sufficient to bring his grey hair with sorrow to the grave before his time4 ,in the finished work there are statues not yet accounted for1 that is to say1 the recumbent portrait of the ,pope which was executed by ,maso del ,bosco1 the coat of arms of the ,della ,rovere by ,battista ,benti of ,pietra ,santa1 and the terminal figures by ,giacomo del ,duca4 ,the greatest drawback to the effect of the whole is the change in the architectural treatment and decorations4 ,the lower part belongs to the period when the work was begun in #aeje1 and the upper1 with no transition but a joint in the stone1 to the heavier and coarser style of the period when it was finished1 #aede4 ,the jointing and the masonry generally are not of a satisfactory character17#aee7 and ,michael ,angelo's assistants cannot be congratulated upon the way they did their share of the work4 ,with the exception of the figures of ,active and ,contemplative ,life1 the work of the assistants would be better away4 ,the two bound captives which were too big for the altered monument are now the glory of the ,italian sculpture galleries of the ,louvre4 ,they were presented by ,michael ,angelo to ,roberto degli ,strozzi1 because1 when the sculptor was ill in #aedd1 ,luigi del ,riccio1 his friend1 nursed him and looked after him in the ,strozzi ,palace4 ,they were taken to ,france and offered to the ,king of ,france1 who gave them to the ,conntable de ,montmorenci2 they were placed by him in ,ecouen4 ,they were bought for the ,french nation by ,m4 ,lenoir when the ,republic put them up for sale in #agic4 ,four unfinished colossal figures1 which still appear to be wrenching themselves from their prison of stone1 now lurk in the corners of a repulsive grotto in the ,boboli ,gardens4 ,they are supposed to have been also for the ,tomb of ,julius4 ,heath ,wilson suggests that they may have been intended for the faade of ,san ,lorenzo4 ,the difficulty as to scale that caused a doubt as to their being intended for the ,tomb does not really disprove it2 for ,michael ,angelo was never very particular as to the comparative size of the figures in his monuments1 and the many alterations of his schemes for the ,tomb make it possible for them to have been worked in somehow4 ,it is very probable that when he was at ,florence1 and after some of the more threatening letters of the executors1 he set savagely to work upon some blocks ready to his hand1 with the idea of having them conveyed to ,rome afterwards4 ,they belong to about the time of the siege of ,florence1 and are more suggestive of his method of work1 and of his thoughts in the presence of the stone1 than any other of his statues4 ,if they were removed from their ugly surroundings and placed1 say1 in the ,tribuna of ,david in the ,belle ,arti at ,florence instead of the plaster casts that represent the master in his own city1 they1 with the other fragments1 such as the ,saint ,matthew1 the ,apollo1 the ,victory1 and the other works in the ,bargello1 would make a gallery of his art even worthy of ,michael ,angelo4 ,failing such a possibility1 they might1 at least1 be placed under the ,loggia dei ,lanzi1 away from the repulsive grotesque of stucco and stalactite that grins at them in the grotto4 ,if something must be left as a companion to the ugly thing1 plaster casts would be quite good enough4 ,the ,victory1 of the ,bargello1 was said by ,vasari to have been designed for the ,tomb1 but it may just as well have been intended for an angel overcoming a demon1 part of the ruined scheme for the faade of ,san ,lorenzo4 ,the lower figure is still left in the rough1 and is supposed to be like the artist4 ,the head of the upper figure is so dull that it cannot have been carved by the sculptor who finished the torso so exquisitely4 ,it may have been left a mere block1 like the head of one of the captives of the ,boboli4 ,the man who carved the head1 and also worked on other portions of the group1 turned the neck round too much4 ,if we imagine the head less turned and looking down towards the crouching figure1 conquered by the young genius of beauty and victory1 we shall see the grace in the pose of the torso to greater advantage4 ,we imagine a somewhat similar story for the figure in the ,bargello1 called the ,adonis4 ,the boar cannot be by ,michael ,angelo's hand1 and1 indeed1 very little of the figure suggests his grasp of plastic possibilities2 the figure cannot have been much more than blocked out by him1 and was finished after his death by some artist of the type of ,vincenzio ,danti4 ,,chapter ,x ,,the ,,chapel ,,of ,,pope ,,paul1 ,,and ,,the ,,piet ,,of ,,santa ,,maria ,,del ,,fiore ,michael ,angelo wrote a number of sonnets and made many drawings for his friends1 especially for the ,marchioness of ,pescara and ,messer ,tomaso dei ,cavalieri1 a noble ,roman gentleman4 ,for him they were generally subjects from ,greek and ,roman mythology1 but for the ,marchioness the drawings always represented episodes from the story of the ,passion of our ,lord4 ,a ,piet1 drawn for this lady1 was engraved by ,giulio ,bonasoni and ,tudius ,bononiensis in #aedf4 ,there are several drawings in the ,print ,room of the ,british ,museum and the ,windsor and ,oxford ,collections of this character and period4 ,one at ,oxford was probably the original sent to ,vittoria1 but all are of the same sacred inspiration2 in fact1 the religious element becomes very strong indeed in all his later work1 just as in the later work of ,titian4 ,these artists had the near prospect of death in view1 and thus they turned their thoughts entirely to work from which they hoped for reward in the world to come4 ,the fear of hell was not without its influence upon both of them4 ,some of the drawings made by ,michael ,angelo for his friend1 ,tomaso ,cavalieri1 are mentioned in one of ,tomaso's letters1 dated #aecc47aef7 ,image #df ,,the ,,crucifixion ,,of ,,saint ,,peter ,,the ,,chapel ,,of ,,pope ,,paul1 ,,the ,,vatican1 ,,rome 7,by permission of the ,fratelli ,alinari1 ,florence7 ,,unique ,,my ,,lord1--,some days ago ,i received a letter from you1 which was very welcome1 both because ,i learned by it that you are well1 and also because ,i can now be sure that you will soon return4 ,i was very sorry not to answer at once4 ,however1 when you know the cause1 you will hold me excused4 ,on the day your letter reached me ,i was very sick1 and in such a high fever that ,i was at the point of death2 and verily ,i should have died if it had not revived me4 ,since then1 thank ,god1 ,i have been well4 ,messer ,bartolomei has now brought me a sonnet by you1 which has made it my duty to write4 ,some three days since ,i received my drawing of ,phton1 which is exceedingly well done4 ,the ,pope1 the ,cardinal de' ,medici1 and every one1 have seen it4 ,i do not know what made them want to do so4 ,the ,cardinal expressed a wish to inspect all your drawings1 and they pleased him so much that he said he should like to have a ,tityos and ,ganymede done in crystal4 ,i could not prevent him from using the ,tityos1 and it is now being executed by ,master ,giovanni4 ,i struggled hard to save the ,ganymede4 ,the other day ,i went1 as you requested1 to ,fra ,sebastiano4 ,he sends a thousand messages1 but all to pray you to come back4 ,your affectionate1 ,,thomas ,,cavalieri4 ,messer ,tomaso feared the drawings would be damaged in the workshop of the gem engraver4 ,there are several of these drawings in existence in good condition1 with no marks of the thumbs of workmen about them4 ,from the letters referring to the last contract about the ,tomb of ,julius1 we learn that the frescoes in the ,cappella ,paolina were not begun in ,october #aedb4 ,michael ,angelo worked at them with slight interruptions for seven years2 they represent the ,conversion of ,saint ,paul and the ,martyrdom of ,saint ,peter4 ,they are very highly finished in execution and studied in grace of composition1 but frigid1 and too evidently the work of an old man4 ,the skill of the drawing and foreshortening is masterly as ever1 but he does not appear to have referred to nature for the forms2 and even ,michael ,angelo without nature became stale4 ,vasari says1 after describing the frescoes without his customary enthusiasm1 ,they were his last productions in painting4 ,he was seventy-five years old when he carried them to completion2 and1 as he informed me1 he did so with great effort and fatigue--painting1 after a certain age1 and especially fresco painting1 not being in truth fit work for old men4 ,in the spring of #aedf ,francis ,i4 of ,france wrote to ,michael ,angelo asking for some fine monument by his hand1 and copies of the ,piet della ,febbre1 now in ,st4 ,peter's1 and of the ,christ holding the ,cross1 in ,santa ,maria ,sopra ,minerva1 for his chapel4 ,a draft of ,michael ,angelo's reply runs3-- ,image #dg ,,the ,,conversion ,,of ,,saint ,,paul ,,the ,,chapel ,,of ,,pope ,,paul 7,by permission of the ,fratelli ,alinari1 ,florence7 ,to the most ,christian ,king of ,france47#aeg7 ,,sacred ,,majesty1--,i do not know which is the greater1 the grace or the wonder at it1 that your ,majesty should have deigned to write to a man like me1 and still more to ask him for things of his1 unworthy even of the name of your ,majesty2 but1 whatever they are1 let your ,majesty understand that for a long time ,i have desired to serve you in them2 but1 not having had the opportunity1 because you have not been in ,italy where my work is1 ,i have not been able to do it4 ,now ,i am old1 and have been occupied these many months with the work for ,pope ,paul4 ,but if a little life is still left me after all these occupations1 what ,i have desired is1 as ,i have said1 a little time to work for your ,majesty at my art--one work to be in marble1 one in bronze1 and one in painting4 ,and if death hinders me from carrying out my wish1 and if it be possible to carve statues or to paint in the other life1 ,i shall not fail to do so there1 where there is no more growing old4 ,and ,i pray ,god that ,he grant your ,majesty a long and happy life4 ,from ,rome1 the day ,,xxvi4 of ,april1 ,,mdxlvi4 ,in the letters and poems of this period we note the endeavour to attain to a style in literature full of rich conceits and elaborate compliment1 which may be compared to the style1 elaborate and ornamental1 but somewhat cold and unattractive1 of the frescoes in the ,cappella ,paolina4 ,as he grew older he devoted himself more entirely to architecture and literature4 ,the arts of sculpture and painting1 as exercised by him1 could not be carried on by assistants2 he now perforce had to employ himself upon work in which the execution could be left to younger hands4 ,he sought the help of scholars to overhaul and set to rights his poems1 sonnets1 and thoughts in words1 as the masons and master-builders expressed his thoughts in architecture--the ,dome of ,st4 ,peter's1 and the cornice of the ,farnese ,palace4 ,in the devotional drawings we have mentioned1 and an unfinished group in sculpture1 the ,deposition from the ,cross1 now behind the ,high ,altar of ,santa ,maria del ,fiore at ,florence1 we have the only further manifestation of ,michael ,angelo's genius in his favourite arts4 ,many of these drawings appear to be designs for a great picture of the ,crucifixion4 ,he went on executing them long after the death of the ,marchioness of ,pescara1 who first seems to have incited him to this work4 ,it almost appears to have become a religious exercise with him2 they have the same meaning as these last lines of a ,sonnet4 ,n pinger n scolpir fia pi che quieti ,l' anima volta a quell' ,amor divino ,ch' aperse1 a prender noi1 in croce le braccia4 ,painting nor sculpture now can lull to rest ,my soul1 that turns to ,his great love on high1 ,whose arms to clasp us on the ,cross were spread47#aeh7 ,image #dh ,,the ,,piet ,,of ,,santa ,,maria ,,del ,,fiore ,,florence 7,by permission of the ,fratelli ,alinari ,florence7 ,the marble group of the ,deposition is so religious in character that it can be compared with no work of art executed since ,michael ,angelo's own early work the ,piet1 in ,st4 ,peter's1 the ,madonna della ,febbre4 ,both for its earnestness and its noble religious sentiment it is an act of worship to look at it1 and the days and nights spent in its execution must have been periods of the heartiest religious devotion and sorrowing love4 ,the old sculptor intended this work to have been his monument4 ,the unfinished head of ,nicodemus1 who sustains the body of his dear ,lord1 is his own portrait1 and1 unfinished as it is1 expresses the deepest devotion and sadness4 ,vasari saw this work in progress1 and gives us a glimpse into the home-life of the aged worker1 who was never content out of his workshop1 and spent his sleepless nights working at this huge marble with a paper cap on his head1 in which he stuck a lighted candle to see by4 ,the solitary figure of the old man in the vast and dimly lighted studio1 groping round the inchoate marble2 the stillness of the night1 broken only by the sharp click of the mallet and the grating of the chisel1 is a picture of many of the bravest hours of his old age4 ,vasari1 observing all this1 and wishing to do the revered artist a kindness1 sent him #dj lbs4 of candles made of goat's fat1 knowing that they gutter less than ordinary dips of tallow4 ,his servant carried them politely to the house two hours after night-fall1 and presented them to ,michael ,angelo4 ,he refused1 and said he did not want them4 ,the man answered3 ,sir1 they have almost broken my back carrying them all this long way from the bridge1 and ,i will not carry them home again4 ,there is a heap of mud opposite your door1 thick and firm enough to hold them upright4 ,here then will ,i set them all up1 and light them4 ,when ,michael ,angelo heard this he gave way3 ,lay them down2 ,i do not mean you to play pranks at my house door4 ,vasari tells another anecdote about the ,deposition4 ,pope ,julius ,,iii4 sent him late one evening to ,michael ,angelo's house for a certain drawing4 ,the aged master came down with a lantern1 and1 hearing what was wanted1 told ,urbino to look for the design4 ,meanwhile1 ,vasari turned his attention to one of the legs of the ,christ1 which ,michael ,angelo had been altering4 ,in order to prevent his seeing it ,michael ,angelo let the light fall1 and they remained in darkness4 ,he then called for another light1 and stepped forth from the screen of planks behind which he worked1 saying3 ,i am so old that oftentimes ,death plucks me by the cape to go with him1 and one day this body of mine will fall like the lantern1 and the light of life will be put out4 ,if life gives us pleasure we ought not to expect displeasure from death1 seeing it is made by the hand of the same master1 was a favourite reflection of ,michael ,angelo's upon mortality4 ,this ,deposition was never completed1 flaws appeared in the marble1 and perhaps whilst working in the imperfect light ,michael ,angelo's impatient chisel cut too deep4 ,he began to break up the work1 but luckily his servant ,antonio1 successor to ,urbino1 begged the fragments from his master4 ,francesco ,bandini1 a ,florentine exile settled in ,rome1 wished for a work by the master1 and1 with ,michael ,angelo's consent1 bought it from ,antonio for two hundred crowns4 ,it was patched up1 but apparently not worked upon1 and remained in the garden of ,bandini's heir at ,monte ,cavallo4 ,it was afterwards taken to ,florence and was finally placed in the ,duomo in #agbb by the ,grand ,duke ,cosimo ,,iii41 where it may now be seen behind the high altar1 well-placed1 so that the great cross of the altar looks like the tree from which the body has just been lowered4 ,so well does the line of the cross behind cut the group that we cannot help imagining that the artist intended some such erection to have been placed behind his figures4 ,those who would see this group aright must visit the ,duomo before seven o'clock on a summer morning1 when the light of the sun falls1 though the white robe of a bishop in one of the high eastern windows1 upon the neighbouring pillars and the floor1 and lights up that end of the church2 at other times the darkness of the dome covers the group as the darkness covered the earth during the tragic hours at ,golgotha4 ,the right arm of the ,christ has become over polished and much worn because it is used as a balustrade by the acolytes1 who carelessly run up and down the steps between the group and the back of the high altar to light the candles during service4 ,on the other side a rough metal handle has positively been let into the left side of the ,joseph of ,arimathea1 so that a clumsy boy may climb the more easily2 wooden steps also fit so closely to the marble that they injure the lines of the group4 ,all the characteristics of ,michael ,angelo's impassioned period may be studied in this group2 his favourite mannerisms are there also4 ,examine the hand of ,joseph1 with the middle finger touching the thumb1 and compare it with the allegorical statues of the ,medici ,chapel4 ,vasari tells us that ,michael ,angelo began another ,piet on a smaller scale2 this may be the beautiful group that has been spoiled by an alteration1 now in the courtyard of the ,palazzo ,rondini1 ,no4 #dah1 the ,corso1 ,rome4 ,there is a cast of it in the ,belle ,arti at ,florence4 ,the hanging limbs of the ,christ have a most pathetic effect1 and so has the whole expression of the group4 ,the effect is obtained by the length of the principal lines4 ,there is a medallion of the ,madonna clasping her dead son at the ,albergo dei ,poveri1 at ,genoa1 attributed to ,michael ,angelo2 it may have been begun by him during this long period of old age1 but it cannot be called his work4 ,it has been entirely recarved by an imitator4 ,michael ,angelo made his famous report condemning the design of ,antonio da ,sangallo for the rebuilding of the ,farnese palace upon the shores of the ,tiber2 it is a mysterious document1 in ,michael ,angelo's own hand1 and does not leave ,sangallo a single merit4 ,all the theories are proved by the precepts of ,vitruvius4 ,the adherents of ,sangallo resented it very naturally1 and the ,setta ,sangallesca became his bitter enemies4 ,the ,pope himself was dissatisfied with ,sangallo1 and the design for the cornice was thrown open to competition4 ,perino del ,vaga1 ,sebastiano del ,piombo1 ,giorgio ,vasari1 and ,michael ,angelo all competed4 ,michael ,angelo's design was eventually carried out after he had placed a wooden model of part of his cornice in position4 ,vasari1 who is the best authority upon this period of the life of ,michael ,angelo1 attributes to him also the exterior of the palace from the second story upwards1 and the whole of the central courtyard above the first story1 making it the finest thing of its sort in ,europe4 ,michael ,angelo had also a serious disagreement with ,sangallo before the military committee fortifying the ,borgo for the ,pope4 ,when ,antonio da ,sangallo died at ,terni on ,october #c1 #aedf1 ,michael ,angelo succeeded to his post in ,rome1 architect-in-general to the ,pope1 the principal work was1 of course1 the great ,church of ,st4 ,peter's4 ,bramante1 ,raphael1 and ,peruzzi had all been architects-in-chief1 and many were the alterations in the plans4 ,notwithstanding their differences during his early life1 the design of ,bramante was the one that commended itself to ,michael ,angelo2 he abandoned ,sangallo's design2 the model for it still exists and we cannot wonder at ,michael ,angelo's decision4 ,his criticisms are given in a letter supposed to be to ,bartolomeo ,amanati47#aei7 ,it cannot be denied that ,bramante was a brave architect1 equal to any one from the times of the ancients until now4 ,he laid the first plan of ,saint ,peter's1 not confused1 but clear and simple1 full of light and detached from surrounding buildings1 so as not to injure any part of the palace4 ,it was considered a fine thing1 and1 indeed1 it is still manifest that it was so2 and all the architects who have departed from the plan of ,bramante1 as ,sangallo has done1 have departed from the truth4 ,and so it is1 and all who have not prejudiced eyes can see it in his model4 ,he1 with his outer circle of chapels1 in the first place takes all the light from the plan of ,bramante2 and not only this1 but he has not provided any other means of lighting1 and there are so many lurking places1 both above and below1 all dark1 which would be very convenient for innumerable knaveries1 a secure hiding-place for bandits1 false coiners1 and all sorts of ribaldry1 and when it was shut up at night twenty-five men would be needed to clear the building of those in hiding there1 and it would be difficult enough to find them4 ,there is yet another inconvenience3 the circle of buildings with their adjuncts outside added to ,bramante's plan would make it necessary to pull down to the ground the ,capella ,paolina1 the offices of the ,piombo and the ,ruota1 and more besides2 nay1 even the ,sistine ,chapel would1 ,i believe1 not escape4 ,may it not have been that this malicious arrangement of ,sangailo's to destroy ,michael ,angelo's masterpieces made the great artist so bitter against him4 ,paul ,,iii4 conferred the post of architect-in-chief at ,st4 ,peter's upon ,michael ,angelo on ,january #a1 #aedg1 commissary1 prefect1 surveyor of the works1 and architect1 with full authority to change the model1 form1 and structure of the church at pleasure1 and to dismiss and remove the workmen and foremen employed upon the same4 ,for all this work ,michael ,angelo refused payment1 declaring that he meant to labour1 without recompense1 for the love of ,god and the reverence he felt for the ,prince of the ,apostles4 ,speaking broadly1 the former architects had designed ground plans of ,st4 ,peter's on two lines1 the ,greek and the ,latin crosses4 ,bramante1 and ,baldassare ,peruzzi used the ,greek cross2 ,raphael1 the ,basilica form1 the addition of a long nave made the plan like a ,latin cross2 and ,sangallo1 by adding a huge portico to ,peruzzi's design1 made his ground plan a ,latin cross4 ,michael ,angelo followed the lines of ,bramante1 the ,greek cross1 designed so that the cupola should be the dominant note of the building and its principal feature1 whether from within or without1 and from whichever side the building was approached4 ,michael ,angelo's intention may be realised at the back of the present building1 and his work best judged as one walks round the great mass of masonry to the old entrance to the ,sculpture ,galleries of the ,vatican4 ,those who approach ,rome in the best way at present open to the newcomer1 by the light railway line from ,viterbo1 get a magnificent view of the cupola1 apparently rising out of a green hillside1 just before they enter the ,eternal ,city1 and then1 on their way to the ,trastevere station1 they pass behind the building and get their first impression of ,st4 ,peter's from ,michael ,angelo's own work47#afj7 ,michael ,angelo began his work by pulling down much of ,sangallo's construction1 and by severely repressing all sorts of jobbery in connection with the supply of materials4 ,michael ,angelo states in a letter to ,cardinal ,ridolfo ,pio of ,carpi17#afa7 that the study of the nude human figure is necessary to an architect4 ,if he had also stated that it was an essential to all art workers1 many good judges would have agreed with him4 ,,most ,,reverend ,,monsignor1--,when a plan has divers parts all those which are of one type in quality and quantity have to be decorated in the same fashion and in the same style1 and similarly their counterparts4 ,but when the plan changes form altogether it is not only allowable but necessary to change the said adornments and likewise their counterparts4 ,the intermediate parts are always as free as you like1 just as the nose1 which stands in the middle of the face1 is not obliged to correspond with either of the eyes2 but one hand is obliged to be like the other1 and one eye must be as its fellow1 because they balance each other4 ,therefore it is very certain that the members of architecture depend upon the members of man4 ,who has not been1 or is not a good master of the figure1 and especially of anatomy1 cannot understand it4 ,,michael ,,angelo ,,buonarroti4 ,vasari tells us that the ,pope approved of ,michael ,angelo's model1 which reduced the cathedral to smaller dimensions1 but also to a more essential greatness4 ,he discovered that four of the principal piers1 erected by ,bramante and left standing by ,antonio da ,sangallo1 which had to bear the weight of the tribune1 were feeble4 ,these he fortified in part1 constructing a winding staircase at the side with gently sloping steps1 up which beasts of burden ascend with building material1 and one can ride on horseback to the level above the arches4 ,he carried the first cornice1 made of travertine1 round the arches--a wonderful piece of work1 full of grace1 and very different from the others4 ,nor could anything be better done in its kind4 ,he began the two great apses of the transept2 and whereas ,bramante1 ,raffaello1 and ,peruzzi had designed eight tabernacles toward the ,campo ,santo1 which arrangement ,sangallo adhered to1 he reduced them to three1 with three chapels inside4 ,the sect of ,sangallo1 headed by ,nanni di ,baccio ,bigio1 continued to annoy and conspire against the aged architect1 and though ,michael ,angelo brought their machinations to the notice of the ,superintendent of the ,fabric in #aedg17afb7 he could not get his chief enemy dismissed4 ,the master's good friend1 ,pope ,paul ,,iii41 died in #aedi4 ,michael ,angelo wrote of him to his nephew7#afc73 ,it is true that ,i have suffered great sorrow and not less loss by the ,pope's death1 because ,i have received benefits from his ,holiness1 and hoped for even more4 ,god's will be done4 ,we must have patience4 ,his death was beautiful1 fully conscious to the last word4 ,god have mercy on his soul4 ,his successor1 ,julius ,,iii41 was also friendly to ,michael ,angelo1 who spoke of him in a letter to his old friend1 ,giovan ,francesco ,fattucci1 at ,florence47#afd7 ,to ,,messer ,,giovan ,,francesco ,,fattucci1 priest of ,santa ,maria del ,fiore1 ,my most dear friend at ,florence4 ,,messer ,,giovan ,,francesco1--,dear friend1 although for many months we have not written to each other1 yet ,i have not forgotten our long and faithful friendship1 and wish you well1 as ,i have always done1 and love you with all my heart and more1 for the endless kindnesses ,i have received4 ,as regards old age1 which is upon us both alike1 ,i should much like to know how yours treats you1 for mine does not content me greatly1 so ,i beg you will write something to me4 ,you know how that we have a new ,pope1 and who he is4 ,all ,rome rejoices1 thanks be to ,god1 and expects nothing but the greatest benefit to all1 especially to the poor1 on account of his liberality4444 ,efforts were made to dislodge ,michael ,angelo from his post of architect to ,st4 ,peter's4 ,a memorial of grievances7#afe7 was drawn up by the ,superintendent and set before the ,pope1 stating that ,michael ,angelo was carrying on with a high hand1 and letting them know nothing of the work1 so that they do not like his ways1 especially in what he keeps pulling down4 ,the demolition has been1 and to-day is1 so great that all who witness it are moved to pity4 ,michael ,angelo evidently satisfied the ,pope1 for he was confirmed in his office with even greater powers than before4 ,another plot ripened in #aeeg1 and is excellently described by ,vasari3-- ,it was some little while before the beginning of #aeea1 when ,vasari1 on his return from ,florence to ,rome1 found the sect of ,sangallo plotting against ,michael ,angelo4 ,they induced the ,pope to hold a meeting in ,saint ,peter's1 where all the overseers and workmen connected with the building should attend1 and his ,holiness should be persuaded by false insinuations that ,michael ,angelo had spoiled the fabric4 ,he had already walled in the apse of the ,king where the three chapels are1 and carried out the three upper windows4 ,but it was not known what he meant to do with the vault4 ,they then1 misled by their shallow judgment1 made ,cardinal ,salviati1 the elder1 and ,marcello ,cervini1 who was afterwards ,pope1 believe that ,saint ,peter's would be badly lighted4 ,when all were assembled the ,pope told ,michael ,angelo that the deputies were of opinion the apse would have but little light4 ,he answered1 ',i should like to hear these deputies speak4' ,the ,cardinal ,marcello rejoined3 ',we are here4' ,michael ,angelo then remarked3 ',my lord1 above these three windows there will be other three in the vault1 which is to be built of travertine4' ',you never told us anything about this1' said the ,cardinal4 ,michael ,angelo responded3 ',i am not1 nor do ,i mean to be1 obliged to tell your lordships1 or anybody else1 what ,i ought or wish to do4 ,it is your business to provide the money1 and to see that it is not stolen4 ,as regards the plans of the building1 you have to leave them to me4' ,then he turned to the ,pope and said3 ',holy ,father1 behold what gains are mine6 ,unless the hardships ,i endure are beneficial to my soul1 ,i lose my time and my labour4' ,the ,pope1 who loved him1 laid his hands upon his shoulders and said3 ',you are gaining both for soul and body2 have no fear6' ,michael ,angelo's self-defence increased the ,pope's love1 and he ordered him to repair next day with ,vasari to the ,vigna ,giulia1 where they held long discourses upon matters of art4 ,vasari also tells us of the transfer of a piece of engineering work from ,michael ,angelo to his enemy--if such a small man deserves to be called the enemy of ,michael ,angelo--,nanni di ,baccio ,bigio4 ,the old bridge of ,santa ,maria had long shown signs of giving way1 and it had to be rebuilt4 ,paul ,,iii4 entrusted the work to ,michael ,angelo4 ,nanni got it transferred to him by the influence of his friends with the new ,pope4 ,the man laid his foundations badly4 ,michael ,angelo1 riding over the new bridge one day with ,vasari1 cried out3 ,giorgio1 the bridge shakes beneath us2 let us spur on before it gives way with us upon it4 ,ultimately the prophecy was fulfilled1 and the bridge fell during a great inundation4 ,its ruins are known as the ,ponte ,rotto to this day4 ,julius ,,iii4 died in #aeee1 and ,cardinal ,marcello ,cervini was elected in his stead1 under the title of ,marcellus ,,ii4 ,he had been ,michael ,angelo's adversary at the great conference1 so the hopes of the ,setti ,sangalleschi revived1 and ,michael ,angelo began to think of accepting the oft-repeated invitations of the ,duke of ,tuscany1 who had long pressed him to come and reside again in ,florence1 and dignify his native city with his presence during his remaining years2 but ,marcellus died after a reign of only a few weeks1 and ,pius ,,iv41 the next ,pope1 persuaded ,michael ,angelo not to forsake his work at ,saint ,peter's4 ,in a letter to ,vasari1 intended for the ears of the ,duke1 ,michael ,angelo states his mind47#aff7 ,to ,,messer ,,giorgio1 ,excellent ,painter1 in ,florence4 ,i was set to work upon ,saint ,peter's by force1 and ,i have served now about eight years1 not only for nothing1 but with the utmost injury and discomfort to myself4 ,now that the work is getting forward1 and there is money to spend1 and ,i am about to turn the vault of the cupola1 if ,i left ,rome it would be the ruin of the edifice1 and for me a great disgrace throughout all ,christendom1 and to my soul a grievous sin4 ,therefore1 ,messer ,giorgio1 my friend1 ,i pray you that on my part you will thank the ,duke for his most gracious offer1 and that you will ask his ,lordship to give me leave to continue here until such time as ,i can depart with fame and honour and without sin4 ,the eleventh day of ,may1 #aeee4 ,your ,,michael ,,angelo ,,buonarroti1 in ,rome4 ,early in the year #aeeg serious illness seized ,michael ,angelo1 and his good friends the ,cardinal of ,carpi1 ,donato ,giannotti1 ,tomaso ,cavalieri1 ,francesco ,bandini1 and ,lottino ultimately succeeded in persuading him to make a model of his cupola1 that the work might not be impeded or altered in the event of his death4 ,he mentions this in a letter to his nephew1 ,lionardo47#afg7 ,i prayed his ,lordship that he would concede me so much time that ,i could leave the works at ,st4 ,peter's at such a point that my plans could not be changed4 ,as yet this point has not been reached2 and more1 ,i am now obliged to construct a large wooden model for the cupola and lantern1 to secure its being finished as it was meant to be4 ,all ,rome1 and especially the ,cardinal of ,carpi1 prayed me to do this1 so that ,i believe that ,i shall have to remain here not less than a year2 and so much time ,i beg the ,duke to allow me for the love of ,christ and ,saint ,peter1 so that ,i may come home to ,florence without such a grief1 but with a mind free from the necessity of returning to ,rome4 ,this model was constructed by a ,french master1 named ,jean1 and took a year to make1 as ,michael ,angelo expected4 ,continuous intrigues caused ,michael ,angelo to send in his resignation in a haughty letter dated ,february #ac1 #aefj1 but ,pius ,,iv4 confirmed the aged artist in his office1 and forbade any alteration of his design for ,saint ,peter's after his death4 ,nanni di ,baccio ,bigio managed to influence the deputies so that they appointed him ,clerk of the ,works instead of ,pier ,luigi1 surnamed ,gaeta1 who was recommended by ,michael ,angelo in a letter7#afh7 to them4 ,nanni then made a report1 severely blaming ,michael ,angelo4 ,the ,pope had an interview with the artist1 and sent his relative1 ,gabrio ,serbelloni to report on the works4 ,it was found that the irrepressible ,nanni had again calumniated ,michael ,angelo1 and he was therefore dismissed4 ,notwithstanding the ,pope's brief ,michael ,angelo's design was most seriously altered after his death by the erection of a long nave1 making the ground plan a ,latin instead of ,greek ,cross4 ,his idea appears to have been that people should enter the church up a majestic flight of steps through a gigantic door1 and the hollow recesses of the huge dome should be the dominant impression as soon as the portal was passed4 ,to get his effect it is necessary to proceed half-way up the present nave with closed eyes1 or merely looking at the pavement1 the eyes religiously kept down4 ,any one who will make this simple experiment 7it is necessary to have a friend as guide to tell you when you have arrived at the right point of view7 will see that ,michael ,angelo intended his building to have the effect of a coherent geometrical whole4 ,the sublime concave of the dome1 with the four arms of the great cross of equal size1 will be all at once grasped by the eye4 ,the huge building is like a great naturally-formed crystal with mathematically proportioned limbs1 beautiful in large things as in small4 ,an old writer has well said3 ,the cross1 which ,michael ,angelo made ,greek1 is now ,latin2 and if it be thus with the essential form1 judge ye of the details6 ,the wooden model of the dome made under ,michael ,angelo's eyes is still in existence1 and was followed fairly accurately by ,giacomo della ,porta1 who completed that portion of the work4 ,amongst the other schemes that occupied ,michael ,angelo was the plan of the improvements upon the ,campidoglio1 undertaken by a society of gentlemen and artists4 ,paul ,,iii4 approved their design1 and we may believe1 as all ,roman citizens will tell us1 that ,michael ,angelo conceived1 at least in its broad lines1 the present effect of the ,capitol4 ,vasari informs us that ,michael ,angelo's old friend1 ,tomaso dei ,cavalieri1 superintended the work after the great sculptor's death2 we may trust him not to have departed from the master's plans4 ,another scheme that interested ,michael ,angelo considerably was the design for the church that the ,florentine residents in ,rome wished to erect to their patron saint1 ,san ,giovanni4 ,a letter to his nephew ,lionardo mentions it47#afi7 ,the ,florentines are minded to erect a great edifice1 that is to say1 their church1 and all of them with one accord put pressure on me to attend to this4 ,i have answered that ,i am here by the ,duke's licence for the work at ,saint ,peter's1 and that without his leave they will get nothing out of me4 ,the ,duke not only gave his permission but was enthusiastic about the scheme4 ,michael ,angelo promised to send him his plan4 ,this ,i have had copied and drawn out more clearly than ,i have been able to do it1 on account of old age1 and will send it to your most ,illustrious ,lordship4 ,vasari tells us that ,tiberio ,calcagni1 of gentle manners and discreet behaviour1 not only copied this design1 but also made a model in clay under the master's supervision4 ,michael ,angelo informed the building committee that if they carried it out1 neither the ,romans or the ,greeks ever erected so fine an edifice in any of their temples2 words1 the like of which neither before or afterwards issued from his lips1 for he was exceedingly modest1 says ,vasari4 ,money was lacking and the scheme fell through2 both model and drawing were allowed to perish4 ,the present church of ,san ,giovanni dei ,fiorentini1 in ,strada ,giulia1 is the work of ,giacomo della ,porta2 the west part is by ,alessandro ,galilei4 ,tiberio ,calcagni was appointed to finish the bust of ,brutus1 now in the ,bargello at ,florence4 ,michael ,angelo began it for ,cardinal ,ridolfi at the request of his friend1 ,donato ,giannotti4 ,tiberio had the sense and good feeling not to touch his master's own work1 but only carved the base and the drapery2 the face of the bust remains a magnificent specimen of the great sculptor's handiwork4 ,this powerfully-conceived head is said to have been taken from a small intaglio cut in cornelian4 ,it has been pointed out that the chisel marks are cut by both the right and left hand4 ,the vigour of the workmanship indicates that the bust was begun soon after ,michael ,angelo left ,florence in #aehd1 and may indicate ,michael ,angelo's feelings towards the tyrant ,alessandro de' ,medici4 ,we may remember in this connection that the exiles nicknamed ,lorenzino1 his murderer1 ,brutus4 ,the ,duke of ,florence1 through ,vasari17#agj7 attempted to get at the ideas of ,michael ,angelo with regard to the ,medici ,chapel and the entrance to the ,laurenziana1 but the old man had lost and forgotten the plans1 if he had ever made them4 ,the difficulties that beset the ,duke and the academicians in completing the designs1 and the meagreness of ,michael ,angelo's instructions to them1 must give us pause when we attempt to attribute the faults of these monuments to the master mind4 ,about the staircase of the ,library1 of which so much has been said to me1 believe that if ,i could remember how ,i had arranged it ,i should not need to be begged for information4 ,there comes into my mind1 as in a dream1 the image of a certain staircase1 but ,i do not believe this can be the one ,i then thought of1 for it seems so stupid4 ,nevertheless1 ,i will write about it4 ,leone ,leoni erected the monument of ,giangiacomo de' ,medici in ,milan ,cathedral from a design supplied by ,michael ,angelo at the request of ,pope ,pius ,,iv4 ,it is a fine monument and the bronzes are excellent4 ,in criticising the design we must remember that ,michael ,angelo had never seen the church where it was to be placed1 and that ,leone was not the man to hesitate in taking liberties with another's design1 good sculptor as he was1 and no doubt ,michael ,angelo would have approved of a good sculptor like him making the design fit the workmanship4 ,image #di ,,brutus ,,the ,,national ,,museum1 ,,the ,,bargello1 ,,florence 7,by permission of the ,fratelli ,alinari1 ,florence7 ,the old master is supposed to have supplied designs for many other buildings in ,rome1 such as the ,porta ,pia and the ,porta del ,popolo1 but there is nothing about them to tell us that his genius is in them2 probably slight sketches were handed over to journeymen1 who did pretty much as they liked with them4 ,it was otherwise with the great restoration of the ,baths of ,diocletian4 ,michael ,angelo was commissioned by ,pius ,,iv4 to convert them into the ,christian ,church of ,santa ,maria degli ,angeli4 ,the design has been altered by ,vansitelli in #agdi1 and horrible coloured imitations of clumsy marble altars have been painted on the walls4 ,churchwardens' whitewash would here be well applied4 ,if the visitor will wait in this church until dusk1 when all the tawdry paintings vanish into darkness1 then the great columns will stand out in all their dignity1 and the noble cornice cast a splendid shadow over the pillars of the huge hall4 ,the roof and the pavement1 with their expression of space and distance1 will whisper ,michael ,angelo6 ,when ,henry ,,ii4 of ,france died1 in #aeei1 his widow1 ,catherine de' ,medici1 wrote to ,michael ,angelo asking him to supply at least the design for the equestrian statue of the late ,king she desired to set up in the courtyard of the royal chteau at ,blois4 ,the sketch was prepared and the work given to ,daniele da ,volterra4 ,catherine wrote again in #aefj17aga7 telling the sculptor that she had deposited #fjjj golden scudi with ,gianbattista ,gondi for the said work1 therefore1 since on my side nothing remains to be done1 ,i entreat you by the love you have always shown to my house1 to our country17#agb7 and lastly to genius1 that you will endeavour with all diligence and assiduity1 so far as your years permit1 to carry out this noble work1 so that we may see and recognise my lord as in life by the accustomed excellence of your unique genius4 ,although you cannot add to your fame1 yet you will at least augment your reputation for a most grateful and loving spirit toward myself and my ancestors1 and will through centuries keep fresh the memory of my lawful and only love1 for which ,i shall be ready and willing to reward you liberally4 ,the ,queen had seen ,michael ,angelo's sketch1 and she adds in a postscript that the king's head must be without curls1 and the modern rich style of armour and trappings must be employed4 ,she is very particular about the likeness and sends a portrait2 evidently she did not want anything like the ,roman generals in the ,medici ,chapel at ,florence4 ,when ,michael ,angelo died the work was left in the hands of ,daniele1 who was a slow workman1 as ,cellini tells us4 ,in #aeff ,daniele died also1 and only the horse was cast2 it now serves as part of ,biard's statue of ,louis ,,xiii4 ,in #aefj ,leone ,leoni made the well-known medal of ,michael ,angelo1 which is our best portrait of him4 ,it represents him in old age4 ,vasari relates the incident3 ,at this time the ,cavaliere ,leone made a very lovely portrait of ,michael ,angelo upon a medal1 and to meet his wishes modelled on the reverse a blind man led by a dog1 with this legend round the rim3 ,,docebo ,,iniquos ,,vias ,,tvas1 ,,et ,,impii ,,ad ,,te ,,convertentur ,it pleased ,michael ,angelo so much that he gave ,leone a wax model of a ,hercules strangling ,antus1 by his own hand1 together with some drawings4 ,there exist no other portraits of ,michael ,angelo1 except two in painting1 one by ,bugiardini1 the other by ,jacopo del ,conte2 and one in bronze1 in full relief1 made by ,daniele da ,volterra4 ,these1 and ,leoni's medal1 from which many copies have been made1 and a great number of them have been seen by me in several parts of ,italy and abroad4 ,francesco d',olanda made a drawing of the old man in hat and mantle47#agc7 ,another portrait of ,michael ,angelo is introduced into ,marcello ,venusti's copy of the ,last ,judgment1 now in the ,picture ,gallery at ,naples4 ,the original study for it may be the portrait in the ,casa ,buonarroti1 at ,florence2 it was frequently repeated by him4 ,one replica may be the portrait1 said to be by ,michael ,angelo's own hand1 at the ,capitol4 ,the apostle in red on the spectator's right of the picture of the ,assumption1 by ,daniele da ,volterra1 in the ,church of the ,trinit de' ,monti1 in ,rome1 is also said to be a portrait of ,daniele's friend and master1 who had supplied him with the design for his great ,crucifixion in the same church4 ,there is a life-size1 full-face charcoal drawing of the master in the ,teyler ,museum at ,haarlem which may be by the hand of ,daniele1 it has been pricked for tracing4 ,bonasoni engraved a profile portrait of ,michael ,angelo2 it is dated #aedf4 ,it is a very faithful and beautiful piece of work1 and tells us what he looked like at the age of seventy-two47#agd7 ,the bronze bust by ,daniele da ,volterra1 of which there are several copies1 looks as if it had been modelled from a mask taken after death2 at least1 it was finished from one4 ,battista ,lorenzi executed the bronze bust on ,michael ,angelo's tomb at ,santa ,croce1 in ,florence1 from a similar mask47#age7 ,during all these later years1 ,michael ,angelo kept up a brisk correspondence with his dutiful nephew ,lionardo about the purchase of land in ,florence1 and other family matters4 ,giovan ,simone1 the elder of ,michael ,angelo's surviving brothers1 died in #aedh47agf7 ,,lionardo1--,i hear from your last of ,giovan ,simone's death4 ,it gives me the greatest sorrow1 for ,i still hoped1 although ,i am old1 to have seen him before he died1 and before ,i died4 ,god has willed it so4 ,patience6 ,i should like to hear particularly how he died1 and if he confessed and communicated with all the ordinances of the ,church4 ,for if he did so1 and ,i know it1 ,i shall suffer less4 ,all through his life ,michael ,angelo is most punctilious about the observances of the ,church4 ,lionardo was now the only hope of continuing the family1 so his uncle reminds him that if he does not soon marry and get children1 his property will all go to the ,hospital of ,san ,martino47#agg7 ,old bachelor as he is1 he gives his nephew advice1 in another letter1 as to the choice of a wife3 ,you ought not to look for a dower1 but only to consider whether the girl is well brought up1 healthy1 of good character1 and noble blood4 ,you are not yourself of such parts and person as to be worthy of the first beauty of ,florence4 ,let me tell you not to run after money1 but only look for virtue and good name4 ,lionardo married ,cassandra ,ridolfi in the year #aeec1 and the first child born of this marriage was a boy1 by ,michael ,angelo's wish he was named ,buonarroto4 ,i shall be very pleased if the name of ,buonarroto does not die out of our family1 it having lasted three hundred years with us47#agh7 ,vasari wrote to ,michael ,angelo describing the festivities at the christening4 ,giorgio held the child at the font in the ,baptistry1 ,mio bel ,giovanni1 as ,michael ,angelo always called it4 ,the letters to ,vasari are full of a courtly friendship and regard2 they are very pleasant reading4 ,one of them is the most beautiful and touching letter by his hand1 referring to the death of his servant ,francesco1 called ,urbino47#agi7 ,,messer ,,giorgio1 ,,dear ,,friend1--,although ,i write but badly1 yet will ,i say a few words in reply to yours4 ,you know that ,urbino is dead1 for which ,i owe the greatest thanks to ,god2 at the same time my loss is heavy and sorrow infinite4 ,the grace is this1 that while ,urbino living kept me alive1 in dying he has taught me to die not unwillingly1 but rather with a desire for death4 ,i had him with me twenty-six years1 and always found him faithful and true4 ,now that ,i had made him rich1 and thought to keep him as the staff and rest of my old age1 he has departed1 and the only hope left to me is that of seeing him again in ,paradise1 and of this ,god has given a sign in his most happy death4 ,even more than dying1 it grieved him to leave me alive in this treacherous world1 with so many troubles2 the better part of me went with him1 nothing is left to me but endless sorrow4 ,i commend myself to you1 and beg you1 if it is not a trouble to you1 to make my excuses to ,messer ,benvenuto7#ahj7 for not answering his letter1 for grief abounds in such thoughts as these1 so that ,i cannot write4 ,commend me to him1 and ,i commend myself to you4 ,your ,,michael ,,angelo ,,buonarrota1 in ,rome4 ,the #bc day of ,february1 #aeef4 ,was ever servant loved after this fashion by his master8 ,urbino appointed ,michael ,angelo as one of his executors1 and the old man fulfilled his irksome duties with fidelity4 ,urbino's brother was ,raphael's well-known pupil ,il ,fattore4 ,cornelia1 ,urbino's wife1 corresponded about the children and other affairs4 ,michael ,angelo had to approve her choice of a second husband1 and interviewed him1 and made him promise to be a second father to ,urbino's children4 ,the unusual event of an excursion by ,michael ,angelo into the country took place in #aeef1 possibly with a view to avoiding the troubles feared in ,rome from the ,duke of ,alva1 ,spanish ,viceroy of ,naples4 ,michael ,angelo informed his nephew that he was making a pilgrimage to ,loreto1 but feeling tired stopped to rest at ,spoleto4 ,to ,vasari he says3 ,i have in these days had a great pleasure1 but with great discomfort and expense1 among the mountains of ,spoleto1 visiting the hermits there4 ,less than half of me has come back to ,rome1 for truly there is no peace except among the woods47#aha7 ,,chapter ,,xi ,,the ,,end ,michael ,angelo's little circle of devoted friends in ,rome were very anxious about him during the winter of #aefc-fd4 ,although almost fourscore years and ten he would still walk abroad in all weathers1 and took none of the precautions usual for a man of his age4 ,tiberio ,calcagni1 writing on ,february #ad to ,lionardo1 says in the letter published by ,daelli37#ahb7 ,walking through ,rome to-day ,i heard from many persons that ,messer ,michael ,angelo was ill1 so ,i went at once to visit him1 and although it was raining ,i found him out of doors on foot4 ,when ,i saw him ,i said that ,i did not think it right and seemly for him to be going about in such weather4 ',what do you want8' he answered2 ',i am ill1 and cannot find rest anywhere6' ,the uncertainty of his speech1 with the look and colour of his face1 made me extremely uneasy about his life4 ,the end may not be just now1 but ,i fear greatly that it cannot be far off4 ,the gray colour and the uneasiness of an old man who has suffered a slight stroke are evidently indicated here4 ,during the next four days he lived in his arm-chair4 ,on the #aeth1 ,diomede ,leoni wrote to ,lionardo1 with a letter enclosed1 signed by ,michael ,angelo but written by ,daniele da ,volterra47#ahc7 ,after exhorting ,lionardo to come to ,rome1 but to run no risks by travelling too fast1 he adds1 as you may be certain ,messer ,tomaso dei ,cavalieri1 ,messer ,daniele1 and ,i will not fail during your absence in every possible service in your place4 ,besides1 ,antonio1 the old and faithful servant of the master1 will give a good account of himself under any circumstances4 444 ,if the illness of the master be dangerous1 which ,god forbid1 you could not be in time to find him alive1 even if you could make more haste than is possible4 ,but to give you a little account of the state of ,messere up to this hour1 which is the third of the night17#ahd7 ,i inform you that just now ,i left him quite composed and fully conscious1 but oppressed with continual drowsiness4 ,in order to shake it off1 between twenty-two and twenty-three17#ahe7 this very day he tried to mount his horse and go for a ride1 as he was wont to do every evening in good weather1 but the coolness of the season and the weakness of his head and legs prevented him1 so he went back to his seat a little way from the fire4 ,he greatly prefers this chair to his bed4 ,we all pray ,god to preserve him unto us still for some years and that ,he may bring you here in safety1 to whom ,i earnestly commend myself4 ,two days later1 on the #agth1 ,tiberio ,calcagni wrote37#ahf7 ,this is only to beg you to hasten your coming as much as possible1 even though the weather be bad4 ,for your ,messer ,michael ,angelo is going to leave us indeed1 and he would have this one satisfaction the more4 ,michael ,angelo died a little before five o'clock on the afternoon of ,february #ah1 #aefd4 ,his physicians1 ,federigo ,donati and ,gherardo ,fidelissimi1 were with him at the last4 ,giorgio ,vasari tells us he made his will in three words1 committing his soul into the hands of ,god1 his body to the earth1 and his goods to his nearest relatives1 telling them when their hour came to remember the ,passion of ,jesus ,christ4 ,the ,florentine envoy sent a despatch to inform the ,duke of the event1 and he tells him the arrangements made as to the inventory of property and the disposal for safe-keeping of seven or eight thousand crowns found in a sealed box1 opened in the presence of ,messer ,tomaso dei ,cavalieri and ,maestro ,daniele da ,volterra4 ,the people of the house are to be examined whether anything has been carried away from it4 ,this is not supposed to have been the case4 ,as far as drawings are concerned they say that he burned what he had by him before he died4 ,what there is shall be handed over to his nephew when he comes1 and this your ,excellency can inform him4 ,the list of works of art found in the house is very small4 ,they were3 ,a blocked-out statue of ,saint ,peter4 ,an unfinished ,christ with another figure4 ,a statuette of ,christ with the ,cross1 like the ,risen ,christ in ,santa ,maria ,sopra ,minerva2 and ,ten original drawings1 one1 a ,piet1 belonged to ,tommaso dei ,cavalieri4 ,a little design for the faade of a palace4 ,a design for a window in the ,church of ,saint ,peters4 ,an old plan of the ,church of ,saint ,peter's1 said to be after the model of ,san ,gallo1 on several pieces of paper glued together4 ,a drawing of three small figures4 ,architectural drawings for a window and other details4 ,a large cartoon for a ,piet1 with nine figures1 unfinished4 ,another large cartoon1 with three large figures and two putti4 ,another large cartoon1 with one large figure only4 ,another large cartoon1 with the figures of our ,lord ,jesus ,christ and the glorious ,virgin ,mary1 ,his mother4 ,another1 the ,epiphany4 ,this last drawing was presented to the notary who drew up the will1 and is supposed to be the cartoon now in the ,british ,museum2 all the others went to ,lionardo ,buonarroti4 ,lionardo arrived three days after the death4 ,the body was deposited upon a catafalque in the ,church of the ,santissimi ,apostoli1 where the funeral was celebrated by all the artists and ,florentines in ,rome4 ,in fulfilment of the wish of ,michael ,angelo1 repeated two days before his death1 ,lionardo made arrangements for the removal of his uncle's remains to ,florence4 ,but the ,romans1 who regarded him as a fellow citizen1 resented this1 and ,lionardo was obliged to send the body away disguised as a bale of merchandise1 addressed to the custom-house at ,florence4 ,vasari wrote1 on ,march #aj1 duly informing him that the packing-case had arrived1 and had been left under seals until ,lionardo's arrival at the custom-house4 ,notwithstanding this letter from ,vasari1 it appears that the body was removed1 on ,march #aa1 to the oratory of the ,assunta1 beneath the ,church of ,san ,pietro ,maggiore4 ,next day the painters1 sculptors1 and architects of the newly-founded ,academy1 of which ,michael ,angelo had been elected ,principal after the ,duke1 met at the church1 intending to bring the body secretly to ,santa ,croce4 ,they had with them only an embroidered pall of velvet and a crucifix to place upon the bier4 ,at night the elder men lighted torches and the younger strove with one another to bear the coffin4 ,meantime the curious ,florentines found out that something was going forward1 and a great concourse assembled as the news spread that ,michael ,angelo was being carried to ,santa ,croce1 and huge crowds followed the humble procession1 lighted by the flaring torches such as the ,misericordia carry to this day4 ,the vast church of ,santa ,croce was so crowded that the pall-bearers had difficulty in reaching the sacristy with their burden4 ,when they at last got there1 ,don ,vincenzo ,borghini1 ,lieutenant of the ,academy1 thinking he would do what was pleasing to many1 and also1 as he afterwards confessed1 desiring to behold in death one whom he had never seen in life1 or1 at any rate1 at such an age that he did not remember it1 ordered the coffin to be opened4 ,when this was done1 whereas he and all of us present expected to find the corpse already corrupted and defaced1 inasmuch as ,michael ,angelo had been dead twenty-five days and twenty-two in his coffin1 lo6 we beheld him instead perfect in all his parts and without any evil odour2 indeed1 we might have believed that he was resting in a sweet and very tranquil slumber4 ,not only were the features of his face exactly the same as when he was in life 7except that the colour was a little like that of death71 none of his limbs were injured or repulsive2 the head and cheeks to the touch felt as though he had passed away only a few hours before4 ,when the eagerness of the multitude who crowded round had calmed down a little1 the coffin was deposited in the church1 behind the altar of the ,cavalcanti4 ,those who would read of the gorgeous catafalque of stucco1 woodwork1 and painting erected in the ,church of ,san ,lorenzo by the ,academy1 may do so in the pages of ,vasari1 and in the book called ,esequie del ,divino ,michel ,angelo ,buonarroti1 celebrate in ,firenze dall' ,academia1 c41 ,firenze1 i ,giunti1 #aefd1 and ,varchi's ,orazione ,funerali1 published by the same house at the same date4 ,the great artist is dead3 let us leave him to his rest in ,santa ,croce1 the ,westminster ,abbey of his city and the church of his ward4 ,vasari received from ,lionardo ,buonarroti the commission to design the tomb for ,santa ,croce4 ,he did his best to get the ,piet now in the ,duomo to serve as the principal part of the monument1 asserting that it had been intended by ,michael ,angelo for his monument4 ,besides1 there is an old man in the group who represents the sculptor4 ,this plan did not succeed1 and the ugly monument now in existence was designed instead4 ,the ,duke supplied the marbles1 and the figures were carved by ,giovanni dall' ,opera1 ,lorenzi and ,valerio ,cioli4 ,the bust portrait in bronze was modelled by ,battista ,lorenzi4 ,it was erected in #aegj1 and bears the inscription3 ,,michaeli ,,angelo ,,bonarotio ,e ,,vetvsta ,,simoniorvm ,,familia ,,scvlptori4 ,,pictori4 ,,et ,,architecto ,,fama ,,omnibvs ,,notissimo4 ,,leonardvs ,,patrvo ,,amantis4 ,,et ,,de ,,se ,,optime ,,merito ,,translatis ,,roma ,,eivs ,,ossibvs4 ,,atqve ,,in ,,hoc ,,templo ,,maior ,,svor ,,sepvlcro ,,conditis4 ,,cohortante ,,sereniss4 ,,cosmo ,,med4 ,,magno ,,hetrvriae ,,dvce4 ,p4 ,c4 ,,ann4 ,,sal4 ,,cic4 ,,ic4 ,,lxx ,,vixit ,,ann4 ,,lxxxviii4 ,m4 ,,xi4 ,d4 ,,xv4 ,the ,romans also erected a monument in the church where they had hoped to keep the bones of the artist who did more for their ,immortal ,city than any man who ever lived4 ,over this monument is the following epitaph3 ,,michael ,,angelus ,,bonarrotius ,,sculptor ,,pictor ,,architectus ,,maxima ,,artificum ,,frequentia ,,in ,,hac ,,basilica ,,ss4 ,,xii ,,apost4 ,f4,m4,c4 ,,xi ,,cal4 ,,mart4 ,a4 ,,mdlxiv ,,elatus ,,est ,,clam ,,inde ,,florentiam ,,translatus ,,et ,,in ,,templo ,s4 ,,crucis ,,eorumd4 ,f4 ,v4 ,,id4 ,,mart4 ,,ejusd4 ,a4 ,,conditus ,,tanto ,,nomini ,,nullum ,,par ,,elogium ,michael ,angelo formed no school1 his love of excellence would not permit him to leave any inferior work behind him1 as ,raphael did in certain portions of the ,stanze and ,loggia of the ,vatican4 ,michael ,angelo's disposition was not so genial nor were his manners so universally pleasing as those of the gentle ,raphael1 so he was unable to keep a body of workmen together in good temper2 the result is1 we have no ,sala of ,constantine1 or ,palazzo del ,t1 to remind us of the passing of the master of a school4 ,at the same time1 to his few assistants and workmen ,michael ,angelo was as kind as father to son1 when once he became accustomed to them about him4 ,he gave help to various other artists1 and it may be noted that all those he influenced became men devoted to high finish and the utmost perfection possible4 ,decadence in ,italian art began long before his death2 but the imitators of ,michael ,angelo are by far the best and most interesting figures of that unfortunate period4 ,they1 at least1 have great intentions1 and strive to attain a style of dignity and distinction1 and do not grudge any labour that may help them to their ideals4 ,vasari tells us of some of these men and their works3 ,he loved his workmen and was on friendly terms with them4 ,among them were ,jacopo ,sansovino1 ,il ,pontormo1 ,daniele da ,volterra1 and ,giorgio ,vasari ,aretino1 to whom he showed infinite kindness4444 ,he goes on to say that he was unfortunate in those who lived with him1 since he chanced upon natures unfit to follow him4 ,for ,pietro ,urbano1 of ,pistoja1 his pupil1 was a man of talent1 but would never work hard4 ,antonio ,mini had the will but not the brain1 and hard wax takes a bad impression4 ,ascanio della ,ripa ,transone 7,condivi7 worked very hard1 but nothing came of it either in work or in designs4 ,jacopo l',indaco and ,mineghella were boon companions of the master4 ,a stone-cutter ,domenico ,fancelli nicknamed ,topolino1 ,pilote the goldsmith1 ,giuliano ,bugiardini the painter1 were of this company4 ,the melancholy ,michael ,angelo is said to have burst his sides with laughing at ,mineghella's stupidity4 ,the very proper ,vasari describes the latter as a mean and stupid painter of ,valdarno1 but a very amusing person2 and ,michael ,angelo1 who could with difficulty be made to work for kings1 would leave everything to make simple drawings for this fellow1 ,san ,rocco1 ,san ,antonio1 or ,san ,francesco1 to be coloured for one of the man's many peasant patrons2 among others ,michael ,angelo made him a very beautiful model of a ,christ on the ,cross1 made a mould from it1 and ,mineghella cast it in papier-mach and went about selling it all over the country-side4 ,it may be that the familiar and often-repeated ,crucifix in common use is an adaptation or copy1 far removed from this original2 it has something of the style of ,michael ,angelo's later work1 the figure is most beautifully disposed4 ,sebastiano del ,piombo lightened the old man's labour by his genial humour and jovial companionship2 ,sebastiano followed his teaching with great industry and skill1 as all his later works show2 such as the ,scourging of ,christ1 in ,san ,pietro in ,montorio1 and the ,raising of ,lazarus1 in our own ,national ,gallery3 drawings by the hand of ,michael ,angelo still exist for the principal figures in both these pictures4 ,there is a ,piet by ,sebastiano1 at ,viterbo1 evidently following the lines of one of ,michael ,angelo's religious drawings2 it is so beautiful in the expression of its colour and the high finish of the nude1 that we cannot but think that ,michael ,angelo's exacting eyes were peering over the shoulder of ,sebastiano when he painted it4 ,per ritornar l donde venne fora1 ,l' immortal forma al tuo carcer terreno ,venne com' angel di piet si pieno ,che sana ogn' intelletto1 e'l mondo onora4 ,questo sol m' arde1 eqesto m' innamora2 ,non pur di fora il tuo volto sereno3 ,ch' amor non gi di cosa che vien meno ,tien ferma speme1 in cu' virt dimora4 ,n altro avvien di cose altere e nuove ,in cui si preme la natura2 e'l cielo ,e ch' a lor parto largo s' apparecchia4 ,n ,dio1 suo grazia1 mi si mostra altrove1 ,pi che 'n alcun leggiadro e mortal velo2 quel sol amo1 perch 'n quel si specchia4 ,,appendix ,,three ,,dialogues ,,on ,,painting ,,composed ,,by ,,francisco ,d',,ollanda1 ,a ,,portuguese ,,miniature ,,painter ,,who ,,was ,,in ,,rome ,,in ,,the ,,year #aech4 ,,translated ,,from ,,the ,,portuguese1 ,,with ,,the ,,help ,,of ,,mr4 ,a4,j4 ,,clift1 ,,by ,,charles ,,holroyd4 ,,the ,,manuscript ,,was ,,published ,,for ,,the ,,first ,,time ,,in ,,the ,,renascenca ,,portugueza ,,no4 ,,vii4 ,,porto1 #ahif ,,first ,,dialogue ,my intention in going to ,italy was not to seek for advantage or honour1 but to study4 ,i was sent there by my ,king1 and ,i had no other interest in view 7such as having intercourse with the ,pope or with the ,cardinals of the ,court2 and this ,god knows and ,rome knows1 if ,i had wished to dwell there per-adventure ,i did not lack opportunities1 both for myself and by the favour of the principal persons in the ,pope's household71 but all ideas of this kind were so subdued in me1 that ,i did not even allow them to enter into my imagination2 others ,i had1 more noble and more to my taste1 which had much more power over me than covetousness or expectation of benefits such as many people have who go to ,rome4 ,what alone was always present to me was how ,i1 with my art1 might serve the king our ,lord1 who had sent me there1 communing always with myself how ,i could steal and convey away to ,portugal the excellencies and beauties of ,italy to please the ,king and the ,infantas and the most serene ,infante ,d4 ,luiz4 ,i used to say to myself3 ,what fortresses or foreign cities have ,i not yet in my book8 ,what immortal buildings and what noble statues does this city still possess which ,i have not already stolen from it and carried away without carts or ships on thin paper8 ,what painting1 stucco1 or grotesque has been discovered amongst these grottoes and antiquities of ,rome1 ,puzol1 and ,baias1 of which the most rare is not to be found in my sketch-books8 ,thus ,i beheld nothing either antique or modern in painting1 sculpture or architecture of which ,i did not make some record of its best part1 it appearing to me that these were the greatest benefits that ,i could carry away with me1 more honourable and profitable to the service of my ,king and to my own taste4 ,i do not think ,i have made a mistake 7although some people tell me ,i have71 for as these things alone were my care1 my dispute and demand1 no great ,cardinal ,fernes had to help me1 nor had ,i a greater ,dattario to obtain1 in order to go one day to see ,d4 ,julio de ,macedonia1 a most famous illuminator1 and another day ,master ,michael ,angelo1 now ,baccio the noble sculptor2 then ,master ,perino1 or ,bastio ,veneziano1 and sometimes ,valerio de ,vicena1 or ,jacopo ,mellequino1 architect1 and ,lactancio ,tolomei1 the acquaintance and friendship of these men ,i valued much more than others of more parade and pretension 7as if there could be greater in the world1 and so ,rome values them72 because from them1 and from their works in my art1 ,i obtained some fruit and knowledge4 ,i amused myself in discussing with them many rare and noble works both of ancient and modern times4 ,master ,michael especially ,i esteemed so much that if ,i met him either in the palace of the ,pope or in the street1 we could not part until the stars sent us to rest4 ,d4 ,pedro ,mascarenhas1 the ,ambassador1 is my witness what a great thing this was and how difficult2 and1 too1 of the tales ,m4 ,angelo1 when coming out of vespers one day1 told about me and about a book of mine in which ,i had drawn some things in ,rome and ,italy1 to ,cardinal ,santtiquatro and to him4 ,now my habit was to go round the solemn temple of the ,pantheon and note all its columns and proportions2 the ,mausoleum of ,adrian and that of ,augustus1 the ,coliseum1 the ,therm of ,antoninus and those of ,diocletian1 the ,arch of ,titus and that of ,severus1 the ,capitol1 the theatre of ,marcellus and all the other notable things in that city1 the names of which have already escaped me4 ,at times1 too1 ,i was not turned out of the magnificent chambers of the ,pope1 ,i only went there because they were painted by the noble hand of ,raphael of ,urbino4 ,i loved more those antique men of stone sculptured on the arches and columns of the old buildings1 than those more inconstant which everywhere weary one with talking1 ,i learned more from them and from their grave silence4 ,now amongst the days which ,i thus passed in that ,court there was a ,sunday on which ,i went to see ,messer ,lactancio ,tolomei1 as others did2 it was he1 with the assistance of ,messer ,blosio1 the ,pope's secretary1 who gave me the friendship of ,michael ,angelo4 ,and this ,m4 ,lactancio was a very important personage1 both on account of nobility of mind and of blood 7he being a nephew of the ,cardinal of ,siena71 as well as through his knowledge of ,latin1 ,greek and ,hebrew letters1 and for the authority of his years4 ,but finding in his house a message that he was at ,monte ,cavallo1 in the church of ,st4 ,silvester1 with the ,lady ,marchioness of ,pescara1 listening to a lecture from the ,epistles of ,st4 ,paul1 ,i went to ,monte ,cavallo and to ,st4 ,silvester4 ,now ,senhora ,vittoria ,colonna1 ,marchioness of ,pescara1 and sister of ,senhor ,ascanio ,colonna1 is one of the most illustrious and famous ladies in ,italy and in all ,europe1 which is the world1 chaste yet beautiful1 a ,latin scholar1 well-informed and with all the other parts of virtue and fairness to be praised in woman4 ,she1 after the death of her great husband1 took to a private and simple life1 contenting herself with the fact that she had already lived in her estate1 and loving henceforward only ,jesu ,christ and good deeds1 doing good to poor women and bearing the fruits of a true ,catholic4 ,for my friendship with this lady also ,i was indebted to ,m4 ,lactancio1 who was the most intimate friend that she had4 ,having commanded me to sit down1 the lecture and its praises over1 the ,marchioness looking at me and at ,m4 ,lactancio1 if ,i remember rightly1 said3 ,francisco d',ollanda will be better pleased to hear ,m4 ,angelo talk about painting1 than ,brother ,ambrosio expound this lesson4 ,then ,i1 almost angry1 answered her3 ,why1 madam1 does it appear to your ,excellency that ,i can attend to nothing but painting8 ,truly ,i shall always be pleased to hear ,m4 ,angelo1 but when the ,epistles of ,st4 ,paul are read1 ,i prefer to hear ,brother ,ambrosio4 ,do not be angry1 ,m4 ,francisco1 ,m4 ,lactancio then said1 for the ,marchioness does not think that the man who is a painter will not be everything4 ,we esteem painting higher in ,italy4 ,but perchance she said that to you in order to give you1 beyond what you already have1 the further pleasure of hearing ,michael4 ,i then replied3 ,her ,excellency will be doing no more than she is in the habit of doing1 giving always greater favours than one dares to ask4 ,the ,marchioness1 knowing my mind1 called one of her servants1 and said1 smiling3 ,to those who know how to express thanks one must study how to give1 especially as ,i get as much in the giving as ,francisco d',ollanda does in receiving4 ,foao1 go to the house of ,m4 ,angelo and tell him that ,i and ,m4 ,lactancio are here in this quiet chapel1 and that the church is closed and very pleasant1 if he cares to come and lose a little of the day with us1 so that we may gain it with him4 ,and do not tell him that ,francisco d',ollanda1 the ,spaniard1 is here4 ,as ,i was whispering something about the discretion of the ,marchioness in everything1 in the ear of ,lactancio1 she desired to know what it was about4 ,he was telling me1 said ,lactancio1 how well your ,excellency knows how to preserve decorum in everything1 even in a message4 ,m4 ,michael is already more his friend than mine1 for he tells me that when they meet1 ,michael ,angelo does all he can to shun his company1 seeing that when they once come together they never can part4 ,i know that1 for ,i know ,master ,michael ,angelo1 she returned2 but ,i do not know in what manner we shall treat him so that we may lead him on to talk of painting4 ,brother ,ambrosio of ,siena 7one of the appointed preachers to the ,pope71 who had not yet gone1 said3 ,i do not believe that if ,michael knows the ,spaniard to be a painter1 he will talk about painting at all1 therefore let him hide himself that he may hear him4 ,it is perhaps not so easy to hide this ,portuguese1 ,i replied with emphasis to the ,friar1 from the eyes of ,master ,michael ,angelo2 he will know me better hidden than your reverence does here where ,i am1 even if you put on spectacles2 and you will see that1 being here1 he will see me very plainly if he comes4 ,then the ,marchioness and ,lactancio laughed1 but not ,i nor yet the ,friar1 who however heard the ,marchioness say that he would find me to be something more than a painter4 ,after remaining but a short time silent1 we heard a knocking at the door1 and all began to fear that ,michael would not come1 as the messenger had returned so quickly4 ,but ,michael1 who resides at the foot of ,monte ,cavallo1 happened by good luck to be walking towards ,st4 ,silvester1 on his way to the ,thermae by the ,esquiline road with his ,orbino1 philosophising by the way2 being informed of the message1 he could not run away from us1 nor did he fail to be the person knocking at the door4 ,the ,marchioness rose to receive him1 and remained standing awhile before causing him to take a seat between her and ,m4 ,lactancio4 ,i sat a little way off1 but the ,marchioness1 remaining awhile without speaking1 not wishing to delay her practice of honouring those who conversed with her1 and the place where she was1 commenced1 with an art that ,i could not describe1 to say many things very well expressed1 and with thoughts most graciously stated1 without ever touching on painting1 in order to ensure the great painter to us2 and ,i saw her as one wishing to reduce a well armed city by discretion and guile2 and we saw the painter1 too1 standing watchful and vigilant1 as if he were besieged1 placing sentries in one place and ordering bridges to be raised in another1 making mines and defending all the walls and towers2 but finally the ,marchioness had to conquer1 nor do ,i know who could defend himself against her4 ,she said3 ,it is known that whoever comes into conflict with ,m4 ,angelo in his own speciality1 which is discretion1 cannot but be vanquished4 ,it is necessary1 ,m4 ,lactancio1 that we should talk with him about actions or briefs or painting to put him to silence and to obtain any advantage over him4 ,nay1 ,i then said1 ,i know of no better way of wearying ,m4 ,angelo than by informing him that ,i am here1 as he has not seen me hitherto4 ,but ,i already know that the way not to see a person is to have him before one's eyes4 ,you should then have seen ,michael turn himself towards me with astonishment1 and say3 ,forgive me1 ,m4 ,francisco1 for not having seen you for had ,i not the ,marchioness before my eyes1 but as ,god has sent you here1 assist and help me as a comrade4 ,for that reason only will ,i forgive you2 but it seems to me that the ,marchioness causes with one light contrary effects1 as the sun does1 which with the same rays melts and hardens1 because you were blinded by seeing her and ,i both hear and see you1 because ,i see her2 and also because ,i know how much a wise person will occupy himself with her ,excellency1 and how little time she leaves for others2 and therefore at times ,i do not take the advice of some friars4 ,here the ,marchioness laughed again4 ,then ,friar ,ambrosio rose and took leave of the ,marchioness and of us1 remaining thenceforward a great friend of mine1 and he went away4 ,and now the ,marchioness began to speak thus3 ,his ,holiness has done me the favour of allowing me to build a nunnery for ladies here at the foot of ,monte ,cavallo1 by the broken portico1 where it is said that ,nero saw ,rome burning1 so that the wicked footprints of such a man may be trodden out by others more honest of holy women4 ,i do not know1 ,m4 ,angelo1 what shape and proportions to give to the house1 where the door should be placed1 and whether some of the old work may be adapted to the new8 ,yes1 madam1 said ,michael1 the broken portico might be used as a campanile4 ,and this was so pleasant1 and ,michael said it so seriously and in such a manner that ,m4 ,lactancio could not help calling attention to it2 and the great painter added these words3 ,i quite think your ,excellency may build the nunnery2 and when we leave here1 with your permission1 we may very well go and look at the site1 so as to give you some drawing for it4 ,i did not dare to ask you for so much1 she said1 but ,i already knew that in everything you follow the doctrine of the ,lord3 deposuit potentes1 exaltavit humiles2 and in that also you are excellent1 for you acknowledge yourself at last as discreetly generous and not as an ignorant prodigal4 ,and therefore in ,rome those who know you esteem you even more than your works2 and those who do not know you esteem only the least of you1 which are the works of your hands4 ,and certainly ,i do not give any less praise to your knowledge of how to retire within yourself and fly from our useless conversations1 and to your wisdom in not painting for all the princes who ask you to do so1 but confining yourself to the painting of a single work during all your life as you have done1 ,madam1 said ,michael1 perchance you attribute to me more than ,i deserve2 but in doing so you remind me that ,i wish to make a complaint against many persons1 on my own behalf and on behalf of painters of my temperament1 and also on behalf of ,m4 ,francisco here4 ,there are many persons who maintain a thousand lies1 and one is that eminent painters are eccentric and that their conversation is intolerable and harsh1 they are only human all the while1 and thus fools and unreasonable persons consider them fantastic and fanciful1 allowing them with much difficulty the conditions necessary to a painter4 ,it is quite true that such conditions are only necessary where there is a real painter1 which is in very few places1 as in ,italy1 where there is the perfection of all things2 but foolish1 idle persons are unreasonable in expecting so many compliments from a busy man3 few mortals fulfil their duty well1 one who does will not accuse another who is fulfilling his2 painters are not in any way unsociable through pride1 but either because they find few pursuits equal to painting1 or in order not to corrupt themselves with the useless conversation of idle people1 and debase the intellect from the lofty imaginations in which they are always absorbed4 ,and ,i affirm to your ,excellency that even his ,holiness annoys and wearies me when at times he talks to me and asks me somewhat roughly why do ,i not come to see him1 for ,i believe that ,i serve him better in not going when he asks me1 little needing me1 when ,i wish to work for him in my house2 and ,i tell him that1 as ,m4 ,angelo1 ,i serve him more thus than by standing before him all day1 as others do1 ,oh1 happy ,m4 ,angelo1 said ,i at this stage1 my prince is not a ,pope1 can he forgive me such a sin8 ,such sins1 ,m4 ,francisco1 are just those which kings pardon1 said he1 and added3 ,sometimes1 ,i may tell you1 my important duties have given me so much licence that when1 as ,i am talking to the ,pope1 ,i put this old felt hat non-chalantly on my head1 and talk to him very frankly1 but even for that he does not kill me2 on the contrary1 he has given me a livelihood47#ahg7 ,and as ,i say1 ,i have paid him more compliments in his service than unnecessary ones to his person4 ,if perchance a man were so blind as to invent such an unprofitable exchange1 as it is for a man to separate himself and content himself with himself whilst he loses his friends and makes enemies of all1 would it not be very wrong if they bore him ill-will for that8 ,but whoever has such a complexion both because the force of his duty demands it1 and because of his having been born with a dislike of ceremony and dissimulation1 it seems very foolish not to allow him to live4 ,and if such a man is so moderate that he does not want anything of you1 what do you want with him8 ,and why should you wish to use him in those vanities for which his quietness is not fitted8 ,do you not know that there are sciences that require the whole man without ever leaving him free for your idle trivialities8 ,when he has as little to do as you have1 let him be killed if he does not observe your rules of etiquette and compliment even better than you4 ,you only seek his company and praise him in order to obtain honour through him for yourselves1 nor do you really mind what sort of man he is1 so long as a pope or an emperor converse with him4 ,and ,i dare affirm that he cannot be a great man who tries to satisfy idle persons rather than the men of his own craft1 nor can one who is in nowise singular and reserved or whatever you may be pleased to call it1 be better than the ordinary and vulgar talents which are to be found without a lantern in the market-places of the world4444 ,here ,michael ceased speaking1 and a little while afterwards the ,marchioness said3 ,if those friends of whom you are speaking had the discretion of the friends of old1 the evil would be smaller2 when ,arcesilaus went one day to see ,apelles1 who was ill and in need1 this good friend raised his artist's head so as to arrange the pillow and put underneath a sum of money for his cure1 which sum1 having been found by the old woman attending him1 who was frightened at the amount1 ,apelles1 smiling1 said3 ',this money was stolen from ,arcesilaus2 do not be astonished4' ,then ,lactancio added1 in this manner1 his opinion3 ,skilful artists would not exchange places with any other kind of men however great they may be1 so satisfied are they with some special joyousness which they get from their art2 but ,i would counsel them to exchange at least with the happy ones1 if it seemed to me that they wished to do so1 and were it not that they consider themselves the most happy of mortals4 ,the mind which is capable of the very highest painting knows where the lives and pleasures of the pre-sumptuous lead them and what they are1 and how they die nameless and without knowledge of the things which in the world are most worthy of being known and esteemed1 and how we cannot even remember that such a man was born however much money he may have kept in his coffers4 ,and thus he understands that good work and the good name of immortal virtue is the felicity of this life and all or almost all that is to be desired2 and therefore he esteems himself more because he is on the road to attain that glory than one who does not know this and never even knew how to desire it4 ,many are content with much less power than that of imitating a work of ,god as in painting2 and if one never attained to the distinction of governing a great province1 it is but human to be satisfied with things which are more difficult and more uncertain than governing a country which stretched from the ,columns of ,hercules to the ,indian ,river ,ganges4 ,such an one never killed an enemy more difficult to conquer than is the conforming the work to the desire or idea of the great painter1 and the one was never so satisfied drinking out of a golden cup as the other drinking out of an earthen pot4 ,nor was the ,emperor ,maximilian wrong in saying that he could indeed make a duke or a count1 but as for an excellent painter ,god alone could make him when ,he so pleased1 for which reason he abstained from putting to death a painter who deserved to die4 ,what do you advise me to do1 ,master ,lactancio1 the ,marchioness then said2 shall ,i put a question to ,m4 ,angelo about painting1 as he now1 in order to prove to me that great men are justified in their ways and not eccentric1 may take measures like those he is accustomed to take8 ,and ,lactancio3 ,for your ,excellency1 ,madam1 ,m4 ,michael cannot help constraining himself and giving out here that which it is well that he keeps close elsewhere4 ,m4 ,angelo said3 ,i beg of your ,excellency to tell me what ,i can give to her and it shall be given4 ,and she1 smiling3 ,i very much wish to know1 as we are dealing with this subject1 what you think of the painting of ,flanders and whom it will satisfy1 because it appears to me more devout than the ,italian style4 ,the painting of ,flanders1 ,madam1 answered the artist slowly1 will generally satisfy any devout person more than the painting of ,italy1 which will never cause him to drop a single tear1 but that of ,flanders will cause him to shed many2 this is not owing to the vigour and goodness of that painting1 but to the goodness of such devout person2 women will like it1 especially very old ones1 or very young ones4 ,it will please likewise friars and nuns1 and also some noble persons who have no ear for true harmony4 ,they paint in ,flanders1 only to deceive the external eye1 things that gladden you and of which you cannot speak ill1 and saints and prophets4 ,their painting is of stuffs1 bricks and mortar1 the grass of the fields1 the shadows of trees1 and bridges and rivers1 which they call landscapes1 and little figures here and there2 and all this1 although it may appear good to some eyes1 is in truth done without reasonableness or art1 without symmetry or proportion1 without care in selecting or rejecting1 and finally without any substance or verve1 and in spite of all this1 painting in some other parts is worse than it is in ,flanders4 ,neither do ,i speak so badly of ,flemish painting because it is all bad1 but because it tries to do so many things at once 7each of which alone would suffice for a great work7 so that it does not do anything really well4 ,only works which are done in ,italy can be called true painting1 and therefore we call good painting ,italian1 for if it were done so well in another country1 we should give it the name of that country or province4 ,as for the good painting of this country1 there is nothing more noble or devout1 for with wise persons nothing causes devotion to be remembered1 or to arise1 more than the difficulty of the perfection which unites itself with and joins ,god2 because good painting is nothing else but a copy of the perfections of ,god and a reminder of ,his painting4 ,finally1 good painting is a music and a melody which intellect only can appreciate1 and with great difficulty4 ,this painting is so rare that few are capable of doing or attaining to it4 ,and ,i further say 7which whoever notes it will consider important7 that of all the climates or countries lighted by the sun and the moon1 in no other can one paint well but in the kingdom of ,italy2 and it is a thing which is nearly impossible to do well except here1 even though there were more talented men in the other provinces1 if there could be such1 and this for reasons which we will give you4 ,take a great man from another kingdom1 and tell him to paint whatever he likes and can do best1 and let him do it2 and take a bad ,italian apprentice and order him to make a drawing1 or to paint whatever you like1 and let him do it2 you will find1 if you understand it well1 that the drawing of that apprentice1 as regards art1 has more substance than that of the other master1 and what he attempted to do is worth more than everything that the other ever did4 ,order a great master1 who is not an ,italian1 even though it be ,alberto17#ahh7 a man delicate in his manner1 in order to deceive me1 or ,francisco d',ollanda there1 to counterfeit a work which shall be like an ,italian work1 and if it cannot be a very good one let it be an ordinary or a bad painting1 and ,i assure you that it will be immediately recognised that the work was not done in ,italy1 nor by the hand of an ,italian4 ,i likewise affirm that no nation or people 7,i except one or two ,spaniards7 can perfectly satisfy or imitate the ,italian manner of painting 7which is the old ,greek manner7 without his being immediately recognised as a foreigner1 whatever efforts he may make1 and however hard he may work to do so4 ,and if by some great miracle such a foreigner should succeed in painting well1 then1 although he may not have done it in order to imitate ,italian work1 it will be said that he painted like an ,italian4 ,thus it is that all painting done in ,italy is not called ,italian painting1 but all that is good and direct is1 for in this country works of illustrious painting are done in a more masterly and more serious manner than in any other place4 ,we call good painting ,italian1 which painting1 even though it be done in ,flanders or in ,spain 7which approaches us most7 if it be good1 will be ,italian painting1 for this most noble science does not belong to any country1 as it came from heaven2 but even from ancient times it remained in our ,italy more than in any other kingdom in the world1 and ,i think that it will end in it4 ,so he spoke4 ,seeing that ,michael was now silent1 ,i urged him on in this manner4 ,so1 ,master ,michael ,angelo1 you assert that out of all the nations of the world it is only ,italians who can paint8 7,ollanda continues47 ,but what wonder in that8 ,you must know that in ,italy painting is done well for many reasons1 and outside ,italy painting is done badly for many reasons4 ,firstly1 the nature of the ,italians is studious in the extreme1 and the talented already bring with them1 when they are born1 power of work1 taste and love of that to which they are inclined1 and of that which demands their genius2 and if any one determines to make a profession1 and to pursue some art or liberal science1 he does not content himself with what is sufficient for him to become rich thereby1 and one of the number of the craftsmen1 but in order to be unique and distinguished he watches and works continuously1 and keeps before his eyes the great hope of being a paragon of perfection 7,i speak where ,i know ,i am believed7 and not a mere mediocrity in that art or science4 ,this is because ,italy does not esteem mediocrity1 deeming it an exceedingly poor thing2 and speaks only of those1 and even praises them to the skies1 who1 like eagles1 surpass all others1 and penetrating the clouds approach the light of the sun4 ,then1 again1 you are born in a province 7is not this an advantage87 which is the mother and protectress of all sciences and disciplines1 amongst so many relics of your ancestors1 which do not exist anywhere else1 that already as children you find before your eyes in the streets a great part of whatever your inclination or genius may be inclined to2 and from youth upwards you are accustomed to see those things which old men never saw in other kingdoms4 ,then1 growing up1 although you may have been rude and rough1 by nature you are already so accustomed to have your eyes full of the forms of the many old things of renown1 that you cannot fail to imitate them2 and to all this are joined 7as ,i say7 distinguished talent and indefatigable study and taste4 ,you have remarkable masters to imitate1 and their works1 and as regards new works the cities are full of the curious things and novelties which are discovered and found every day4 ,and if all these things do not suffice1 although ,i should consider them quite sufficient for the perfection of any science1 at least this is quite enough2 namely1 that we1 ,portuguese1 although some of us may be born with nice talent and minds--as many are born--have a contempt for and consider it fine to take little account of the arts1 and we almost feel it a disgrace to know much about them1 wherefore we always leave them imperfect and unfinished4 ,you ,italians alone1 7,i cannot even say ,germans or ,frenchmen71 give the greatest honour1 the greatest nobility and the power to be more1 to a man who is a splendid painter or splendid in some faculty2 and of all your noblemen1 captains1 wise men1 satirists1 cardinals and ,popes1 that man only who may attain the reputation of being perfect and rare in his profession is ever exalted or thought much of by you4 ,and as great princes are not esteemed nor have any name in ,italy1 so it is a painter alone that they call the divine--,michael ,angelo1 as you will find in letters which ,aretino1 satirist of all ,christian gentlemen1 wrote you4 ,now1 the payments and prices that in ,italy are given for paintings also appear to me to have a great deal to do with the fact that painting cannot be done anywhere but here1 because frequently for a head or face from nature one thousand 'cruzados' are paid1 and many other works are paid for as you1 gentlemen1 know better than ,i1 very differently from the way they are paid for in other kingdoms1 seeing that mine is among the magnificent and wide4 ,now1 your ,excellency1 please to judge whether these be hindrances or helps4 ,it seems to me1 answered the ,marchioness1 that before these hindrances you must place talent and knowledge1 which are not transalpine but belong to the good ,italian2 however1 everywhere virtue is the same1 good is the same1 and evil is the same1 although they may have a different civilisation from ours4 ,if that1 ,i answered1 were heard in my country1 well1 ,madam1 they would be astonished both at your ,excellency praising me and in that manner1 and by your making that difference between ,italians and other men whom you call 'transalpine1' or from beyond the mountains3 ',non adeo obtusa gestamos pectora ,poeni1 ,nec tam auersus equos1 ,lysia1 sol iungit ab urbe4' ,we have1 ,madam1 in ,portugal1 good and ancient cities1 and principally my birthplace1 ,lisbon2 we have good manners1 and good courtiers and valiant cavaliers and courageous princes1 both in war and in peace1 and above all we have a very powerful and splendid king1 who with great calmness tempers and governs us1 and commands very distant provinces of barbarians1 whom he has converted to the ,faith2 and he is feared by the whole ,east and by the whole of ,mauritania and is a patron of the ,fine ,arts1 so much so that1 through making a mistake as to my talent1 which in my youth promised some fruit1 he sent me to see ,italy and its civilisation1 and ,master ,michael ,angelo1 whom ,i see here4 ,it is quite true that we have not such buildings and pictures as you have1 but they are already being made1 and little by little they are losing that barbarian superfluity that the ,goths and ,moors sowed throughout ,spain4 ,i also hope that1 on arriving in ,portugal after leaving here1 ,i may assist either in the elegance of building or in the nobility of painting1 so that we may be able to compete with you4 ,our science is almost entirely lost1 and without honour or renown in those kingdoms1 and not through the fault of others1 but through the fault of the place and disusage1 to such extent that very few esteem it or understand it unless it be our most serene king1 by supporting all virtue and patronising it2 and likewise the most serene infante ,d4 ,luiz1 his brother1 a very valorous and wise prince1 who has a very nice knowledge and discretion in every liberal art4 ,all the others neither understand nor esteem painting4 ,they do well1 said ,m4 ,angelo4 ,but ,master ,lactancio ,tolomei1 who had not spoken for some time1 proceeded in this manner3 ,we ,italians have this very great advantage over all other nations in this great world1 in the knowledge and honour of all the illustrious and most worthy arts and sciences4 ,but ,i would have you to know1 ,m4 ,francisco d',ollanda1 that whoever does not understand and esteem the most noble art of painting does so because of his own defects and not because of the art1 which is very noble and clear2 and because he is a barbarian and without judgment1 and has no honourable part in being a man4 ,and this is proved by the example of the most powerful old and modern emperors and kings1 and of the philosophers and wise persons who attained everything1 and who so greatly esteemed and appreciated the knowledge of painting1 and spoke of it with such high praises and examples1 and in making use of it and paying for it so liberally and magnificently and1 finally1 by the great honour that the ,mother ,church does it1 with the holy ,pontiffs1 cardinals1 and great princes and prelates4 ,and so you will find in all the past centuries1 all the past valorous peoples and nations held this art in so much honour1 that they admired nothing more nor considered anything as a greater wonder4 ,and then we see ,alexander the ,great1 ,demetrius1 and ,ptolomy1 famous kings1 together with many other princes1 who readily boast of understanding it2 and amongst the ,csars1 ,augustus the divine ,csar1 ,octavian ,augustus1 ,m4 ,agrippa1 ,claudius1 and ,caligula and ,nero1 in this alone virtuous1 likewise ,vespasian and ,titus1 as was shown in the famous retable of the ,temple of ,peace1 which he built after having vanquished the ,jews and their ,jerusalem4 ,what shall ,i say of the great ,emperor ,trajan8 ,what of ,helius ,adrianus1 who with his own hand painted singularly well1 as the ,greek ,dion writes in his life1 and ,spartianus8 ,then the divine ,marcus ,aurelius ,antoninus1 ,julius ,capitolinus1 says how he learned to paint1 ,diognetus being his teacher2 and even lius ,lampridius relates that the ,emperor ,severus ,alexander1 who was an exceedingly powerful prince1 himself painted his genealogy to show that he descended from the lineage of the ,metelos4 ,of the great ,pompey1 ,plutarch says that in the city of ,mitylene he drew with a style the plan and shape of the theatre1 in order to have it afterwards built in ,rome1 which he did4 ,and although1 owing to its great effects and beauties1 noble painting merits all veneration without seeking praise from other virtues1 beside those proper to it1 ,i still wished to show here1 before one who knows it1 by what sort of men it was esteemed4 ,and if by chance1 at any time or in any place1 there should be found any one who1 because of being highly placed and great1 refuses to esteem this art1 let him know that others still greater appreciated it greatly4 ,who can compare himself with ,alexander the ,greek8 ,who will exceed the prowess of ,csar the ,roman8 ,who is of greater glory than ,pompey8 ,who more a prince than ,trajan8 ,for these ,alexanders and ,csars not only dearly loved the divine painting1 and paid great prices for it1 but with their own hands they occupied themselves with it and touched it4 ,or who1 out of bravery and presumption1 will despise it and be not rather very humble and very unworthy before painting1 before her severe and grave face8 ,thus it seemed that ,lactancio was finishing1 when the ,marchioness proceeded1 saying3 ,or who will be the virtuous and serene man 7if he despises it for its sanctity7 who will not show great reverence and adore the spiritual contemplation and devotion of holy painting8 ,i think that time would sooner be lacking than material for the praises of this virtue4 ,it produces joy in the melancholy1 it brings both the contented and the angry man to the knowledge of human misery2 it moves the obstinate to compunction1 the mundane to penitence1 the contemplative to contemplation1 and the fearful to shame4 ,it shows us death and what we are1 more gently than in any other way2 the torments and dangers of hell2 so far as is possible1 it represents to us the glory and peace of the blessed1 and the incomprehensible image of our ,lord ,god4 ,it represents to us the modesty of ,his saints1 the constancy of the martyrs1 the purity of the virgins1 the beauty of the angels1 and the love and ardour with which the seraphim burn1 better than in any other way1 and lifts up our spirit and plunges our mind into the depths beyond the stars1 to imagine the empirean that there exists4 ,what shall ,i say of how it brings before us the worthies who passed away so long ago1 and whose bones even are not now upon this earth1 to enable us to imitate them in their bright deeds8 ,or how it shows us their councils and battles by examples and delightful histories8 ,their great deeds1 their piety and their manners8 ,to captains it shows the manoeuvres of the old armies1 the cohorts and their disposition1 their discipline and their military order4 ,it animates and creates daring1 by emulation and an honest envy of the famous ones1 as ,scipio the ,african confessed4 ,it leaves a memorial of the present times for those who come after4 ,painting shows us the garb of the pilgrim or of antiquity1 the variety of foreign peoples and nations1 buildings1 animals1 and monsters1 which in writing it would be prolix to hear about1 and even then it would be but badly understood4 ,and not only these things does this noble art1 but it places before our eyes the image of any great man who should be seen and known because of his deeds1 and likewise the beauty of a woman who is separated from us by many leagues1 a thing on which ,pliny reflects much4 ,to one who dies it gives many years of life1 his own face remaining behind painted1 and his wife is consoled1 seeing daily before her the image of her deceased husband1 and the sons who were left little children rejoice when men to know the presence and the aspect of their dear father1 and fear to shame him4 ,as the ,marchioness1 almost weeping1 made a pause here1 ,m4 ,lactancio1 in order to draw her out of her sorrowful imagination and memories1 said3 ,besides all these things1 which are great1 what is there that more ennobles or makes other things more beautiful than painting1 whether on arms1 in temples1 in palaces1 or fortresses1 or anywhere else where beauty and order may have a place8 ,and so great minds assert that there is nothing a man can find to fight against his mortality or against the flight of time but painting only4 ,nor did ,pithagoras depart from this view when he said that only in three things were men similar to the immortal ,god3 in science1 in painting1 and in music4 ,here ,master ,michael said3 ,i am sure that if in your ,portugal1 ,m4 ,francisco1 they were to see the beauty of the painting that is in some houses in ,italy1 they could not be so uncultured as not to esteem it greatly1 and wish to attain to it2 but it is not surprising that they do not know or appreciate what they have never seen and what they do not possess4 ,here ,m4 ,angelo rose1 showing that it was already time for him to retire and go2 and likewise the ,marchioness rose2 ,i asked her as a favour to invite all that distinguished company for the following day in that same place1 and that ,m4 ,angelo should not fail to appear4 ,she did so1 and he promised that he would come4 ,and the ,marchioness going with the rest1 ,m4 ,lactancio left with ,michael1 and ,i and ,diogo ,zapata1 a ,spaniard1 went with the ,marchioness from the monastery of ,st4 ,silvester at ,monte ,cavallo to the other monastery where there is the head of ,st4 ,john the ,baptist1 and where the ,marchioness resides1 and we left her with the mothers and nuns1 and ,i went to my residence4 ,,second ,,dialogue ,all that night ,i thought of the past day1 and was preparing myself for the one to come2 but it frequently happens that our arrangements prove uncertain and vain1 and very contrary to what we expect1 as ,i then learnt4 ,on the following day ,m4 ,lactancio sent me word that we could not meet as we had arranged1 owing to certain business matters which had cropped up both for the ,lady ,marchioness and likewise for ,michael ,angelo himself1 but he asked me to be at ,st4 ,silvester's in eight days' time1 as that day had been agreed upon4 ,i found those eight days long1 but finally1 when ,sunday came1 the time appeared to me to have been but short1 for ,i should have liked to have been better armed with knowledge for such a noble company4 ,when ,i arrived at ,st4 ,silvester the lesson from the ,epistles which ,friar ,ambrose read was finished and he was gone1 and they were beginning to complain of my being late and about me4 ,after they had pardoned me1 ,i having confessed to being a laggard1 and after the ,marchioness had bantered me a little1 and ,i ,messer ,angelo in my turn1 ,i obtained permission to proceed with the former conversation about painting2 ,i commenced saying3 ,i think1 ,senhor ,michael ,angelo1 that last ,sunday1 when we were about to part1 you told me that if in the kingdom of ,portugal1 which you here call ,spain1 they were to see the noble pictures of ,italy1 they would esteem them greatly1 for which reason ,i beg as a favour 7for ,i have come here for nothing else7 that you will not disdain to inform me what famous works in painting there are in ,italy1 so that ,i may know how many ,i have already seen1 and how many ,i still have to see4 ,you ask me a question which would take long to answer1 ,m4 ,francisco1 said ,m4 ,angelo1 wide and difficult to put together1 for we know that there is no prince or private person or nobleman in ,italy1 or any one of any pretension1 however little curious he may be about painting 7to say nothing of those excellent ones who adore it71 who does not take steps to have some relic of divine painting1 or who at least1 in so far as he can1 does not order many works to be executed4 ,so that a good portion of the beauty of our art is spread over many noble cities1 castles1 country-seats1 palaces and temples1 and other private and public buildings2 but as ,i have not seen them all in an orderly manner1 ,i can only speak of some which are the principal ones4 ,in ,siena there is some singular painting in the ,municipal ,chamber and in other places2 in ,florence1 my native place1 in the ,palaces of the ,medici1 there is a grotesque by ,giovanni da ,udine1 and so throughout ,tuscany4 ,in ,urbino1 the ,palace of the ,duke1 who was himself half a painter1 has a great deal of praiseworthy work1 and also in his country-seat called ',imperial1' near ,pesaro1 erected by his wife1 there is some very magnificent painting4 ,so1 too1 the ,palace of the ,duke of ,mantua1 where ,andrea painted the ,triumph of ,caius ,csar1 is noble2 but more so still is the work of the ,stable1 painted by ,julius1 a pupil of ,raphael1 who now flourishes in ,mantua4 ,in ,ferrara we have the painting of ,dosso in the ,palace of ,castello1 and in ,padua they also praise the loggia of ,m4 ,luis1 and the ,fortress of ,lenhago4 ,now in ,venice there are admirable works by ,chevalier ,titian1 a valiant man in painting and in drawing from nature1 in the ,library of ,st4 ,mark1 some in the ,house of the ,germans1 and others in churches and in other good hands2 and the whole of that city is a good painting4 ,so in ,pisa1 in ,lucca1 in ,bologna1 in ,piacenza1 in ,parma1 where there is the ,parmesano17#ahi7 in ,milan1 and in ,naples4 ,so in ,genoa there is the house of ,prince ,doria1 painted by ,master ,perino1 with great judgment1 especially the ,storm of the ,vessels of neas1 in oils1 and the ferocity of ,neptune and his sea-horses2 and likewise in another room there is a fresco1 ,jupiter fighting against the giants in ,phlegra1 overthrowing them with thunderbolts2 and nearly the whole city is painted inside and out4 ,and in many other castles and cities of ,italy1 such as ,orvieto1 ,esi17#aij7 ,ascoli1 and ,como1 there are pictures nobly painted1 and all of great price1 for ,i only speak of such2 and if we were to speak of the private paintings and pictures that every one holds dearer than life1 it would be to speak of the innumerable1 and there are to be found in ,italy some cities which are nearly all painted with tolerable painting1 inside and out4 ,it seemed that ,michael was coming to a conclusion1 when the ,lady ,marchioness1 looking at me1 said3 ,do you not remark1 ,m4 ,francisco1 that ,m4 ,michael abstained from speaking of ,rome1 the mother of painting1 so as not to talk of his own works8 ,now what he would not do1 let us not fail to do for the purpose of ensnaring him the more1 for when one deals with famous paintings1 no other has such value as the fount from which they are derived and proceed4 ,and this work is in the head and fount of the ,church1 ,i mean in ,st4 ,peter's in ,rome2 a great vault1 in fresco1 with its circuit and curvatures of arches1 and a faade1 in which ,m4 ,angelo divinely made us understand and divided into histories how ,god first created the world1 with many images of ,sibyls and figures of exceedingly great artistic beauty and artifice4 ,and what is singular is1 that doing nothing more than this work1 which as yet he has not completed1 and having commenced it when a youth1 there is therein comprised the work of twenty painters united in that vault alone4 ,raphael of ,urbino painted in this city a second work of such art that it would have been the first if the other had not existed4 ,it is a hall and two chambers and a loggia in fresco1 in the palaces of the said ,st4 ,peter1 a magnificent thing of many elegant stories of a very decorous description4 ,and the story of ,apollo playing his harp amongst the nine muses in the ,parnasus is singular4 ,in the house7#aia7 of ,augustimguis 7,chigi7 ,raphael has painted very preciously a poetry1 the story of ,psyche1 and very gracefully he surrounded ,galatea by mermen in the middle of the waves and by cupids in the air4 ,the picture in ,s4 ,pietro in ,montorio of the ,transfiguration of our ,lord17#aib7 in oils1 is very good1 and another in ,aracli1 and in the ,temple of ,peace1 in fresco47#aic7 ,the picture in ,s4 ,pietro in ,montorio by the hand of ,bastio ,veneziano7#aid7 is famous2 he did it in competition with ,raphael4 ,there are many facades of palaces in this city1 in white and black17#aie7 by ,baltesar7#aif7 di ,siena1 architect1 and by ,marturino and by ,polidoro1 a man who in that manner of working magnificently enriched ,rome4 ,further1 there are here many palaces of ,cardinals and other men painted in grotesque and in stucco and with many other varieties of art1 for the city is more painted than any other in the whole world1 apart from the private pictures that every one holds dearer than life itself4 ,but of the things outside the city1 the ,vigna1 begun by ,pope ,clement ,,vii41 at the foot of ,monte ,mario1 is most worth seeing2 it is ornamented by the fine painting and sculpture of ,raphael and ,julius1 where the giant lies sleeping1 whose feet the satyrs are measuring with shepherds' crooks4 ,you now see whether these are works which would lead us to be silent about our city4 ,and she was already ceasing to speak1 when ,i remembered me1 and said3 ,no doubt your ,excellency also forgot the famous tomb or chapel of the ,medici in ,san ,lorenzo1 at ,florence1 painted in marble by ,m4 ,angelo1 with such a generous number of statues in full relief that it can certainly compete with any of the great works of antiquity2 where the goddess or image of ,night1 sleeping above the nocturnal bird1 and the melancholy ,death in ,life pleased me the most1 although there are there many noble sculptures around the ,dawn4 ,but ,i cannot omit the mention of a painting which ,i saw1 even though it was outside ,italy1 in ,france or ,provence1 in the ,city of ,avignon1 in a ,franciscan monastery3 it is that of a dead woman who had been very beautiful1 she was called the ,beautiful ,anna2 a king of ,france who liked painting and who painted 7if ,i am not mistaken7 called ,reynel1 came to ,avignon and inquired whether the ,beautiful ,anna was there because he greatly desired to see her to paint her from life1 and having been told that she had died shortly before1 the king caused her to be disinterred to see whether still in her bones there were some traces of her beauty4 ,he found her clothed1 in the old style1 as if she were alive1 with her golden hair dressed on her head1 but all the gay beauty of the face1 which alone was uncovered1 had changed into a skull2 notwithstanding this1 the painter king considered it so beautiful that he painted her from nature1 surrounding his work with verses which mourn and are still mourning for her4 ,which work ,i saw in that place and ,i thought it very worthy4 ,all were pleased with my picture1 and ,m4 ,angelo added that in ,narbonne ,i would have also seen the picture ,st4 ,sebastian in the ,cathedral1 and he said3 ,in ,france there is some good painting1 and the ,king of ,france has many palaces and pleasure houses with innumerable paintings1 both in ,fontainebleau1 where the king kept together two hundred painters1 well paid1 for a certain time2 and in ,madrid1 the pleasure house which he built1 where he voluntarily imprisons himself at times1 in memory of ,madrid in ,spain where he was a prisoner4 ,i think1 said ,m4 ,lactancio1 that ,i heard a while ago ,francisco d',ollanda name amongst paintings the tomb that you1 ,senhor ,michael1 sculptured in marble2 but ,i do not understand how sculpture can be called painting4 ,then ,i began to laugh heartily1 and begging permission of the ,master1 said3 ,to save ,senhor ,michael trouble ,i will reply to ,senhor ,lactancio concerning this doubt of his1 which has followed me here from my own country4 ,as you will find that all the employments which have most art and reasonableness and grace are those which most nearly approach the drawing or painting1 so those which most nearly approach it proceed from it and are a part or member of it1 such as sculpture or statuary1 which is nothing else but painting itself1 although it may well appear to some to be a separate art2 it is1 however1 condemned to serve painting1 its mistress4 ,and this ,i will give as a sufficient proof 7as your ,excellencies well know71 that in the books we find ,phidias and ,praxiteles called painters1 whilst it is certain that they were sculptors in marble1 seeing that the statues from their hands in stone are here near us1 on this hill1 the horses which they made1 which ,king ,teridade sent to ,nero as a present1 for which reason in recent times this place is called ,monte ,cavallo4 ,and should this not be enough1 ,i will add how ,donatello 7who1 with the permission of ,master ,michael1 was one of the first modern ones who in sculpture merited fame and name in ,italy7 never said anything else to his pupils1 when teaching them1 but draw1 telling them in a single word of doctrine3 ',pupils1 ,i give you the whole art of sculpture when ,i tell you--draw6' ,and so ,pomponio ,gaurico1 sculptor1 also affirms in the book he wrote ',de ,re ,statuaria4' ,but why do ,i seek examples and proofs afar1 when perchance they are near me8 ,and so as not to speak of myself1 ,i say the great draughtsman1 ,m4 ,angelo1 who is here1 also sculptures in marble1 which is not his art1 and better even 7if one may say it7 than he paints with the brush on a panel1 and he himself has told me sometimes that he finds the sculpture of stone less difficult than the using of colours1 and that he deems it to be a very much greater thing to make a masterly stroke with the brush than with the chisel4 ,and even a famous draughtsman1 if he so desires1 will by himself sculpture and carve in hard marble1 in bronze and in silver1 exceedingly large statues in full relief 7which is a great thing71 without ever having taken a chisel in his hand2 and this is owing to the great virtue and power of drawing4 ,it does not1 therefore1 follow that a sculptor will know how to paint or how to hold a brush1 nor will he know how to paint and make a stroke like a master1 as ,i learnt a few days ago on going to see ,baccio ,blandino17#aig7 the sculptor1 whom ,i found trying to paint in oils and unable to do so4 ,the draughtsman will be a master in building palaces or temples1 and will carve statues and will paint pictures2 for the said ,master ,michael and ,raphael and ,baltesar di ,siena17#aih7 famous painters1 taught architecture and sculpture1 and ,baltesar di ,siena1 after briefly studying that art1 equalled ,bramante1 a most eminent architect1 who passed all his life in its discipline1 and yet he used to say that it gave him an advantage1 for he appreciated the invention1 fancy and freedom of drawing4 ,i am speaking of true painters4 ,but ,i say1 ,senhor ,lactancio1 said ,michael1 assisting ,m4 ,francisco1 that the painter of whom he speaks not only will be instructed in liberal arts and other sciences such as architecture and sculpture1 which are his own province1 but also in all other manual crafts which are practised throughout the world2 should he wish1 he will do them with more art than the actual masters of them4 ,however that may be1 ,i sometimes set myself thinking and imagining that ,i find amongst men but one single art or science1 and that is drawing or painting1 all others being members proceeding therefrom2 for if you carefully consider all that is being done in this life you will find that each person is1 without knowing it1 painting this world1 creating and producing new forms and figures here1 in dress and the various garbs1 in building and occupying spaces with painted buildings and houses1 in cultivating the fields and ploughing the land into pictures and sketches1 in navigating the seas with sails1 in fighting and dividing the spoil1 and finally in the 'firmamentos' and burials and in all other operations1 movements and actions4 ,i leave out all the handicrafts and arts1 of which painting is the principal fount1 of which some are rivers which spring from it1 such as sculpture and architecture2 some are brooks1 such as mechanical trades2 and some are stagnant ponds1 which do not flow 7such as useless handicrafts like cutting out with scissors and such like71 formed from the waters of the flood when drawing overflowed its banks in old time and inundated everything under its dominion and empire1 as one sees in the works of the ,romans1 all done in the manner of painting4 ,in all their painted buildings and fabrics1 in all works in gold1 silver1 or in metals1 in all their vases and ornaments1 and even in the elegance of their coins1 and in their dress and armour1 in their triumphs as well as in all their other operations and works1 one easily recognises how1 in the time when they held sway over all the earth1 my lady painting was the universal sovereign and mistress of all their deeds and trades and sciences1 extending herself even to writing1 and composing or writing histories4 ,so that whosoever well considers and understands human works1 will find without doubt that they are all either painting itself or some part of painting2 and although the painter be capable of inventing what has not as yet been found1 and of doing all the handicrafts of the others with much more grace and elegance than their own professors1 yet no one but he can be a true painter or draughtsman4 ,i am satisfied1 answered ,lactancio1 and understand better the great power of painting1 which1 as you stated1 is seen in all things of the ancients and even in writing and composing4 ,and perhaps notwithstanding your great imagination you will not have been as much struck as ,i have been with the conformity which letters have with painting 7for you will certainly hold letters to be a part of painting72 nor by how these two sciences are such legitimate sisters that1 if one be separated from the other1 neither is perfect1 although it seems that these present times keep them in some way separated4 ,but yet every learned and consummate man will find that in all his works he is always exercising to a great extent the office of a good painter1 painting and colouring some intention of his with much care and devotion4 ,now in opening the old books1 the famous ones are few which are not like painting2 and it is certain that those which are the heaviest and most confused are so for no other reason but because the writers are not good draughtsmen and are not very skilful in drawing and dividing up their work2 and the most facile and terse are those of the best draughtsman4 ,and even ,quintilian in the perfection of his ,rhetoric lays it down that not only in the division of the words his orator should draw1 but that with his own hand he should know how to sketch and draw2 and hence it is1 ,senhor ,m4 ,angelo1 that you may at times call a great man of letters or a great preacher a good painter2 and a great draughtsman you may call a man of letters1 and whosoever most penetrates into real antiquity will find that painting and sculpture were both called painting1 and that in the time of ,demosthenes they called writing 'antigraphia1' which means drawing1 and it was a word common to both these sciences1 and that the writings of ,agatharco can be called the painting of ,agatharco4 ,and ,i think that the ,egyptians also--all of them who had to write or express anything--were accustomed to know how to paint1 and even their hieroglyphic signs were painted animals and birds1 as is shown by some obelisks in this city which came from ,egypt4 ,but if ,i speak of poetry1 it seems to me that it will not be very difficult for me to show how true a sister she is to painting4 ,but so that ,senhor ,francisco may know how much necessity he has for poetry1 and how much he may gain from the best of it1 ,i will show him here how much care the poets take 7although this is matter for a young man rather than for me7 of their profession and intelligence1 and how much they praise and celebrate their art as being free from penalties and blots2 and it does not seem that the poets worked for anything except to teach the beauties of painting1 and what ought to be avoided or done in it1 with all their suavity and music of verses1 and with so many just and fluent words that ,i do not know how ,i can repay them4 ,now one of the things in which they put the most study and work 7,i speak of the famous poets7 is in painting well or in imitating a good painting2 and this is due to the accuracy which1 with the greatest promptness and care1 they desire to express and attain4 ,and the one who can attain this is the one who is the most excellent and clear4 ,i remember that the prince of them1 ,virgil1 threw himself down to sleep at the foot of a beech-tree1 and how he has painted in words the forms of two vases that ,alcimedon had made in a cavern covered with a wild vine1 with some goats chewing willows1 and some blue hills smoking in the distance2 then he remains resting on one hand the whole day1 to study how many winds and clouds he will put into the ,tempest of olus1 and how he will paint the ,port of ,carthage in a bay1 with an island standing apart1 and with how many rocks and woods he will surround it4 ,afterwards he paints ,troy burning2 then some feasts in ,sicily1 and beyond near ,cumas the gate of hell with a thousand monsters1 and chimeras1 and many souls passing ,acheron2 then the ,elysian ,fields1 the host of the ,blest1 the pains and torments of the ,impious1 and afterwards the ,arms of ,vulcan1 a fine piece of work2 shortly afterwards a painted ,amazon1 and the ferocity of capless ,turnus4 ,he paints the routs in battle1 the many dead1 the fates of noble men1 the many spoils and trophies4 ,read the whole of ,virgil and you will not find in it anything but the handicraft of a ,michael ,angelo4 ,lucan employs a hundred pages in painting an enchantress and the breaking up of a fine battle4 ,ovid is nothing else but a 'retavolo' 7copyist74 ,statius paints the house of sleep and the walls of great ,thebes4 ,the poet ,lucretius likewise paints1 and ,tibullus and ,catullus and ,propertius4 ,one paints a fountain1 and a wood close by1 with ,pan1 the shepherd1 playing a flute amongst the ewes4 ,another paints a shrine with nymphs around dancing4 ,another draws the drunken ,bacchus1 surrounded by wild women1 with old ,silenus1 half falling from an ass1 who would have fallen were he not held up by a satyr who carries a leathern bottle4 ,even the satirical poet paints the picture of the labyrinth4 ,now what do the lyric poets do1 or the wits of ,martial1 or the tragic or comic ones8 ,what do they do but paint reasonably8 ,and what ,i say ,i do not invent1 for each one of them himself confesses that he paints3 they called painting dumb poetry4 ,at this point ,i said3 ,senhor ,lactancio1 in calling painting dumb poetry it seems to me that the poets did not know how to paint well1 because1 if they understood how much more painting declares and speaks than poetry1 her sister1 they would not say it was dumb1 and ,i will maintain rather that poetry is the more dumb4 ,the ,marchioness said3 ,how will you prove1 ,spaniard1 what you say8 how will you prove that painting is not dumb and that poetry is8 ,let us hear1 for in no more worthy discourse could this day be spent1 hearing what you maintain on that subject2 afterwards it may be possible to bring this company together again1 in another place4 ,how can your ,excellency wish1 ,i answered1 that ,i should dare to do so at once1 and how should ,i be able to interest this company with my little knowledge1 especially as ,i am a pupil of the lady who is dumb and has no tongue8 ,particularly1 too1 as it is already late1 if the light through these windows does not deceive me2 how can you order me to praise my innamorata before her own husband and in such an honourable court of those who know her worth8 ,if there were some powerful adversaries here ,i might attempt it1 although in this ,i am wrong1 for it would be much easier to vanquish enemies than to please these friends4 ,but if your ,excellency desires so much to see me put to silence ,i will speak1 not as an enemy of poetry1 for ,i am much indebted to her1 and ,i owe her much in the virtue of my profession1 and in the perfection which ,i so much desire1 but to defend the other lady1 who is still more mine1 for whose sake only ,i rejoice to live1 and for whom ,i confess ,i have a voice and speak1 she being dumb1 solely because ,i one day saw her move her eyes2 and as she teaches one to speak by her eyes1 what would she do if she were to move her wise lips8 ,good poets 7as ,senhor ,lactancio said7 do not do more with words than even mediocre painters do with their works1 for the former recount what the latter express and declare4 ,they with fastidious meanings do not always engage one's ears1 whilst the latter satisfy one's eyes1 as with some beautiful spectacle they hold all men prisoners and entranced2 and the passage over which good poets most trouble themselves1 and which they hold as the greatest finesse1 is to show you in words 7perchance too many and too long71 as if painting a storm on the sea1 or the burning of a city1 which storm1 if they were able1 they would rather paint1 for when you finish the work of reading1 you have already forgotten the commencement1 and you have only present the short verse on which your eyes were last fixed2 and the one who shows you this best is the best poet4 ,now1 how much more does painting say which shows you that storm altogether with the thunder1 lightning1 waves1 vessels1 and reefs1 and you see3 omniaque viris ostentant praesentem mortem1 and in the same place3 ex-templo ,aeneas tendens ad sidera palmas and tres ,eurus abreptas in saxa latentia torquet emissamque hyemem sensit ,neptunus et imis1 and likewise it shows very present and visibly all the burning of the city1 in every part1 represented and seen as if it were really true2 on one side those who run through the streets and squares1 on the other those who jump from the walls and towers2 here the temples half demolished and the reflection of the flames in the rivers1 and the surrounded shores illuminated2 how ,pantheus as he runs away limping with his idols1 leading his grandchild by the hand2 how the ,trojan horse gives birth in the centre of a great square to armed men2 how ,neptune1 very wrath1 throws down the walls2 how ,pyrrhus beheads ,priam2 neas with his father on his shoulders1 and ,ascanius and ,creusa who follow him in the darkness of night1 full of fear2 and all this so present and so connected and natural that very often you are moved to think that you are not safe before it1 and you are glad to know they are only colours and that they cannot inspire or do harm4 ,it does not show you this spread out in words1 whilst you remember only the part which is before your eyes having already forgotten the past and not knowing the future1 and which verses only the ears of a grammarian can understand with difficulty1 but one's eyes visibly enjoy that spectacle as being true1 and one's ears seem to hear the actual cries and clamour of the painted figures2 it seems as if you smell the smoke1 you fly from the flames1 you fear the fall of the buildings2 you are ready to give a hand to those who are falling1 you defend those who are fighting against numbers2 you run away with those who run away and stand firm with the courageous4 ,not only the learned are satisfied1 but also the simple1 the countryman1 the old woman2 not only these1 but also the ,sarmatian stranger1 the ,indian1 and the ,persian 7who never understood the verses of ,virgil1 or ,homer1 which are dumb to them71 delight themselves with and understand that work with great pleasure and quickness2 the barbarian ceases to be barbarian1 and understands1 by virtue of the eloquent painting1 that which no poetry or numbered feet could teach him4 ,and the law of painting says3 in ipsa legunt qui literas nesciunt1 and further on says3 pro lectione pictura est4 ,when ,cebes1 a ,theban1 wished to write an opinion of his for a law of human life1 he simulated and painted it on a 'panel1' as he thought that he would express it better thus1 and that it would be more noble and more easily understood by all men2 he then desired more to know how to paint1 in order to speak1 than how to write4 ,but even1 if after all this1 poetry still affirms that a ,venus painted at the feet of a ,jupiter does not speak1 nor ,turnus painted1 showing his valour before ,king ,latinus1 even this reason cannot render learned painting dumb so that she does not speak1 and show in all things that she is in this also the first1 or perhaps the companion1 of my lady poetry4 ,for the great painter will paint ,venus weeping at the feet of ,jupiter1 with all the following advantages1 which the poet will not have3 the first one is that he paints heaven where it is supposed to be1 and the person1 dress1 and action or movement of ,jupiter and his eagle with the thunderbolt2 and he will paint fully the luxurious beauty of ,venus1 and her robe of gauzy raiment with all her graceful movements1 so elegant and light and with such skill that1 although she may not speak with her mouth1 yet it appears from her eyes1 hands1 and mouth that she is really speaking 7nor do you hear the soft and sweet speech of ,venus1 when a croaking school-master reads the words and sayings of ,venus74 ,she appears to be uttering all those pious sayings and complaints which ,virgil ,maro writes concerning her4 ,and also the great painter will make even ,king ,latinus more copious in his work and the ,councillors of the ,laurentes more defined1 clearer1 some with perturbed face1 and others more collected and quiet1 different in appearance and physiognomy and age1 different in movements1 which the poet cannot do without too much prolixity and confusion4 ,and even then he will not do it2 and the painter will do it so that it may be seen with greater pleasure and move the spectator more1 and likewise he will place before your eyes the brave image of ,turnus1 boastful and furious with the coward ,drances1 that it seems as if you fear him yourself and that he is saying3 ,larga quidem semper1 ,drance1 tibi copia fandi4 ,therefore ,i with my small talent1 as a pupil of a mistress without a tongue1 still deem the power of painting to be greater than that of poetry in making greater effects and in having more force and vehemence whether to move mind and soul to joy and laughter1 or to sorrow and tears1 with more effective eloquence4 ,but let the muse ,calliope be the judge in this matter1 for ,i will be content with her judgment4 ,and having said that ,i ceased4 ,the ,marchioness honoured me in bantering terms thus3 ,you1 ,senhor ,francisco1 have done so well for your innamorata1 painting1 that1 if ,master ,michael does not show just as great a sign of love for her1 we may perhaps get her to divorce him and go with you to ,portugal4 ,and1 smiling1 ,michael said3 ,he knows1 ,madam1 that ,i have already done so1 and that ,i have already released her entirely to him2 for as ,i do not possess such powers as such great love demands1 he has said what he has said1 as of one who belongs to him4 ,i confess1 said ,i1 ,madam1 that he has released her to me1 but she does not wish to go with me1 so that she still remains at home with him2 neither would ,i1 although she is so worthy1 like to see her come to my country1 for there are but few there who know how to esteem her1 and my most serene king1 unless it were in his unoccupied moments1 would not favour her1 especially if there happened to be any unrest through war1 in which she is of no use2 and so she would become angry and perhaps in a fit of temper she would one day throw herself into the ocean1 which is hard by1 and cause me to sing many times the verse3 ,audieras3 et fama fuit2 sed opera tantum nostra valent1 ,lycida1 tela inter maria1 quantum chaonias dicunt aquila veniente columbas4 ,but if she were of use in time of war1 ,i would desire her to come at once4 ,i quite understand1 said the ,marchioness1 but as now the day is far spent1 let your question be for next ,sunday4 ,and as she said this she rose1 and all of us with her1 and we went away4 ,,third ,,dialogue ,not only were we unable to meet together on the following ,sunday with the ,marchioness and ,m4 ,angelo1 but even on the next one1 eight days later1 we were almost prevented1 and indeed did not wish to meet1 because at that time was being celebrated in the city of ,rome the feast of the twelve triumphal cars in the ,camp ,nagao7#aii7 in the ancient manner4 ,starting from the ,capitol with such magnificence and ancient pomp that it seemed as if one were back in the old times of the ,emperors and the triumphs of the ,romans4 ,this feast was celebrated on the occasion of the marriage7#bjj7 of ,senhor ,ottavio17#bja7 son of ,pedro ,luiz1 and grand-nephew of our ,lord ,pope ,paul ,,iii41 to ,senhora ,margarida17#bjb7 adopted daughter of the ,emperor4 ,she had been a short time previously the wife of ,alessandro de ,medici1 ,duke of ,florence1 who was killed through treason in ,florence4 ,and now1 she being a widow and very young and beautiful1 his ,holiness and his ,majesty married her to ,senhor ,ottavio1 a very young and estimable man1 consequently the city and the ,court feasted them as much as could be at night with serenades and banquets1 and the whole of ,rome ablaze with lights and illuminations1 especially the ,castle of ,st4 ,angelo1 and every day feasts and great expenditure4 ,such as the feast of ,monte ,trestacho1 with its twenty bulls attached to twenty carts1 killed as a public spectacle in the square of ,st4 ,peter's2 and the race which was run between buffaloes and horses along the entire ,via di ,nostra ,signora ,transpontina to the square of the said palace4 ,and also those festivals which ,i have mentioned of the twelve triumphal cars1 gilded and ornamented with many fine figures and very noble devices2 there were ,romans and the heads of the districts of ,rome1 dressed in the old style1 with all the pomp and pride that could be desired2 one hundred sons of citizens on horseback1 so brave and so bizarre in their gallantry of painted antiquity1 that in comparison with them the velvet mantles and plumes and the infinity of novelties and costumes in which ,italy exceeds every other province of ,europe1 appeared very ordinary4 ,but when ,i had seen this noble phalanx and company descending from the ,capitol with many infantry1 and had viewed all the bravery of the cars and the ediles1 dressed in the old fashion1 and had seen ,senhor ,giulio ,cesarino pass with the standard of the city of ,rome1 on a horse with trappings covered with a white coat of arms and black brocade1 ,i at once turned my horse towards ,monte ,cavallo1 and thus went riding along the ,thermae road pondering over many things of the olden times1 in which ,i then felt myself to be more than in the present4 ,then ,i ordered my servant to go without fail to ,st4 ,silvester and learn whether perchance the ,marchioness or ,senhor ,m4 ,angelo happened to be there4 ,the servant was not long in returning1 telling me that ,senhor ,m4 ,angelo and ,senhor ,lactancio and ,brother ,ambrose were all together in the friar's cell1 which was itself in ,st4 ,silvester1 but that no mention whatever had been made of the ,marchioness4 ,i went on towards ,st4 ,silvester1 but the truth is that ,i intended to pass before it and to return to the city1 when ,i saw coming a certain apata1 a great servitor of the ,marchioness1 and a very honourable person and my friend4 ,i being on horseback and he on foot1 ,i was obliged to dismount2 and he having told me that he had been sent by the ,marchioness1 we went into ,st4 ,silvester4 ,as we were entering ,senhores1 ,m4 ,angelo and ,m4 ,lactancio were coming out by way of the garden or court1 in order to take their siesta under the trees by the running water4 ,oh6 welcome1 said ,senhor ,lactancio1 both of you2 you could not arrive at a better moment2 you have been very wise to fly from the confusion in the city and take shelter in this quiet haven4 ,that is all very well1 we said1 but this flattery does not console us1 nor is it sufficient to compensate us for the loss of the absent one4 ,he said that for the ,marchioness1 said ,senhor ,michael1 and you are so far right1 that if you had not come this instant ,i might have gone4 ,conversing thus we sat down on a stone bench in the garden at the foot of some laurels1 on which there was room for all of us1 and we were very comfortable1 leaning back against the green ivy which covered the wall1 and from there we could see a good part of the city1 very graceful and full of ancient majesty4 ,let us not lose everything1 said ,senhor apata1 after making excuses for the ,marchioness2 let us get some profit out of such a goodly assembly as we have here2 please continue the same noble discussion which you held a few days ago1 on the most noble art of painting1 seeing that the ,marchioness very reluctantly commissioned me to that end1 for she herself would have liked to be present4 ,but you must know that she sent me here to report to her everything stored in my memory1 to relate to her everything treated of1 without losing a single point4 ,and therefore we are bound1 gentlemen1 ,i to hear and to be silent about what ,i do not understand1 and you to give me something to remember and report4 ,senhor ,michael1 ,i answered1 must fulfil the wishes of the ,marchioness when she heard me in the last discussion1 and practically promised to show me whether painting would be entirely useless in time of war1 for ,i remember that her ,excellency named last ,sunday1 in which we did not meet1 for that purpose4 ,here ,m4 ,angelo laughed1 and added3 ,so you1 ,m4 ,francisco1 expect the ,marchioness to have as much power when absent as when present4 ,well1 as you have so much faith in her1 ,i do not wish you to lose it through me4 ,all said that it would be well1 and then ,m4 ,angelo began to say3 ,and what is there more profitable in the business and undertaking of war1 or what is of more use in the operations of sieges and assaults than painting8 ,do you not know that when ,pope ,clement and the ,spaniards besieged ,florence1 it was only by the work and virtue of the painter ,m4 ,angelo that the besieged were defended a good while1 not to say1 the city released1 and the captains and soldiers outside were for a good while astonished and oppressed and killed through the defences and strongholds which ,i made on the tower1 lining them in one night on the outside with bags of wool and other materials1 emptying them of earth and filling them with fine powder1 with which ,i burnt a little the blood of the ,castillians1 whom ,i sent through the air torn in pieces8 ,so that ,i consider great painting as not only profitable in war1 but exceedingly necessary2 for the engines and instruments of war and for catapults1 rams1 mantlets1 testudines1 and iron-shod towers and bridges1 and 7as this bad and iron time does not make any use of these arms now1 but rejects them7 mortars2 for the shaping of the mortars1 battering-rams1 strengthened cannons1 and arquebuses1 and especially for the shape and proportions of all fortresses and rocks1 bastions1 strongholds1 fences1 mines1 countermines1 trenches1 loop-holes1 casemates2 for the entrenchments for horsemen1 ravelins1 gabions1 battlements1 for the invention of bridges and ladders1 for the emplacement of camps1 for the order of the lines1 measurement of the squadrons1 for the difference and design of arms1 for the designs of the banners and standards1 for the devices on the shields and helmets1 and also for new coats of arms1 crests and medals which are given on the field to those who show great prowess1 for the painting of trappings 7,i mean1 the giving of instruction to other lesser painters as to how they ought to be painted1 and seeing that the excellent painters can paint the trappings of the horses and the shields and even the tents for valorous princes72 for the manner of dividing and selecting everything2 for the description and assortment of the colours and liveries1 which but few can determine4 ,moreover1 drawing is of exceedingly great use in war to show in sketches the position of distant places and the shape of the mountains and the harbours1 as well as that of the ranges of mountains and of the bays and seaports1 for the shape of the cities and fortresses1 high and low1 the walls and the gates and their position1 to show the roads and the rivers1 the beaches and the lagoons and marshes which have to be avoided or passed2 for the course and spaces of the deserts and sandy pits of the bad roads and of the woods and forests2 all this done in any other way is badly understood1 but by drawing and sketching all is very clear and intelligible2 all of these are great things in warlike undertakings1 and the drawings of the painter greatly aid and assist the intentions and plans of the captain4 ,what better thing can any brave cavalier do than show before the eyes of the raw and inexperienced soldiers the shape of the city that they have to attack before they approach it1 what river1 what mountains and what towns have to be passed on the morrow8 ,and the ,italians1 at least1 say that1 if the ,emperor when he entered ,provence had first ordered the course of the river ,rodano to be drawn1 he would not have sustained such great losses1 nor retired his army in disorder1 nor would he have been painted afterwards in ,rome as a crab1 which crawls sideways1 with the words borne by the columns of ,hercules1 ,plus ultra1 for1 wishing to go forward1 he went back4 ,and ,i well believe that ,alexander the ,great in his great undertakings frequently made use of the skill of ,apelles1 even if he himself did not know how to draw4 ,and in the works and commentaries1 written by the monarch ,julius ,csar1 we may see how much he availed himself of drawing1 through some capable man whom he had in his army4 ,and ,i even think that the said ,csar was extremely intelligent in painting1 that the great ,captain ,pompey drew very well and with style1 he being vanquished by ,csar1 as ,csar was a better draughtsman4 ,and ,i assert that a modern captain who commands a great army and who is not capable and intelligent in painting and cannot draw1 cannot do any great feats or deeds of arms2 and that he who understands and esteems it will do deeds of renown which will be long remembered1 and will know his ways and how he stands1 and how and where he will break through1 and how he will order his retreat1 and he will know how to make his victory appear much greater4 ,for painting in war is not only advantageous but very necessary4 ,what country warmed by the sun is more bellicose and better armed than our ,italy1 or where are there more continuous wars and greater routs and sieges8 and in what country warmed by the sun is painting more esteemed and celebrated than in ,italy8 ,m4 ,angelo was already reposing when ,joo apata said3 ,it indeed seems to me1 ,master ,michael1 that in arming excellently ,francisco d',ollanda's lady you disarmed the ,emperor ,charles1 not remembering that we here are more ,colonna than ,orsino4 ,i do not wish to revenge myself for that except by asking you1 since you have shown the worth of painting in war1 to now say what it can do in peace1 because it appears to me that you have said so many profitable things of it in the time of arms that ,i doubt whether you will find as many in the time of the toga4 ,he laughed and answered3 ,your ,excellency will please not to count me as an ,orsino4 ,you will remember how ,i at once became one of those columns that the crab was going to seek2 and afterwards he added3 ,if it was a trouble for me to show the advantage of this our art in time of war1 ,i hope it will not be so to show its worth in the time of the toga and of peace2 then princes are in the habit of availing themselves with pleasure and cost of things of very little importance and almost of no value at all2 and we see that some men are so clever in idle things that by works of no nobility or profit1 and without any learning or substance1 they are able to acquire a name1 honour1 profit and substance for themselves and loss to whomsoever may give them their profit4 ,we see that in the domains and states which are governed by a senate and republic they make much use of painting in public places1 in the cathedrals1 in the temples1 in halls of justice1 in courts1 porticos1 basilicas and palaces1 in libraries1 and generally for public ornament2 and every noble citizen has privately in his palaces or chapels1 country seats or 'vignas1' a good portion of painting4 ,but as it is not lawful in such a country for any one to make more show than his neighbour1 by giving commissions to painters so as to make themselves out rich and well-to-do1 with how much more reason ought this profitable art and science to be made use of in the obedient and peaceful kingdoms where ,god permits one man to incur all these magnificent expenses and carry out all the sumptuous works that his taste and honour may desire and demand1 particularly as it is such a generous art that one person can do alone and without any adviser what many men together cannot do8 ,and a prince would be doing a great wrong to himself--to say nothing of the fine arts--if1 when he obtains quietness and saintly peace1 he does not undertake great enterprises in painting both for the ornamentation and glory of his estate and for his private contentment and the recreation of his mind4 ,and then in times of peace there are so many things in which painting may be of use1 that it seems to me that peace is obtained with so much labour of arms1 for nothing else but in order to do her work1 and carry out enterprises with the quiet which she merits and demands1 after the great services she has rendered in war4 ,for what name will remain alive in consequence of a great victory or a great feat of arms1 if afterwards1 when quiet comes1 it be not kept in perpetual memory 7a thing so important and necessary amongst men71 by virtue of painting and architecture1 in arches1 triumphs and tombs1 and in many other ways4 ,and ,augustus ,csar departed not from my saying when1 during the universal peace in all lands1 he closed the doors of the ,temple of ,janus1 because in closing those doors of iron he opened the doors of gold of the treasures of the ,empire1 in order to spend more largely in peace than he had done even in war2 and perhaps amongst such ambitious and magnificent works as those with which he ornamented ,mount ,palatine and the ,forum1 he paid as much for a figure in painting as he would have paid to a regiment of soldiers in a month4 ,so that the peace of great princes should be desired in order that they may give their country great works in painting for the ornamentation of their estate and their glory1 and receive from them spiritual and special contentments and beautiful things to behold4 ,i do not know1 ,senhor ,michael1 said ,i1 how you will prove to me that ,augustus paid as much for a painted figure as he would pay to a regiment of soldiers for a month2 if you were to say that in ,spain it would be more difficult to believe you1 than if you said that there were such bad painters in ,italy that they painted the ,emperor with the legs of a crab and with the label1 ,plus ultra6 ,senhor ,michael laughed once more1 without the ,marchioness1 and afterwards said3 ,i well know that in ,spain people do not pay so well for painting as in ,italy1 and therefore you will be surprised at the great sums paid for it1 as you are only accustomed to small sums2 and ,i have been well informed of this by a ,portuguese servant that ,i had1 and therefore painters live and exist here1 and not in the ,spains4 ,of the ,spaniards1 the finest nobility in the whole world1 you will find some who applaud and praise and like painting to a certain extent1 but on pressing them further1 they have no mind to order even a small work1 nor to pay for it2 and1 what ,i consider baser still they are astonished when they are told that there are persons in ,italy who give good prices for paintings2 indeed1 in my judgment they do not act in this like such noble people as they say they are1 even though it were for nothing else but not to undervalue that which they have no experience of and cannot do2 it recoils on their own head1 however1 they demean themselves and disgrace the nobility of which they boast2 and not indeed that virtue1 which will always be esteemed so long as there are men here in ,italy and in this city4 ,and for this reason a painter ought not to desire to be away from this land in which we are2 and you1 ,m4 ,francisco d',ollanda1 if you hope to be appreciated through the art of painting in ,spain or in ,portugal1 ,i tell you at once that you are living in a vain and false hope1 and that in my judgment you ought rather to live in ,france or in ,italy1 where talent is recognised and great painting is much esteemed1 because you will find here private persons and gentlemen1 even those who at present do not take much pleasure in painting1 as for instance ,andrea ,doria1 who nevertheless had his palace painted magnificently1 and magnificently paid ,master ,perino his painter2 and like ,cardinal ,fernes1 who does not know what painting is1 but who made a very nice allowance to the said ,master ,perino1 merely to call him his painter1 giving him twenty 'cruzados' per month and rations for him and for a horse and servant1 besides paying him very well for his works4 ,see what ,cardinal ,della ,valla or ,cardinal de ,cesis did4 ,likewise ,pope ,paul1 who1 although not very musical nor interested in painting1 yet treats me well1 and at least better than ,i ask2 and then there is ,urbino1 my servant1 to whom he gives solely for grinding my colour ten 'cruzados' a month besides rations in the palace4 ,i say nothing of his vain favours and kindnesses1 of which ,i sometimes feel ashamed4 ,now1 what shall ,i say of the diverting ,sebastian ,veneziano8 to whom 7although he did not come at a favourable time7 the ,pope gave the ,leaden ,seal1 with the honour and profit which appertain to that office1 without the lazy painter having painted more than two things in ,rome1 which will not astonish ,senhor ,francisco much4 ,so that in this our country1 even those who do not esteem painting greatly1 pay for it much better than those who are greatly delighted with it in ,spain or ,portugal2 and therefore ,i advise you as a son that you ought not to depart from ,italy1 because ,i fear that if you do you will repent it4 ,i thank1 you1 ,senhor ,michael ,angelo1 for your advice1 ,i said to him1 but still ,i am serving the ,king of ,portugal1 and in ,portugal ,i was born and hope to die1 and not in ,italy4 ,but as you make such a difference in the value of painting in ,italy and in ,spain1 do me the favour of teaching me how painting ought to be valued1 because ,i am in this matter so scandalised that ,i do not trust myself to value any work4 ,what do you call valuing8 he replied4 ,do you wish the painting which we are discussing to be paid for according to a valuation1 or do you think that any one knows how to value it8 for ,i consider that work to be worth a great price which has been done by the hand of a very capable man1 even though in a short time2 if it were done in a very long time who will know how to value it8 ,and ,i hold that to be of very little value which has been painted in many years by a person who does not know how to paint1 although he be called a painter2 for works ought not to be esteemed because of the amount of time employed and lost in the labour1 but because of the merit of the knowledge and of the hand which did them2 for if it were not so1 they would not pay more to a lawyer for an hour's examination of an important case1 than to a weaver for as much cloth as he may weave during the course of his whole life1 or to a navvy who is bathed in sweat the whole day by his work4 ,by such variation nature is beautiful1 and that valuation is very foolish which is made by one who does not understand the good or the bad in the work3 some paintings worth little are valued highly1 and others1 which are worth more1 do not even pay for the care with which they are done or for the discomfort that the painter himself experiences when he knows that such persons have to value his work1 or for the exceeding disgust he feels asking for payment from an unappreciative treasurer4 ,it does not seem to me that the ancient painters were content with your ,spanish payments and valuations2 and ,i certainly think they were not1 for we find that some were so magnificently liberal that1 knowing that there was not sufficient money in the country to pay for their works1 they presented them liberally for nothing1 having spent on such work1 labour of their mind1 time and money4 ,such were ,zeuxis1 ,heracleotes and ,polygnotus ,thasius and others4 ,and there were others of a more impatient nature who used to waste and break up the works that they had done with so much trouble and study1 on seeing that they were not paid for as they deserved2 like the painter who was commanded by ,csar to paint a picture1 and having asked a sum of money for it that ,csar would not give1 perhaps in order to effect his intention the better1 the painter took the picture and was about to break it up1 his wife and children around him bemoaning such great loss2 but ,csar then delighted him1 in a manner proper to a ,csar1 giving him double the sum which he had previously asked1 telling him that he was a fool if he expected to vanquish ,csar4 ,now1 ,senhor ,michael1 said ,joo apata1 a ,spaniard1 one thing ,i cannot understand in the art of painting3 it is customary at times to paint1 as one sees in many places in this city1 a thousand monsters and animals1 some of them with faces of women and with legs and with tails of fishes1 and others with arms like tigers' legs1 and others with men's faces2 in short1 painting that which most delights the painter and which was never seen in the world4 ,i am pleased1 said ,michael1 to tell you why it is usual to paint that which was never seen in the world1 and how right such licence is1 and how true it is1 for some who do not understand him are accustomed to say that ,horace1 a lyric poet1 wrote this verse in abuse of painters3 ,pictoribus adque poetis ,quidlibet audendi semper fuit acqua potestas4 ,scimus et hanc veniam petimusque damusque vicissim4 ,this verse does not in any way insult painters1 but rather praises and honours them2 for it says that poets and painters have power to dare1 ,i mean to dare to do whatever they may approve of2 and this good insight and this power they have always had1 for whenever a great painter 7which very seldom happens7 does a work which appears to be false and lying1 that falsity is very true1 and if he were to put more truth into it it would be a lie1 as he will never do a thing which cannot be in itself1 nor make a man's hand with ten fingers1 nor paint on a horse the ears of a bull or the hump of a camel1 nor will he paint the foot of an elephant with the same feeling as for that of a horse1 nor in the arm or face of a child will he put the senses of an old man1 nor an ear nor an eye out of its place by as much as the thickness of a finger1 nor is he even permitted to place a hidden vein in an arm anywhere he likes2 for such things as these are very false4 ,but should he1 in order better to retain the decorum of the place and time1 alter some of the limbs 7as in grotesque work1 which without that would indeed be without grace and therefore false7 or a part of one thing into another species such as to change a griffin or a deer from the middle downwards into a dolphin1 or from thence upwards into any figure he may wish1 putting wings instead of arms1 putting off arms if wings suit it better1 that limb which he changes1 whether of a lion1 horse or bird1 will be quite perfect of the species to which it belongs2 and this although it may appear false can only be called well imagined and monstrous4 ,the reason is it is better decoration when1 in painting1 some monstrosity is introduced for variety and a relaxation of the senses and to attract the attention of mortal eyes1 which at times desire to see that which they have never yet seen1 nor does it appear to them that it can be more unreasonable 7although very admirable7 than the usual figures of men or animals4 ,and so it is that insatiable human desire took licence and neglected at times buildings with columns and windows and doors for others imitated in false grotesque1 the columns of which are made of children springing from the leaves of flowers1 with the architraves and summit of branches of myrtle and gates of canes and other things1 which appear to be very impossible and out of reason1 and yet all this is very grand if done by one who understands it4 ,he ended1 and ,i said3 ,does it not seem to you1 ,senhor1 that this feigned work is much more suitable for ornament in its proper place 7such as a country seat or a pleasure house7 rather than1 for instance1 a procession of friars1 which is a very natural thing1 or a ,king ,david doing penance1 is it not a great insult to drag him from his oratory8 ,and does not the god ,pan playing on the pipes1 or a woman with the tail of a fish and wings 7which is seldom seen71 appear to you to be a more suitable painting for a garden or for a fountain8 ,and it is a much greater falsity to put an imagination in a place where the real is demanded1 and this reasoning explains all the things which some call 'impossibilities' in painting4 ,still the obstinate will say3 ',how can a woman with a beautiful face have the tail of a fish and the legs of the swift deer or panther1 with wings on her back like an angel8' ,to such one may however reply that if such nonconformity is in just proportion in all its parts it is quite in harmony and is very natural2 and that much praise is due to the painter who painted a thing which was never seen and is so impossible1 with such wit and judgment that it seems to be alive and possible1 so that men wish that such things did exist in the world1 and say that they could pluck feathers from those wings and that it is moving hands and eyes4 ,and so one who paints 7as a book said7 a hare which1 in order to be distinguished from the dog following it1 required a label indicating it1 such a person1 painting a thing so little deceitful1 may be said to paint a great falsehood1 more difficult to find amongst the perfect works of nature than a beautiful woman with the tail of a fish and wings4 ,they agreed with what ,i said1 even ,joo apata himself1 who was not well instructed in the beauties of painting4 ,and ,master ,michael1 seeing that his conversation was not badly employed on us1 said3 ,now what a high thing is decorum in painting6 and how little the painters who are no painters try to observe it6 and what attention the great man pays to this6 ,and are there painters who are not painters8 asked ,joo apata4 ,in many places1 answered the painter1 but as the majority of people are without sense and always love that which they ought to abhor1 and blame that which deserves most praise1 it is not very surprising that they are so constantly mistaken about painting1 an art worthy only of great understandings1 because without any discretion or reason1 and without making any difference1 they call a painter both the person who has nothing more than the oils and brushes of painting and the illustrious painter who is not born in the course of many years 7which ,i consider to be a very great thing72 and as there are some who are called painters and are not painters1 so there is also painting which is not painting1 for they did it4 ,and what is marvellous is that a bad painter neither can nor knows how to imagine1 nor does he even desire to do good painting1 his work mostly differs but little from his imagination1 which is generally somewhat worse2 for if he knew how to imagine well or in a masterly manner in his fantasy1 he could not have a hand so corrupt as not to show some part or indication of his good will4 ,but no one has ever known how to aspire well in this science1 except the mind which understands what good work is1 and what he can make of it4 ,it is a serious thing1 this distance and difference which exist between the high and the low understanding in painting4 ,at this point ,m4 ,lactancio1 who had not spoken for some time1 said3 ,i cannot suffer at all one indiscretion of bad painters1 the images which they paint without consideration or devotion in the churches4 ,and ,i should like to direct our discussion to this end1 being sure that the carelessness with which some paint the holy images cannot be good4 ,work which a very incapable painter or man dares to do1 without any fear1 so ignorantly that instead of moving mortals to devotion and tears1 he sometimes provokes them to laughter4 ,this sort of painting is a great undertaking1 proceeded ,m4 ,angelo2 in order to imitate to some extent the venerable image of our ,lord it is not sufficient merely to be a great master in painting and very wise1 but ,i think that it is necessary for the painter to be very good in his mode of life1 or even1 if such were possible1 a saint1 so that the ,holy ,spirit may inspire his intellect4 ,and we read that ,alexander the ,great put a heavy penalty upon any painter other than ,apelles who should paint him1 for he considered that man alone able to paint his appearance with that severity and liberal mind which could not be seen without being praised by the ,greeks and feared and adored by the barbarians4 ,and therefore if a poor man of this earth so commanded by edict concerning his image1 how much more reason have the ecclesiastical or secular princes to take care to order that no one shall paint the benignity and meekness of our ,redeemer or the purity of ,our ,lady and the ,saints but the most illustrious painters to be found in their domains and provinces8 ,and this would be a very famous and much praised work in any lord4 ,and even in the ,old ,testament ,god the ,father wished that those who only had to ornament and paint the arca foederis should be masters not merely excellent and great1 but also touched by ,his grace and wisdom1 ,god saying to ,moses that ,he would imbue them with the knowledge and intelligence of ,his ,spirit so that they might invent and do everything that ,he could invent and do4 ,and therefore if ,god the ,father willed that the ark of ,his ,covenant should be well ornamented and painted1 how much more study and consideration must ,he wish applied to the imitation of ,his ,serene ,face and that of ,his ,son our ,lord1 and of the composure1 chastity and beauty of the glorious ,virgin ,mary1 who was painted by ,st4 ,luke the ,evangelist1 the work is in the ,sancto ,sanctorum1 and the head of our ,saviour which is in ,san ,giovanni in ,laterano1 as we all know1 and especially ,messer ,francisco4 ,frequently the images badly painted distract and cause devotion to be lost1 at least in those who possess little2 and1 on the contrary1 those that are divinely painted provoke and lead even those who are little devout and but little inclined to worship to contemplation and tears1 and by their grave aspect imbue them with reverence and fear4 ,m4 ,lactancio then said1 having turned towards me3 ,why did ,m4 ,angelo say of the picture of the ,saviour1 'as we all know and especially ,messer ,francisco'8 ,i answered3 ,because1 ,senhor1 he has already met me two or three times on the road to ,san ,giovanni ,laterano1 going to obtain ,his grace for my salvation4 ,and ,i thereupon wished to cease speaking1 but he desiring me to continue1 ,i recommenced thus3 ,senhor1 the ,most ,serene ,queen of ,portugal1 being desirous of seeing the precious face of ,our ,saviour1 ordered our ambassador to have it drawn from the original1 but ,i1 not trusting this to anybody1 wished1 with the desire that ,i have to serve her1 to dare to undertake this enterprise myself1 for it is very fine as regards execution and no less as regards accuracy4 ,and thus ,i have sent it to her1 done under such difficulties as ,your ,excellencies can suspect4 ,you cannot be a friend of the ,lady ,marchioness1 said ,joo apata1 for you did not show her a thing which is so much to her liking2 but tell me1 ,messer ,francisco1 did you do it with that severe simplicity which the old painting has and with that fear in those divine eyes which in the original seem to belong to the very ,saviour8 ,i did it that way1 ,i said to him1 and in it ,i desired to put all the truth1 neither to increase nor diminish anything of that grave severity4 ,but ,i fear that this1 which was my greatest work1 will be the one the least known4 ,no it will not1 answered ,m4 ,lactancio ,tolomei1 as in that they will trust to your knowledge1 and it will be an image which will lead them to build a noble temple for it4 ,i am astonished at your being able to reproduce and send it1 for neither the ,popes nor the ,brothers of ,san ,giovanni ,laterano ever allowed the ,king of ,france or other devout princesses to do so4 ,then ,m4 ,angelo said3 ,it is astonishing how ,m4 ,francisco worked1 and how he robbed ,rome of this precious relic1 and how he painted it in oils1 although in all his life he had never been a painter in oils1 and only made pictures hitherto easily contained on a small parchment4 ,how can it be1 said ,m4 ,lactancio1 that one who never painted in oils is capable of doing it1 and that one who has always done little things can also do big ones8 ,and as ,i did not reply1 ,michael ,angelo answered him3 ,do not be surprised1 sir1 and as regards this ,i wish now to state my views about the noble art of painting4 ,let every man who is here understand this well3 design1 which by another name is called drawing1 and consists of it1 is the fount and body of painting and sculpture and architecture and of every other kind of painting1 and the root of all sciences4 ,let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure2 he will be able to make figures higher than any tower1 either in colours or carved from the block1 and he will not be able to find a wall or enclosure which does not appear circumscribed and small to his brave imagination4 ,and he will be able to paint in fresco in the manner of old ,italy1 with all the mixtures and varieties of colour usually employed in it4 ,he will be able to paint in oils very suavely with more knowledge1 daring and patience than painters4 ,and1 finally1 on a small piece of parchment he will be most perfect and great1 as in all other manners of painting4 ,because great1 very great is the power of design and drawing4 ,senhor ,francisco d',ollanda can paint1 if he wishes1 everything that he knows how to draw4 ,i will not ask again about another doubt1 said ,m4 ,lactancio1 because ,i dare not4 ,please to dare1 ,your ,excellency1 said ,michael ,angelo1 for as we have already sacrificed the day to painting1 let us likewise offer up the night which is setting in4 ,he then said3 ,i wish finally to know what this painting that is so fine and rare must possess or what it is8 ,whether there must be tourneys painted1 or battles1 or kings and emperors covered with brocade1 or well-dressed damsels1 or landscapes and fields and towns8 ,or whether perchance it must be some angel or some saint painted and the actual form of this world8 ,or what must it be8 ,whether it must be done with gold or with silver1 whether with very fine tints or with very brilliant ones8 ,painting1 ,m4 ,angelo began1 is not such a great work as any of those which you have mentioned1 sir1 only the painting which ,i so much vaunt and praise will be the imitation of some single thing amongst those which immortal ,god made with great care and knowledge and which ,he invented and painted1 like to a ,master3 and so downwards1 whether animals or birds1 dispensing perfection according as each thing merits it4 ,and in my judgment that is the excellent and divine painting which is most like and best imitates any work of immortal ,god1 whether a human figure1 or a wild and strange animal1 or a simple and easy fish1 or a bird of the air or any other creature4 ,and this neither with gold nor silver nor with very fine tints1 but drawn only with a pen or a pencil1 or with a brush in black and white4 ,to imitate perfectly each of these things in its species seems to me to be nothing else but to desire to imitate the work of immortal ,god4 ,and yet that thing will be the most noble and perfect in the works of painting which in itself reproduced the thing which is most noble and of the greatest delicacy and knowledge4 ,and what barbarous judge is there that cannot understand that the foot of a man is more noble than his shoe8 ,his skin than that of the sheep from which his clothes are made8 ,and who from this will proceed to find the merit and degree in everything8 ,but ,i do not mean that1 because a cat or a wolf is vile1 the man who paints them skilfully has not as much merit as one who paints a horse1 or the body of a lion1 as even 7as ,i have said above7 in the simple shape of a fish there is the same perfection and proportion as in the form of man1 and ,i may say the same of all the world itself with all its cities4 ,but all must be ranked according to the work and study which one demands more than another1 and this should be taught to some ignorant persons who have said that some painters painted faces well but that they could not paint anything else4 ,others have said that in ,flanders they painted clothes and trees extremely well1 and some have maintained that in ,italy they paint the nude and symmetry or proportions better4 ,and of others they say other things4 ,but my opinion is that he who knows how to draw well and merely does a foot or a hand or a neck1 can paint everything created in the world2 and yet there are painters who paint everything there is in the world so imperfectly and so much without worth that it would be better not to do it at all4 ,one recognises the knowledge of a great man in the fear with which he does a thing the more he understands it4 ,and on the contrary1 the ignorance of others in the foolhardy daring with which they fill pictures with what they know nothing about4 ,there may be an excellent master who has never painted more than a single figure1 and without painting anything more deserves more renown and honour than those who have painted a thousand pictures3 he knows better how to do what he has not done than the others know what they do4 ,and not only is this as ,i tell you1 but there is another wonder which seems greater1 namely1 that if a capable man merely makes a simple outline1 like a person about to begin something1 he will at once be known by it--if ,apelles1 as ,apelles2 if an ignorant painter1 as an ignorant painter4 ,and there is no necessity for more1 neither more time1 nor more experience1 nor examination1 for eyes which understand it and for those who know that by a single straight line ,apelles was distinguished from ,protogenes1 immortal ,greek painters4 ,and ,michael ,angelo having stopped1 ,i proceeded3 ,it is also a great thing that a great master1 although he may wish and work hard to do so1 cannot so change or injure his hand as to paint something appearing to have been done by an apprentice1 for whoever carefully examines such a thing1 will find in it some sign by which he will know that it was done by the hand of a skilful person4 ,and on the contrary1 one who knows little1 although he may endeavour to do the smallest thing so that it may appear to have been done by a great man1 will have his trouble in vain1 because immediately1 when placed beside the work of a great man1 it will be recognised as having been done by a prentice hand4 ,but ,i should like now to know something more from ,senhor ,michael ,angelo1 to see whether he agrees with my opinion1 and that is that he should tell me whether it is better to paint a work quickly or slowly8 ,and he answered3 ,i will tell you3 to do anything quickly and swiftly is very profitable and good1 and it is a gift received from the immortal ,god to do in a few hours what another is painting during many days2 for if it were not so ,pausias of ,sicyon would not work so hard in order to paint in one day the perfection of a child in a picture4 ,if he who paints quickly does not on that account paint worse than one who paints slowly1 he deserves therefore much greater praise4 ,but should he through the hurry of his hand pass the limits which it is not right to pass in art1 he ought rather to paint more slowly and studiously2 for an excellent and skilful man is not entitled to allow his taste to err through his haste when thereby some part is forgotten or neglected of the great object perfection1 which is what must be always sought2 hence it is not a vice to work a little slowly or even to be very slow1 nor to spend much time and care on works1 if this be done for more perfection2 only the want of knowledge is a defect4 ,and ,i wish to tell you1 ,francisco d',ollanda1 of an exceedingly great beauty in this science of ours1 of which perhaps you are aware1 and which ,i think you consider the highest1 namely1 that what one has most to work and struggle for in painting is to do the work with a great amount of labour and study in such a way that it may afterwards appear1 however much it was laboured1 to have been done almost quickly and almost without any labour1 and very easily1 although it was not4 ,and this is a very excellent beauty1 at times some things are done with little work in the way ,i have said1 but very seldom3 most are done by dint of hard work and appear to have been done very quickly4 ,but ,plutarch says in his book ,de ,liberis educandis1 that a poor painter showed ,apelles what he was doing1 telling him3 ',this painting has just this moment been done by my hand1' ,apelles answered3 ',even if you had not said so ,i should have known that it was by your hand and that it was done quickly1 and ,i am surprised that you do not do many of them every day4' ,however ,i should prefer 7if one had either to err or be correct7 to err or be correct quickly rather than slowly1 and that my painter should rather paint diligently and a little less well than one who is very slow1 painting better1 but not much better4 ,but now ,i wish to know this of you1 ,m4 ,francisco1 to see whether you agree with my opinion1 namely1 that you should tell me if there are many different ways of painting almost of equal goodness2 which of them will you consider the worst1 or which of them are bad8 ,that is still a greater question1 ,i replied1 ,senhor ,michael1 than the one ,i put to you2 but just as ,mother ,nature has produced in one place men and animals1 and in another place men and animals1 all made according to one art and proportion1 and yet very different to each other1 so it is1 almost miraculously1 with the hands of painters1 as you will find many great men each of whom paints in his own manner and style men and women and animals1 their styles greatly differing1 and yet they all of them retain the same proportions and principles2 and yet all these different styles may be good and worthy of being praised in their differences4 ,for in ,rome ,polidoro1 a painter1 had a very different style to that of ,balthazar1 of ,siena2 ,m4 ,perino different from that of ,julius1 of ,mantua2 ,martorino did not resemble ,parmesano2 ,cavalliere ,tiziano in ,venice was softer than ,leonardo da ,vinci2 the sprightliness of ,raphael of ,urbino and his softness does not resemble the work of ,bastio ,veneziano2 your work does not resemble any other2 nor is my small talent similar to any other4 ,and although the famous ones whom ,i have mentioned have the light and shade1 the design and the colours different from each other1 they are none the less all great and famous men1 and each distinguished by his difference and style1 and their works very worthy of being valued at almost the same price1 because each of them worked to imitate ,nature and perfection in the manner that he considered to be the most proper1 and his own1 and in accordance with his idea and intention4 ,and this said1 we rose and went away as it was already night4 ,,the ,,works ,,of ,,michael ,,angelo ,the ,rape of ,deianira1 or the ,battle of the ,centaurs1 a bas-relief1 #adij4 ,casa ,buonarroti1 ,florence4 ,the ,angel of the ,shrine of ,saint ,dominic1 a marble statuette1 #adid4 ,san ,domenico1 ,bologna4 ,the ,bacchus1 a marble statue1 #adig4 ,national ,museum1 ,florence4 ,the ,madonna della ,piet1 a marble group1 #adii4 ,st4 ,peter's1 ,rome4 ,the ,david1 a colossal marble statue1 #aejd4 ,accademia della ,belle ,arti1 ,florence4 ,st4 ,matthew1 an unfinished heroic marble statue4 ,the ,court of the ,accademia delle ,belle ,arti1 ,florence4 ,the ,madonna and ,child1 marble statue1 #aejf4 ,st4 ,bavon1 ,bruges4 ,the ,madonna and ,child1 a tondo1 marble bas-relief1 unfinished4 ,national ,museum1 ,florence4 ,the ,madonna and ,child1 a tondo1 marble bas-relief1 unfinished4 ,the ,diploma ,gallery of the ,royal ,academy1 ,london4 ,the ,holy ,family1 a tondo1 painted on wood4 ,no4 #aaci1 ,the ,uffizi1 ,florence4 ,the ,moses1 a heroic marble statue4 ,san ,pietro in ,vincoli1 ,rome4 ,the ,vault of the ,sistine ,chapel1 ceiling frescoes1 #aeab4 ,vatican1 ,rome4 ,the ,madonna and ,infant ,christ1 ,st4 ,john the ,baptist and ,angels1 an unfinished painting on wood by ,bugiardini1 the ,cartoon alone by ,michael ,angelo4 ,no4 #hji1 ,the ,national ,gallery1 ,london4 ,the ,risen ,christ1 a marble statue1 #aeba4 ,santa ,maria ,sopra ,minerva1 ,rome4 ,the ,tombs of ,lorenzo dei ,medici1 ,duke of ,urbino and ,giuliano1 ,duc de ,nemours1 heroic marble statues1 the figures of ,day and ,evening and the architecture left unfinished by the master in #aecd4 ,new ,sacristy1 ,san ,lorenzo1 ,florence4 ,the ,madonna and ,child1 heroic marble statue4 ,new ,sacristy1 ,san ,lorenzo1 ,florence4 ,four ,slaves1 unfinished heroic marble statues4 ,the ,grotto of the ,boboli ,gardens1 ,florence4 ,the ,apollo1 an unfinished marble statue4 ,the ,national ,museum1 ,florence4 ,the ,leda1 a painting1 damaged and restored as to the head1 arms1 and shoulder1 #aebi4 ,offices of the ,national ,gallery1 ,london4 ,the ,slaves1 two heroic marble statues4 ,room of ,renaissance ,sculpture1 the ,louvre1 ,paris4 ,the ,brutus1 an unfinished marble bust4 ,the ,national ,museum1 ,florence4 ,the ,day of ,judgment1 fresco1 #aeda4 ,the ,sistine ,chapel1 ,vatican1 ,rome4 ,the ,entombment of our ,lord1 an unfinished painting on wood1 the figures of our ,lord and the men very much repainted1 the three women and the background by the master4 ,no4 #gij1 the ,national ,gallery1 ,london4 ,the ,martyrdom of ,st4 ,peter1 a fresco1 #aedi4 ,cappella ,paolina1 ,vatican1 ,rome4 ,the ,conversion of ,st4 ,paul1 a fresco1 #aedi4 ,cappella ,paolina1 ,vatican1 ,rome4 ,the ,piet of ,santa ,maria del ,fiore1 a marble group4 ,the ,duomo1 ,florence4 ,a ,,list ,,of ,,the ,,principal ,,books ,,consulted ,,by ,,the ,,author ,,berenson1 ,,bernhard4 ,the ,florentine ,painters of the ,renaissance4 ,london and ,new ,york1 #ahif4 ,,black1 ,,charles ,,christopher4 ,michael ,angelo ,buonarroti1 ,sculptor1 ,painter and ,architect4 ,london1 #ahge4 ,,cellini1 ,,benvenuto4 ,vita di1 ,scritta da lui ,medesimo4 ,firenze1 #ahhe4 ,,cl,,ment1 ,,charles4 ,michelangelo4 ,london1 #ahhj4 ,,condivi1 ,,ascanio4 ,vita di ,michelangelo ,buonarroti1 ,scritta da ,a4,c4 suo discepolo4 ,pisa1 #agdf4 ,first edition ,roma1 #aeec4 ,,gotti1 ,,aurelio4 ,vita di ,michelangelo ,buonarroti4 ,firenze1 #ahge4 ,,hasenclever1 ,,sophie4 ,saumtliche ,gedichte ,michelangelo's4 ,leipzic1 #ahge4 ,,hollanda1 ,,francesco ,,de4 ,quatro ,diologos da ,pintura ,antigua1 ,la ,renascena ,portugueza4 ,porto1 #ahif4 ,,milanesi1 ,,gaetano2 and ,,le ,,docteur ,a ,,le ,,pileur4 ,les ,correspondants de ,michel-,ange1 i ,sebastiano del ,piombo4 ,librairie de l',art4 ,paris1 #ahij4 ,,milanesi1 ,,gaetano4 ,le ,lettre di ,michelangelo ,buonarroti1 publicate coi ,ricordi ed i ,contratti ,artistici4 ,firenze1 #ahge4 ,,symonds1 ,,john ,,addington4 ,the ,life of ,michelangelo ,buonarroti4 ,london1 #ahic4 ,the ,sonnets of ,michael ,angelo ,buonarroti and ,tomaso ,campanella4 ,london1 #ahgh4 ,,vasari1 ,,giorgio4 ,le ,vite de' pin eccellenti ,pittori1 ,scultori et ,architetti4 ,bologna1 #afdg4 ,and first edition1 ,firenze1 #aeej4 ,second edition1 ,firenze1 #aeeh4 ,,wilson1 ,,charles ,,heath4 ,life and ,works of ,michelangelo ,buonarroti4 ,london1 #ahha4 ,,erratum ,page #bg1 note #a1 line #b1 for #ahca1 read #ahgc ,,index ,abel1 #dd ,academy3 ,florence1 #aag1 #bfj ,accursio3 a messenger from ,julius ,,ii41 #ea ,active ,life2 ,the ,tomb of ,julius ,,ii41 #fh1 #bbe1 #bbf1 #bbg ,adam3 ,sistine ,chapel1 #ac1 note2 #dc1 #afc1 #afe1 #aga-age ,adonis1 #abi1 #bbi ,adrian ,,iv43 ,pope #ed1 #aij ,aginense3 ,cardinal1 #ea1 #eb1 #adf ,agnolo3 ,herald of ,florence1 #ace ,agnolo3 see ,doni ,agostino3 see ,duccio ,agostino3 ,san1 the ,isaiah of ,raphael at1 #agg ,agnolo di ,donnino3 assistant1 #aea ,alberigo3 ,marchese1 #eb ,alberto3 see ,drer ,albertina3 ,vienna1 #aic ,albertini3 his statement1 #afd ,albizzi3 ,anton ,francesco degli1 portrait by ,sebastiano1 #aig ,alcibiades1 #hg ,aldobrandini3 sword-hilt designed for1 #acf ,aldovrandi3 ,gian ,francesco1 his kindness to the master1 #ah ,aldovrandi3 ,ulisse1 sees a statue of ,apollo1 #ajh ,alessandro da ,carnossa1 #c1 note ,alessandro de' ,medici3 ,duke1 his ill-will to the master1 #ei1 #fj1 #fb2 flight1 #bja2 #bej1 #cje ,alexander the ,great1 #bhe1 #bhf1 #cji1 #cbj ,alexander ,,vi43 ,pope1 #bi ,alfonso3 ,duke of ,ferrara1 #fj1 #fa1 #bjd ,alva3 ,duke of1 #bfe ,aman1 #de ,amanati3 see ,bartolomeo ,ambrosio3 ,brother1 #bgb-bgd2 #bhi1 #cjf ,anatomy3 studies at ,santo ,spirito1 #af2 of animals as well as man1 #ge2 dissection and a treatise upon it1 #ha ,ancestors of ,christ3 ,sistine ,chapel1 #aff1 #afi1 #agg ,andrea del ,sarto1 #ajc1 note2 studies the ,cartoon1 #abg1 #bbd ,angel3 for the ,shrine of ,san ,domenico1 #ai1 #ajd ,angelico3 ,fra1 #bai ,angeli3 ,s4,m4 degli1 #bea ,anna3 the ,beautiful1 #bic ,antonio3 a servant1 successor to ,urbino1 #bcf1 #beh ,antonio3 ,maria da ,legnia1 #ade ,antonio3 ,san1 copy1 #g1 #ig2 ,cartoon for ,mineghella1 #bfd ,antonio3 see ,mini ,apelles1 #bgh1 #cji2 #cbj1 #cbe1 #cbf ,apollo3 in the ,bargello1 #bjd1 #bbh ,arcadelt3 ,giacomo1 sets the master's madrigals to music1 #bjg ,aretino1 #bbb1 #bhc ,arezzo3 fortifications at1 #bjb ,arno1 #aic2 and see ,cartoon ,arrigo ,fiamingo3 fresco1 ,sistine ,chapel1 #afg ,ascanio3 see ,condivi ,assumption3 by ,daniele1 with a portrait of the master1 #bec ,assunta3 oratory of1 #bfj ,athletes3 ,sistine ,chapel1 #ac1 note2 #afd1 #afg1 #afh1 #agc-agh1 #baa ,athens1 #aef ,attalante1 #adf ,avignon1 #bic ,bacchus3 carved in ,rome1 #bd1 #ajg1 #ajh ,baccio d',agnolo1 #aaf ,baglioni3 the traitor1 #bjc ,baldassare3 see ,peruzzi ,baldassari3 del ,milanese1 buys the god of ,love1 #ba ,bandinelli3 ,baccio1 studies the ,cartoon1 #abf2 ,hercules and ,cacus1 #bjd1 #bgj1 #bie ,bandini3 ,francesco1 #bcf1 #bdf ,baptistry3 ,florence1 #bee ,bargello3 ,florence1 mask of a faun1 #aa2 ,tondo1 #aba1 #abi2 ,apollo1 #bje1 #bbh2 ,brutus1 #bdi ,bartolomei3 ,messer1 #bca ,bartolomeo3 ,amanati1 letter to1 #bch ,bartolommea3 widow of ,buonarroto1 #bja ,bas-relief3 ,florentine love of1 #aba ,bassano1 #agd ,bathers3 see ,cartoon ,battista ,benti3 carves details in the ,tomb of ,julius ,,ii41 #bbf ,battista del ,cinque3 carpenter1 #aig ,batista ,lorenzi1 #bec1 #bfb ,beatrice3 of ,mantua1 #c ,beaumont3 ,sir ,george1 presents a tondo to the ,royal ,academy1 #aba ,belvedere3 works ordered by ,julius ,,iii41 #gh ,beinbo1 #gf ,bene3 ,benedetto1 copies the ,leda1 #bjd ,bentivogli3 law1 #ah2 return to ,bologna1 #dj1 #ada ,benvenuto3 see ,cellini ,bernardo ,cencio3 ,canon of ,st4 ,peter's1 #ahj1 #aha ,bernardo da ,bibbiena1 #adf ,bernardo della ,ciecha1 #aaf ,berlin1 #ajf ,bertoldo3 the master of ,michael ,angelo in ,sculpture1 #ii1 #ajj1 #ajb ,berugetta3 ,alonso1 #abf ,biagio da ,cesena3 objects to nude figures1 #bbb ,bibbiena3 ,cardinal1 rebukes ,cardieri1 l#g ,bible3 the master's study1 #hf2 of ,raphael1 #agc ,bini3 ,bernardo1 trustee for the ,tomb1 #ea1 #fi ,blois3 ,chateau1 #bea ,boboli ,gardens3 the grotto with four statues1 #abi1 #bbg ,boccaccio1 #ai ,bologna3 flight to1 #ah-bj2 with ,julius ,,ii4 at1 #ci1 #dj2 conversations at1 #ij1 #acb2 the ,colossal ,bronze destroyed1 #ada1 #aga1 #aie1 #bia ,bonasoni3 ,giulio1 engravings1 a ,piet1 #bcj2 portrait of the master1 #bec ,bonifazio3 ,count1 #c ,bononiensis3 ,tudius1 engraves a ,piet1 #bcj ,boon companions3 of the master1 #bfd ,borgerini3 ,pier ,francesco1 #ahb ,borghini3 ,don ,vincenzo1 opens the coffin1 #bfa ,borgia3 ,cesare1 see ,valentino ,borgo1 #agh1 #bch ,botticelli3 ,sandro1 letter addressed to him1 #bc1 #ajg1 #aaf2 ,popes and histories by1 #aff ,bramante3 destroys ,s4 ,petronilla1 #be2 ,tomb of ,julius1 #ca2 his errors1 #cb2 rebuilding of ,s4 ,peter's1 #cd2 suggests the painting of the vault1 #da2 and ,raphael to finish it1 #dg2 his shortcomings1 #dh2 scaffold1 #hb2 has the ,pope's ear in ,rome1 #acj2 vault painting1 #aca1 #afd2 a brave architect1 #bch1 #bdj-bdb1 #bie ,brancacci ,chapel3 see ,masaccio ,brazen ,serpent3 ,sistine ,chapel1 #df2 #agh ,british ,museum3 drawings1 advice to ,mini1 #aib2 for the tombs1 #aic ,bronze-coloured figures3 ,sistine ,chapel1 #afi ,brothers of the master3 see ,buonarroto1 ,giovan ,simone1 ,sigismondo ,bruciolo3 invites the master to ,venice1 #gh ,bruges1 #bi1 #aba ,brunelleschi3 the lantern of1 #aib2 his dome1 #bjh ,brutus3 bust of1 ,bargello1 #bdi2 nickname of ,lorenzino1 #bej ,buggiardini3 ,giuliano assistant1 #aej1 #aee2 paints the master's portrait1 and a ,madonna and ,child from a cartoon of the master's1 #aeg1 #aeh1 #beb1 #bfd ,buonarroti3 see ,michael ,angelo ,buonarroti3 ,casa1 bas-reliefs in1 #ajb2 #ajd2 presented to ,florence1 #aje2 wax models of the ,david1 #aah ,buonarroti3 ,senator ,filippo1 #bjc ,buonarroto3 brother of the master1 #d2 established in business1 #aji1 #aea1 #aeb2 letters to1 #acc1 #acd1 #acf1 #ada1 #afa1 #aha2 his health1 #afe2 dies of the plague in the master's arms1 #bja ,buoninsegna3 ,domenico1 #ahc ,cain1 #dd ,calcagni3 see ,tiberio ,camerino3 ,duke of1 writes to the master1 #bag ,campidoglio3 plans of the master1 #bdh2 his portrait there1 #bec1 #bgj1 #cje ,campo ,santo3 ,pisa1 #bai1 #bbj ,canossa1 #c-e apata3 ,joo1 #cjf1 #cjg1 #caj1 #caf1 #cah1 #cba ,capitol3 see ,campidoglio ,capponi3 ,niccolo1 #bja ,caprese3 the master born at1 #e ,cardiere3 improvisatore1 his dream1 #af1 #ag ,carlino3 chamberlain1 #adg ,carlo degli ,albizzi1 #adg ,caro3 ,annibal1 #gf1 #he ,carota3 woodcarver1 #aig ,carpi3 ,cardinal1 #bdf ,carrara1 #cj1 #eb1 #ec1 #ahc1 #ahe1 #aij1 #aib ,cartoon of ,pisa1 #cg1 #abd1 #abe2 ,vasari's account1 #abf2 ,cellini's1 #abg ,cassandra ,ridolfi3 marries ,leonardo1 #bed ,caterina3 ,santa1 #ca ,catherine de' ,medici3 letter from1 #bea ,cavalcani1 #bd ,cavalcanti3 altar of1 #bfa ,cavalieri3 ,tomaso dei1 a friend1 #he2 drawings for1 #bcj2 letter from1 #bca1 #bdf1 #bdh1 #beh1 #bei ,cellini3 ,benvenuto1 #ia1 #ib1 #aah2 describes the ,cartoon1 #abg1 #bjb1 #beb1 #bee ,centaurs3 battle of1 see ,deianira ,cesena3 ,bishop of1 #he ,charles3 the ,emperor1 #cji1 #caj1 #cab ,charon1 #ga ,chigi1 #bib ,chiostro ,verde3 ,s4,m4 ,novella1 #agc ,christ3 on the ,cross1 modelled for ,mineghella1 #bfd2 taken down from the ,cross1 ,vittoria ,colonna1 #he2 the ,risen1 in the ,minerva1 #gd1 #ahj1 #aha1 #ahg-ahi2 a statuette1 #bei ,ciapino3 carpenter1 #aig ,cioli3 see ,valerio ,clement ,,vii3 ,pope1 #aj2 ,medici ,library1 #ed2 clemency1 #eh2 ,medici ,tombs1 #ei2 recalls the master to ,rome1 #fj1 #fd2 orders the ,day of ,judgment1 #fd1 #gh2 the ,new ,sacristy1 #ahf2 elected ,pope1 #aij-aib1 #aie2 his postscript1 #aig2 and curious commission1 #aih2 besieged in ,st4 ,angelo1 #bjj2 anger abates1 #bjc1 #bjg1 #bca1 #bgg1 #bib1 #cjh ,colombo3 ,realdo1 anatomist1 #ha ,colonna3 ,vittoria1 ,marchioness of ,pescara1 poetry1 #gf2 a ,christ made for her1 #gd2 the master is enamoured of her divine spirit1 #he2 visits her death-bed1 #he2 drawings and sonnets for her1 #bcj1 #bcd2 conversations at ,st4 ,silvester1 #bga-cjd1 #cjf-cjh1 #cab ,colossus3 a proposed1 #aih1 #aii ,condivi3 ,ascanio della ,ripa1 the ,life by1 #c-ic1 #afc1 #afd ,conntable3 de ,montmorenci1 and the ,slaves1 #bbg ,consiglio3 a mercer1 #aaj1 #aaa ,consiglio3 ,cartoon for the ,sala del1 #cg ,constantinople3 the designs to throw a bridge from ,pera to1 #cg2 is invited to1 #gh ,contemplative ,life3 ,tomb of ,julius ,,ii41 #bh1 #bbe-bbg ,contracts3 for the ,madonna della ,piet of ,st4 ,peter's1 #aab2 the ,david1 #aae2 and the ,risen ,christ1 #ahj1 #aha ,conversion of ,st4 ,paul1 #bcb ,cornelia3 wife of ,urbino1 #bef ,correggio3 perfected ,melozzo's method1 #aca1 #agb ,cortono3 ,cardinal1 #bja ,cosimo3 see ,medici ,cosmo3 ,st41 #aid ,creation3 the1 #afd1 #afe1 #afg1 #agj2 of ,eve1 #aga1 #age1 #bia2 of man1 see ,adam ,creator3 the1 ,sistine ,chapel1 #dc1 #dd1 #aga ,crispo3 ,cardinal1 #hd ,croce3 see ,santa ,croce ,cronaca3 ,il1 #aaf1 #abj ,crucifixion3 in wood for ,santo ,spirito1 #af2 drawings1 #bcd2 by ,daniele1 #bec ,cuio3 ,capitano1 the master sups with1 #aig ,cupid3 see ,love ,damino3 ,st41 #aid ,dandolo3 ,marco1 opinion of ,baglioni1 #bjc ,daniele da ,volterra1 #bbc1 #bea-bec2 writes for the master and acts as executor1 #beg-bei1 #bfc ,dante1 #ai1 #fh1 #ga2 the master's special devotion to1 #hf1 #ahd1 #bbj ,danti3 ,vincenzio1 #bbi ,david and ,goliath3 ,sistine ,chapel1 #df1 #agh ,david3 the bronze1 #bh1 #aai2 sent to ,france1 #abj ,david3 the colossal statue1 #bg1 #aad2 the contract1 #aae2 contemporary account of the transport1 #aaf2 removed to the ,academy1 #aag ,dawn3 marble statue in the ,new ,sacristy1 #agb1 #aid1 #bjc1 #bji1 #baa1 #bad1 #bic4 ,day3 marble statue in the ,new ,sacristy1 #eh1 #aid1 #bjc1 #bji1 #bab ,day of ,judgment3 ,sistine ,chapel1 #de1 #aff1 #ahc2 the fresco begun1 #baf2 shown to the public1 #bai2 described1 #bai2 copies in the ,corsini ,palace1 #bbb1 and in the ,naples ,museum1 #bec ,death3 the master's sayings on1 #bcf1 #bcf ,deianira3 the rape of1 a bas-relief1 #ad1 #ajc ,deliverances of the ,chosen ,people1 #aff1 #afi1 #agh ,delphic ,sibyl1 #agd ,deluge3 see ,flood ,demosthenes1 #ge1 #bih ,deposition3 see ,piet ,design3 the power of1 #bie-bih1 #cjh-caa1 #cbb4 ,desnoyers3 orders the destruction of the ,leda1 #fb1 #bjd ,diocletian3 the ,baths of1 a restoration1 #bea ,diognetus1 #bhf ,diomede ,leoni3 letter to ,leonardo1 #beg ,dionigi3 ,cardinal di1 orders a ,piet1 #be1 #aab ,diploma ,gallery3 ,burlington ,house1 the tondo1 #aba ,divina ,commedia3 the master's drawings for1 #ahd ,dome of ,st4 ,peter's1 #bjh1 #bcc1 #bdf ,domenico3 see ,ghirlandaio ,domenico3 ,san1 ,bologna1 ,the ,angel for the ,shrine1 #ai1 #ajd ,donatello3 praised by the master1 #bh1 who comes under the influence of his foreman1 #ii1 #ajf2 ,st4 ,george1 and ,judith1 #aag2 his influence1 #aah1 #agj1 #agh1 #bie ,donati3 ,federigo1 physician1 #beh ,donato3 see ,giannoti ,doni3 ,agnolo1 the tondo painted for1 #bi1 #abb ,doria3 ,andrea1 project for his statue #aij2 his portrait by ,sebastiano1 #aia1 #bia1 #cac ,dosso1 #bij ,drawing3 ,ghirlandaio's book1 #h2 copies of old masters1 #i2 for the tombs of the ,medici1 #aic2 its power1 #bie-big2 in war1 #cjh1 and in peace1 #caa1 #cbb ,duccio3 ,agostino1 and the block of marble1 #bg ,duke of ,florence1 #bdf1 #bdh1 #bej1 #bei1 #bfj1 #bfb ,duoino of ,florence3 the shadow of1 #abg1 #bjh2 the ,piet1 placed under1 #bcf ,drer3 ,albert1 #bi1 #ha1 #bha ,ecouen3 the slaves at1 #bbg ,enrico ,,ii41 #c ,epiphany3 a cartoon1 #bfj ,ercole3 ,don1 captain of ,florence1 #fa ,esi1 #bia ,esther3 ,queen1 #df ,euclid1 #ge ,eve1 #dc ,evening1 #aid1 #bjc1 #bji1 #bad ,expulsion1 #agb1 #age ,faade of ,san ,lorenzo1 #ahc1 #ahe1 #bbg1 #bbh ,fall of ,man3 ,sistine ,chapel1 #dc1 #afd1 #afe1 #agj ,farnese ,palace3 the cornice1 #bcc1 #bcg ,farnese3 the ,house of1 the master's love for1 #hd ,father of the master3 see ,lodovico ,fattore3 ,il1 #bef ,fattuci3 ,ser ,giovan ,francesco1 letters to1 #acc1 #adc1 #aia1 #aic1 #aie1 #aii1 #bdb2 he rebukes the master for his modesty1 #aib ,faun3 a copy in marble1 #aj2 the ,mask in the ,bargello1 #aa1 note2 a drawing in the ,louvre1 #ih1 note ,febbre3 ,madonna della1 see ,madonna ,fernando di ,gonzaga3 ,signer1 #bje ,femes3 ,cardinal1 #bgj1 #cac ,ferrara3 the master visits the fortifications1 #fj1 #bjb ,ferrara3 ,duke of1 disposes of the ,colossal ,bronze1 #ada2 the master's visit to1 #bjb1 #bij ,festa3 ,constanza1 sets the master's madrigals to music1 #bjh ,ficino3 ,masilio1 #ajb ,fidelissimi3 ,gherardo1 physician1 #beh ,fight for the ,standard3 ,leonardo da ,vinci's cartoon1 #abd1 #abg ,figio ,vanni3 ,battista1 ,pope's agent1 #bjc ,filippiuo3 see ,lippi ,flanders3 the master's opinion of the painting of1 #bgi-bha1 #cbd ,flood3 the1 ,sistine ,chapel1 #dd1 #df1 #afe1 #afg1 #agj-agc1 #bad ,florence1 #c-f1 #ae-bj1 #bb-bi1 #cf1 #cg1 #ej1 #ea2 siege of1 #ef1 #bja2 is betrayed1 #eg1 #bjc2 #fb2 gossip1 #ig2 #ajf-aad2 #acj2 #aeh2 the master purchases land for a studio1 #ahd1 #bjh1 #bec-bee1 #bfj1 #bij1 #bic1 #cje ,fontainebleau3 the ,leda at1 #bjd1 #bid ,forli3 ,bishop of1 ,pier ,giovanni1 #hc ,fortification3 the master made ,commissary-,general1 #ee2 the ,borgo1 #bch ,france3 statue of ,hercules sent to1 #ad2 painting in1 #bid ,francesca3 daughter of ,buonarroto1 #bja ,francesca3 mother of the master1 #aji ,francesco d',ollanda1 #bfi-cbg ,francesco3 ,san1 a cartoon drawn for a barber1 #ajg2 and another for ,mineghella1 #bfd ,francesco3 see ,bandini and ,urbino ,francesco3 ,urbino1 da1 schoolmaster1 #f ,franciabigio3 ,il1 studies the ,cartoon1 #abg ,francia3 ,il1 #ij ,francis ,i43 of ,france buys the ,leda1 #fb2 invites the master to ,france1 #gh2 letter to1 #bcb1 #bid ,frizzi3 ,frederigo1 finishes the ,risen ,christ1 #ahh ,gaeta3 see ,pier ,luigi ,galatea3 by ,raphael1 #bib ,galli3 ,jacopo1 commissions the ,bacchus1 #bd1 #ajg1 #aab ,galli3 owned the ,bacchus and the little ,cupid1 #be ,gallio ,subelloni1 #bdg ,gallo3 ,antonio1 #bbf ,ganymede3 a drawing1 #bca ,gatta3 ,bartolommeo della1 #aff ,gems3 engraved1 shown to the master by the ,magnificent1 #ac2 motives from intaglios1 ,adam1 #aga2 ,judith1 #agh2 ,leda1 #bjb ,genoa3 the master proposes to retire to1 #ff2 the ,senate orders a statue of ,doria1 #aij2 the medallion1 ,albergo dei ,poveri1 #bcg1 #bia ,george3 ,st41 by ,donatello1 #aag ,germany1 #bjj1 #bhc1 #bia ,ghibelline1 #d ,ghiberti3 ,lorenzo1 #ajj1 #agj ,ghirlandaio3 ,domenico1 the master's first teacher1 #g1 #h1 #ig2 the master leaves him1 #aj1 #ii2 histories in the ,sistine ,chapel1 #aff ,ghirlandaio3 ,ridolfo1 ,vasari's gossip1 #ig2 worked from the ,cartoon1 #abf ,giacomo del ,duca3 carves details on the ,tomb of ,julius ,,ii41 #bbf ,giacomo della ,porta1 #bdi ,giangiacomo de' ,medici3 his monument at ,milan1 #bej ,giannotti3 ,donato1 a friend of the master's1 #he1 #bdf1 #bdi ,giant3 see ,david ,gi3 ,marchal de1 #aai ,giorgio3 see ,vasari ,giotto3 studies from1 #aje1 #aeh ,giovanni da ,reggio1 #ahg1 #ahh ,giovanni da ,udine1 #aig1 #bij ,giovanni dall' ,opera1 #bfb ,giovanni de' ,marchesi3 stone-carver1 #bbd ,giovanni de' ,medici1 #ag ,giovanni3 a gem-engraver1 #bca ,giovanni3 ,san1 in ,laterano1 #cbj1 #cba ,giovanni3 ,michi1 #aej ,giovanni3 ,san1 dei ,fiorentini1 designs for1 #bdh ,giovannino3 ,san1 a1 #ajf ,giovan ,simone3 joins ,buonarroto in the cloth business1 #aji1 #acc1 #ace2 his behaviour troubles the master1 #aea2 a letter to him1 #aec2 he begins to do well1 #afb2 death1 #bed ,girolamo da ,fano3 retouches the ,day of ,judgment1 #bbc ,gismondo3 to join ,buonarroto1 #aeb2 visits ,rome1 #afa ,giugni3 ,galeotto1 envoy1 #bjb ,giulia3 ,la1 the cannon cast from the wreck of the ,bronze1 #ada1 #bjb ,giulia3 the ,villa1 works ordered by ,julius ,,iii41 #gh1 #bib ,giuliano3 a marble statue in the ,new ,sacristy1 #aic1 #aid1 #baa1 #bab ,giuliano de' ,medici3 his courtesy1 #ag ,giulio ,romano1 #bij1 #bic ,gondi3 the bank of1 #gh ,gondi3 ,filippo1 hides his goods1 #bja ,gondi3 ,giambattista1 #bea ,gonfaloniere3 see ,soderini ,gottifredo1 #c ,granacci3 ,francesco1 #g1 #i1 #aa1 #ih1 #ii2 studies the ,cartoon1 #abf2 helps to provide assistants1 his letter1 #adi1 #aea ,grand ,canal3 a design for a bridge1 #gd ,grotesque1 #caf-cah ,guelph1 #d ,guidobaldo3 ,duke of ,urbino own's the god of ,love1 #bc ,guidoccione1 #gf ,haarlem3 drawings in the ,teyler ,museum1 #bec ,hawkwood3 ,sir ,john1 #abd ,henry ,,ii43 of ,france1 #bea ,hercules3 a marble statue1 #ad1 #aje ,hercules and ,cacus1 #bjd ,hercules strangling ,antus3 a wax model1 #beb ,holkham ,hall3 ,cartoon at1 #ch1 #abd1 #abe ,holy ,family with ,shepherds1 the1 #abb ,homer1 #gf1 #gh1 #agc ,human form3 the master's love for the beauty of1 #hg ,imitators of the master1 #bfc ,indaco3 ,jacopo ,l'1 assistant1 #aej1 #aee2 he grumbles1 #aeg1 #bfd ,inscriptions1 #bfb1 #bfc ,intaglio3 see ,gems ,ippolito de' ,medici1 #bja ,isaiah3 by ,raphael1 #agg ,italian painting2 the master's opinion of1 #bhj1 #bha ,jacopo del ,conte1 #beb ,jacopo della ,quercia3 studied by the master1 #acf1 #agj1 #aga ,jacopo di ,sandro3 an assistant1 #aea ,jacopo3 see ,galli1 ,l',indaco1 ,sansovino ,jean3 makes a model of the ,dome1 #bdg ,jeremiah3 the ,prophet1 #agd ,joel1 #agd ,jonah1 #bba ,judith1 #ac1 #df1 #agh2 of ,donatello1 #aag ,julius ,,ii43 ,pope1 calls the master to ,rome and orders his ,tomb1 #bh-cj1 #abh1 #abi2 offends the master1 #ce1 #ch1 #acj2 the ,colossal ,bronze for ,bologna1 #dj1 #acj1 #acb1 #acd2 it is placed on ,san ,petronio1 but is destroyed by the mob and made into a cannon1 #ada2 orders the ,vault of the ,sistine ,chapel to be painted1 #dh1 #ej1 #afd2 the master's love for him1 #fb2 and his house1 #fi1 #gg2 he is satisfied1 #afe1 #agi2 death1 #ahj1 #aie1 #bjb2 the ,tragedy of the ,tomb of1 #baf1 #bbd1 #bbf ,julius ,,iii43 ,pope1 #fc2 a patron of the ,arts and of the master1 #gh1 #hj1 #hc1 #bce1 #bdb2 confirms the master in his office1 #bdd2 death1 #bde ,julius ,csar1 #caj1 #cae ,king of ,france gives the ,slaves to ,montmorenci1 #bbg1 and see ,francis ,i4 ,lactancio ,tolomei1 #bga-cbb ,lana3 ,consuls of the ,arte della1 #aae1 #abj ,lantern3 of the ,new ,sacristy1 #aib ,lapo ,antonio di ,lapo3 assistant at ,bologna1 #acc2 is dismissed1 #acd2 #acf ,last ,judgment3 see ,day of ,judgment ,leda3 the1 motive from a gem1 #ac1 note2 painted for the ,duke of ,ferrara but sent to ,france1 #fa1 #bjb1 #bjd1 #bad ,leghorn1 #ahd ,leicester3 the ,earl of1 his cartoon at ,holkham1 #abe ,lenoir3 ,m41 purchases the ,slaves for ,france1 #bbg ,leo ,x43 ,pope1 #d1 #e1 #aj2 orders the faade of ,san ,lorenzo1 #ea2 his fervour spent1 #ed1 #gh1 #ahb-ahe2 death1 #aij ,leone ,leoni3 the monument at ,milan1 #bej2 his medal of the master1 #beb ,letters3 from1 ,catherine de' ,medici1 #bea2 ,duke of ,camerino1 #bag2 ,francesco ,granacci1 #adi2 ,lodovico1 #aaa2 ,pietro ,roselli1 #acj2 ,sebastiano1 #ahe1 #ahf1 #ahg1 #ahh1 #bje2 ,tomaso del ,cavalieri1 #bca4 ,from the master to1 ,amanati1 #bch2 ,buonarroto1 #acc1 #acd1 #acf1 #acg1 #ach1 #aci1 #adj1 #ada1 #afa1 #afb1 #aha2 ,cardinal ,carpi1 #bda2 ,fattucci1 #acc1 #adc1 #aia1 #aic1 #aie1 #aii1 #bdb2 ,francis ,i41 #bcb2 ,giovansimone1 #aec2 ,lionardo1 his nephew1 #bdf1 #bdh1 #bed1 #beg2 ,lodovico1 #aaj-aab1 #ace1 #aea1 #aef1 #aei1 #afd2 ,lorenzo di' ,pierfrancesco1 #bc2 nephew of ,pope ,paul1 #bdb2 ,sebastiano1 #aig2 ,spina1 #aid2 ,topolino1 #aij2 ,vasari1 #bde1 #bee4 ,from ,diomede ,leoni to ,lionardo1 #beg2 from ,tiberio ,calcagni to ,lionardo1 #beg ,library3 ,medici1 ordered by ,clement ,,vii41 #ed1 #aig1 #bej ,libyan ,sibyl1 #agd ,light separated from ,darkness1 ,sistine ,chapel1 #agj1 #agd1 #agf ,lignano3 ,antommaria1 banks money for the ,colossal ,bronze1 #dj ,lionardo da ,vinci1 #aaf2 his cartoon1 #abd1 #bji1 #cbg ,lionardo di ,compago3 saddle-maker1 #ahd ,lionardo3 nephew of the master1 #ajd2 letters to1 #bdf1 #bdh1 #bed1 #beg2 marries ,cassandra1 #bed2 receives news of the master's illness1 #beg2 and death1 #bfj2 orders ,vasari to design the ,tomb1 #bfb ,lippi3 ,filippino1 #aaf ,lodovico del ,buono3 founder1 assists the master at ,bologna1 #acc1 #acd ,lodorico di ,leonardo ,buonarroti ,simoni1 father of the master1 #e1 #g1 #aa1 #ac1 #ae1 #aji2 letters to1 #aaj1 #aaa1 #aab1 #ace1 #acg1 #aea1 #aef1 #aei1 #afb1 #afd3 letter from1 #aaa ,loggia dei ,lanzi1 #aaf1 #abi1 #bbh ,loggia of the ,vatican1 #bfc1 #bib ,lorenzetto3 worked from the cartoon1 #abg ,lorenzino3 nicknamed ,brutus1 #bej ,lorenzo3 ,san1 the facade1 #ea1 #ahc1 #ahe2 obsequies of the master at1 #bfb ,lorenzo3 ,san1 the pulpits of1 #ajj1 #ajc1 #agh ,loreto1 #bfe ,lottino3 ,il1 #he1 #bdf ,louis ,,xiii3 #bjd ,louvre3 the two ,slaves1 #aaf ,love3 a god of1 in marble1 made to imitate the antique1 #ba1 #ajg2 a little1 carved for ,galli1 #be1 #ajg1 #ajh ,lucan1 #bii ,lucca1 #c ,lucrezia3 second wife of ,lodovico1 #aji ,luiz3 ,infanta ,d41 #afi ,madonna and ,child3 a bas-relief in the ,casa ,buonarroti1 #ajd ,madonna and ,child3 marble statue1 ,bruges1 #bi ,madonna and ,child3 marble statue1 ,new ,sacristy1 ,san ,lorenzo1 #ei1 #aid1 #bae ,madonna and ,child with ,angela3 ,national ,gallery1 from a cartoon by the master1 #aeg ,madonna and ,child with ,st4 ,john3 marble tondo1 ,bargello1 #aba1 #abb ,madonna and ,child with ,st4 ,john3 marble tondo1 ,diploma ,gallery1 #aba1 #abb ,madonna and ,child with ,st4 ,joseph3 painted tondo1 ,ufflzi1 #bi1 #abb ,madonna della ,piet3 of ,st4 ,peter's #be1 #bf1 #aab1 #aac1 #bcb1 #bcd ,madonna3 medallion at ,genoa1 #bcg ,maffei3 the ,most ,reverend1 #hd ,malaspina3 ,lionardo1 #he ,manfidi3 ,angelo1 second herald1 #aaf ,mantegna3 ,andrea1 #bij ,mantua1 #c1 #bij ,mantua3 ,cardinal of1 commends the ,moses1 #fg ,mantua3 the ,marchesana1 #bb1 #bc ,marc ,antonio ,raimondi3 his engraving of the ,cartoon1 #abe ,marcello ,venusti3 his copy of the ,day of ,judgment1 #bec ,marcellus ,,ii43 ,pope1 ,cardinal ,marcello ,cervini1 #bdd2 ,pope1 #bde ,margarite3 of ,austria1 #cje ,mario ,scappuci1 #ahj2 #aha ,martin ,schongauer3 the master copies his engraving1 #g1 #ig ,masaccio3 study of1 #aje1 #agb ,maso del ,bosco3 carves the portrait of ,julius ,,ii4 for the ,tomb1 #bbf ,matilda3 ,countess1 #c ,mattea da ,lecce3 ,sistine ,chapel1 #afg ,matthew3 ,st41 marble statue in the ,court of the ,academy1 ,florence1 #gd1 #aah1 #bbh ,maturino3 worked from the ,cartoon1 #abg1 #bib ,maximilian3 ,emperor1 #bgi ,medal3 ,leone's1 of the master1 #beb ,medici3 ,alessandro de'1 #ei1 #fj1 #fb1 #bja1 #bej1 #cje ,medici3 ,cardinal de'1 see ,clement ,,vii4 ,medici3 ,cosimo de' #ea1 #bjh ,medici3 ,cosimo de'1 ,first ,grand ,duke of ,tuscany1 #ajd1 #bji ,medici ,garden1 #i1 #ii ,medici3 ,house of1 driven out of ,florence1 #ah1 #ee1 #bja1 #bij ,medici3 ,lorenzo di ,pier ,francesco de'1 #ba1 #bc1 #ajf2 letter to1 #ajg ,medici3 ,lorenzo de'1 the ,magnificent1 sees the master at work in his garden1 #aj1 #ajj2 takes him into his household1 #ab1 #ac2 death1 #ad1 #aje2 his ghost appears to ,cardiere1 #af1 #ag1 #aic1 #aid1 #bjh1 #baa1 #bab ,medici3 ,pier de'1 #ae1 #ag ,medici rule1 #bae ,medici ,tombs3 in the ,new ,sacristy of ,san ,lorenzo1 #eh1 #agc1 #bjc1 #bjh1 #bej1 #beb ,melozzo da ,forli3 vault painting of1 #aca ,menichella3 ,domenico1 #bje1 #bjf ,metauro1 #aic ,metello ,vari3 dei ,porcari1 #ahj1 #aha1 #ahh ,michael ,angelo3 claims descent from the ,house of ,canossa1 #c2 his ancestors1 #d2 birth and horoscope1 #e2 foster-mother and schoolmaster1 #f2 first painting1 #g1 #ig2 apprenticed to ,ghirlandaio1 #h1 #ig2 drawings1 #h1 #i1 #ih2 studies in the ,medici ,gardens under ,bertoldo1 #i1 #ii2 carves the head of a faun1 #aj1 #aa2 enters the ,house of ,medici1 #ab1 #ajb2 halcyon days with ,lorenzo who presents him with a violet-coloured mantle1 #ab1 note1 #ajb2 incited by ,poliziano1 he carves the ,rape of ,deianira1 #ad1 #ajc2 grief at the loss of his patron1 #ad2 the lost ,hercules1 #ad1 #aje2 makes a snow-statue for ,piero1 #ae2 studies anatomy at ,santo ,spirito and carves a crucifix in wood for the ,prior1 #af2 fears of ,cardiere1 #ag2 and flight to ,bologna1 #ah2 the ,angel of the ,shrine of ,san ,domenico1 #ai1 #aje2 returns to ,florence1 #ba1 #ajf2 the ,san ,giovannino and the god of ,love1 #ba1 #bb1 #bc1 #ajf1 #ajg2 first visit to ,rome1 #bb1 #ajg2 carves a ,bacchus and a little ,cupid1 #bd1 #be1 #ajg1 #ajh2 and the ,madonna della ,piet1 #be1 #aab2 returns to ,florence1 #bg1 #bh1 #aad-abj2 the ,madonna of ,bruges1 #bi1 #aba2 the three ,tondi1 #bi1 #aba-abd2 the ,cartoon of ,pisa1 #cg1 #ch1 #abd-abg2 summoned to ,rome by ,julius ,,ii41 #bi1 #abh2 who orders the ,tomb1 #cj-cd1 #abh-acj2 marbles brought from ,carrara1 #cj1 #cd1 #abh2 flight from ,rome1 #he1 #cf1 #acj2 works in ,florence on the ,cartoon1 #cg1 #acj2 joins ,julius at ,bologna1 #ci1 #acb2 the ,colossal ,bronze1 #dj1 #acc-adb1 #add1 #ade2 returns to ,florence1 #adc2 but is summoned to ,rome1 #adc2 to paint the vault of the ,sistine ,chapel1 #da-di1 #ade-afe2 descriptions of the vault1 #db-df1 #afg-agi2 death of ,julius1 #ej1 #adf1 #ahj2 proceeds with the ,tomb1 #ea1 #ahj-ahb2 but ,leo ,x4 orders a facade for ,san ,lorenzo1 #ea2 quarries at ,carrara and ,pietra ,santa1 #eb1 #ahc1 #ahe2 the facade abandoned1 #ed1 #ahe2 the ,library1 #ed2 the ,new ,sacristy1 #ed1 #ahf2 and the ,medici ,tombs1 #fh-fj1 #aib-aid1 #bjh-baf2 the ,siege of ,florence1 the master made ,commissary-,general of ,fortifications1 #ee-eh2 visits ,ferrara1 #fj2 flight to ,venice1 #ff2 return to duty1 #eg2 the fall of ,florence1 #fg1 #bjc2 the master in hiding1 but he is allowed to return to work on the ,tombs1 #fh1 #bjc2 the ,leda1 #fa1 #fb1 #bjb2 the ,risen ,christ1 #gd1 #ahj1 #ahg1 #ahh2 new agreement with the executors of ,julius1 #fb-fd1 #aid2 the master is called to ,rome by ,clement ,,vii4 and leaves ,florence for the last time1 #fb1 #bjh2 the ,day of ,judgment1 #fd1 #gj1 #ga1 #baf-bbd2 ,paul ,,iii4 appoints the master chief architect1 sculptor1 and painter to the ,vatican1 #baf2 the ,tomb of ,julius erected in ,san ,pietro ad ,vincula1 #fg-fi1 #aie1 #bbd-bbg2 the frescoes in the ,cappella ,paolino1 #gc1 #bcb2 the ,piet of ,s4,m4 del ,fiore1 #gc1 #bcd-bcg2 the cornice of the ,farnese ,palace1 #bch2 ,st4 ,peter's1 #bch1 #bci1 #bdf2 the ,brutus1 #bdi2 ,s4,m4 degli ,angeli1 #bea2 a grand-nephew born1 #bfe2 death of ,urbino1 #bef1 #bef2 a visit to the country near ,spoleto1 #bef2 illness1 #bfh2 death1 #beh2 works left in his house1 #bei2 his body is deposited in ,,ss4 ,apostoli1 #bfj2 conveyed to ,florence1 #bfj2 and carried to ,santa ,croce1 #bfa2 his imitators1 #bfc2 character and endowments of the master1 #gg2 his love of all beautiful things1 #hg2 his abstemious life1 #hh2 generosity1 #hh1 #bfd1 #bfe2 a description of his person1 #ia2 and the colour of his hair and eyes1 #ib2 the master visits ,s4 ,silvester1 #bgc2 and expresses his opinion of the quiet life of work1 #bgf2 of painting in ,flanders1 #bgi2 on drawing1 #bie-big1 #cjh-cbb2 on working quickly or slowly1 #cbe2 on the value of paintings1 #cad2 on grotesque1 #caf2 and on devotional painting1 #cai4 ,milan1 #aeh1 #bej ,milliarini3 ,professor1 discovers a statue1 #ajh ,minerva3 the church of ,s4,m4 ,sopra1 #gd1 #ahj1 #aha ,mini3 ,antonio1 pupil of the master1 #aib1 #bjd1 #bfd ,mini3 ,paolo1 #bjg ,miniato3 ,san1 fortifications1 #ee1 #bjb1 #bjc ,minighella1 #bfd ,monciatto3 woodcarver1 #aae ,montanto3 ,antonio1 #ahd ,montelupo1 #aid ,montevarchi3 ,ser ,giovanni di ,guasparre1 #aea ,montevecchio2 ,cardinal1 #fc ,montorsoli1 #aid ,moscheroni3 ,flemish merchants1 #bi ,moses3 marble statue1 the ,tomb of ,julius1 #cc1 #fg1 #fh1 #abi1 #afg1 #ahb1 #bbe ,mother3 of the ,master1 see ,francesca ,mould on the ,vault1 #df1 #afa ,mozza3 ,via1 #ahd ,nanni di ,baccio ,bigio3 his intrigues1 #bdb1 #bdd1 #bdg ,naples3 copy of the ,day of ,judgment1 #bec ,national ,gallery1 #aaf1 #aeg1 #bjd1 #bfe1 #bib1 #ccj1 #cca ,neptune3 proposed statue of ,andrea ,doria as1 #aij1 #aia ,nero1 #bge1 #bhe ,new ,sacristy of ,san ,lorenzo1 #aib1 #bjh1 #bic ,nicholas ,v43 ,pope1 #cd ,nicolo di ,bari3 the ark of ,san ,domenico1 #aje ,nicolo3 ,san1 beyond ,arno1 #bjc ,night3 marble statue1 ,new ,sacristy1 #eh1 #aid1 #bjc1 #bjd1 #bji1 #bac1 #bad1 #bic ,noah3 the ,sacrifice of1 ,sistine ,chapel1 #dd1 #de ,novella3 ,s4,m41 the first art school of the master1 #ii ,oil painting2 the master's opinion of #bag ,ollanda3 see ,francesco ,onofrio3 ,san1 the master's workshop at1 #abd ,operai3 of the ,duomo1 #aae1 #abj ,orcagna1 #ii ,orvieto1 #bba ,ottavio ,farnese3 the marriage of1 #cjf ,ovid1 #bii ,oxford3 drawings at1 anatomy students1 #af2 after two destroyed frescoes1 #aff2 design for alterations at ,san ,lorenzo1 #aih1 #bcj ,padua1 #bij ,palla3 ,giovanni ,battista della1 #aje ,paolina3 ,cappella1 #bbd ,paolo ,galli3 owned the ,bacchus and the little ,cupid1 #be ,paris3 the ,leda goes to1 #bjd ,parma1 #c1 #bia ,parmigiano1 #bia1 #cbg ,paul3 ,st41 conversion of1 fresco1 #gc1 #aja ,paul ,,iii43 ,pope1 elected1 #ff2 visits the master1 #fg2 orders him to proceed with the ,day of ,judgment1 #gj1 #gc1 #gh1 #hj1 #hd2 appoints the master chief architect1 #baf2 his answer to ,messer ,biagio1 #bbc2 orders the frescoes for his chapel1 #bbd1 #bbe1 #bcg1 #bci2 death1 #bdb1 #bdh1 #bgf1 #cad ,paul ,,iv43 ,pope1 #bbc ,pavia3 ,cardinal of1 #acb1 #ada1 #adg ,penseroso3 ,il1 #bjc ,perino del ,vaga1 #abg1 #bch1 #bgj1 #bia1 #cbg ,perspective1 #hb ,perugino1 #gg1 #aff1 #baf ,peruzzi3 ,baldassari1 #bch1 #bdj1 #bdb1 #bib1 #bie1 #cbg ,pesaro1 #bij ,pescara3 ,marchioness of1 see ,colonna ,pesellino3 studies from1 #aje ,peter3 ,st41 a blocked out statue1 #bei ,peter3 ,st41 crucifixion of1 alfresco1 #gc ,peter's3 the church of ,st41 new design for1 #be1 #cc1 #hc2 plans altered to embrace the project of the ,tomb1 #abi2 the master undertakes the works1 #bch1 #bdc1 #bdd1 #bde1 #bdi1 #bei1 #bia1 #bib1 #cje ,petrarca1 #ai2 and ,tuscan rhyme1 #gf ,petronilla3 ,santa1 the ,madonna della ,piet placed in the church of1 #be1 #aab ,petronio3 ,san1 a marble statuette finished by the master1 #aje ,petronio3 ,san1 the master hears mass in the church of1 #ci ,phton3 a drawing1 #bca ,phidias1 #aef1 #bid ,piacenza3 the ferry revenue goes to the master1 #baf ,piecolomini3 ,cardinal ,francesco1 orders fifteen statues1 #aad ,pico della ,mirandola1 #ajb ,pier ,luigi3 ,gaeta1 #bdg ,piero di ,cosimo1 #ajc1 note1 #aaf ,pierre ,mariette3 the fate of the ,leda1 #bjd ,piet3 a drawing1 #bei ,piet3 of ,s4,m4 del ,fiore1 #gc1 #bcc1 #bcf1 #bfb ,piet3 the ,palazzo ,rondini1 #bcg ,piet3 ,viterbo1 by ,sebastiano1 #bfe ,piet3 see ,madonna della ,piet ,pietra3 ,santa1 marble quarries1 #eb1 #ec1 #ahc-ahe ,pietro ,matteo d',amelia1 #aej ,pietro3 ,san1 in ,montorio1 wall painting by ,sebastiano1 #aja1 #bfe1 #bib ,pietro3 ,san1 in ,viticula1 the ,tomb of ,julius ,,ii4 set up1 #fg1 #abi1 #ahb ,pietro3 ,san1 ,maggiore1 ,florence1 #bfj ,pietro ,urbano3 a workman1 #acc ,pietro ,urbino1 #ahg1 #bfd ,pilote3 goldsmith1 #bfd ,pinti3 ,borgo1 the master's house in1 #abj ,pintoricchio3 ,bernardino1 #aff ,piombo3 see ,sebastiano ,pisa3 fortifications1 #bjb2 picture by ,buggiardini1 #aeh2 #bia ,pisa3 see ,cartoon ,pisani3 pulpits of the1 #ajc ,pisano3 ,giovanni1 #agg ,pistoia3 ,san ,andrea at1 #agg2 #bfd ,pitti3 ,bartolomineo1 #aba ,pius ,,iii43 ,pope1 see ,piccolomini4 ,pius ,,iv43 ,pope1 elected1 #bde2 confirms the master in his office1 #bdg1 #bej ,pius ,v43 injures the ,day of ,judgment1 #bbh ,plato1 #ge1 #hg ,plutarch1 #bhf1 #cbf ,po3 the river1 #aic2 revenue of a ferry1 #baf ,poggibonsi1 #ce ,pole3 ,cardinal1 a friend of the master1 #hd ,polidoro1 #bib1 #cbg ,poliziano3 recognises the master's lofty spirit1 #ac1 #ajb1 #ajc ,pollaiuolo3 ,salvestro del1 nephew of ,antonio1 #aci ,pollaiuolo3 ,simone il1 #aca ,polvaccio3 ,roman quarry1 #ahg ,pompey1 #bhf1 #caj ,ponte3 ,maestro ,bernardo dal1 helps to cast the ,colossal ,bronze1 #acf1 #aci ,ponte ,rotto1 #bde ,pontormo3 ,il1 #abg1 #bfd ,porta del ,popolo1 #bea ,porta ,pia1 #bea ,portraits of the master1 #beb1 #bfc ,praxiteles1 #bid ,prophets3 ,sistine ,chapel1 #db1 #de1 #afd1 #aff-agj1 #agf-agh1 #baa ,protogenes1 #cbe ,psyche3 the ,story of1 by ,raphael1 #bib ,pulci3 ,luigi1 #ajb ,raffaellino3 offers to come as assistant1 #adi ,raffaello da ,monte ,lupo3 his autobiography1 #aba2 the ,madonna for the ,tomb of ,julius1 #bbd-bbf ,raising of ,lazarus3 by ,sebastiano1 the master's design for1 #bfe ,raphael3 da ,urbino1 proposed by the master as painter of the ,sistine1 #da1 #dg2 studies the style of the master1 #gg2 he is praised by the master1 #hi2 his painting of ,doni1 #abb2 studied the ,cartoon1 #abf2 his manner with his assistants1 #aee2 the proposition of ,bramante1 #afd2 cartoons for tapestry1 #afg2 his composition of the ,sacrifice of ,noah1 #agc2 ,sibyls at ,s4,m4 della ,pace1 #agg2 a putto1 #agh1 #aig1 #bba1 #bch1 #bdj1 #bdb1 #bef1 #bfc1 #bga1 #bib ,ravenna1 #ahd ,realdo3 physician1 #ia ,redemptions of ,israel1 #aff1 #afi1 #agh ,reggio1 #c ,rembrandt1 #agb1 #bbd ,reynel3 ,king of ,france1 #bic ,riccio3 ,luigi del1 nurses the master when ill1 #bbg ,ricordi3 the vault finished1 #afe2 the facade of ,san ,lorenzo abandoned1 #ahe2 marbles for the sacristy1 #ahg2 #aib2 ,gondi hides goods in the ,new ,sacristy1 #bja ,ridolfi3 ,cardinal1 #he ,ridolfo ,pio of ,carpi3 ,cardinal1 letter to1 #bda2 the ,brutus for1 #bdi ,ridolfo3 see ,ghirlandaio ,rimini3 a post on the ,chancery bestowed on the master1 #baf ,risen ,christ3 see ,christ ,robertet3 ,florimond1 secretary1 receives the bronze ,david1 #aai1 #abj ,rocco3 a ,san1 drawn for ,minighella1 #bfd ,rondini3 ,palazzo1 ,piet in1 #bcg ,rontini3 ,baccio1 cures the master from the effects of his fall1 #bai ,romans3 claim him as a citizen1 #bfj ,rome3 the master's first visit1 #bi1 #cj #cg1 #da1 #ajg1 #aji1 #aaa1 #aba1 #abh #acj1 #ahd1 #ahe2 the sack of1 #bjj1 #bje2 the master returns finally1 #baf1 #bcg1 #bdj1 #bdf1 #bdg1 #bec1 #bef1 #bfj1 #bgj1 #bia1 #cje1 #cad ,rosselli3 ,cosimo1 #aaf1 #aff ,rosselli3 ,piero di ,jacopo1 plasters the vault1 #adi ,rosselli3 ,pietro1 letter to the master1 #acj ,rosselmini3 ,count ,guarlandi1 #ajf ,rosso3 ,,ii1 worked from the ,cartoon1 #abg ,rovere3 see ,julius ,,ii4 ,rovezzano3 ,benedetto da1 #aai ,rovano3 ,cardinal1 see ,dionigi ,royal ,academy3 see ,diploma ,gallery ,rucellai3 recommendation to1 #bd ,ruffilni3 ,alessandro1 groom of the ,chamber1 #hc ,sacrarium3 at ,san ,lorenzo1 design1 #aih ,sacrifice of ,noah1 #agb1 #agc ,sacristy of ,san ,lorenzo3 see ,medici ,tombs ,sack of ,rome1 #bjj1 #bje ,salt-cellar3 design for1 #bag ,salvestro da ,montanto1 #bbf ,salvestro3 jeweller1 #aaf ,salviati3 ,alamano1 #cj ,salviati3 ,cardinal1 #bdd ,salviati3 ,cecchino1 rescues fragments of the arm of the ,david1 #aag ,salviati3 ,michael ,angelo1 father of ,cecchino1 #aag ,salviati3 ,jacopo1 #aib ,sanazzaro1 #gf ,sangallo2 ,antonio da1 #cd1 #dg1 #he1 #aaf1 #bcg1 #bch1 #bdj-bdb1 #bei ,sangallo3 ,aristotele1 assistant1 #aea ,sangallo3 ,ginliano da1 #aaf1 #ada ,san ,gallo3 ,porta1 #bjj ,sansovino3 ,andrea del ,monte a1 #bg ,sansovino3 ,jacopo1 #bfc ,santa ,croce3 ,cardinal1 #hd ,santa ,croce3 ,florence1 #bec1 #bfj-bfb ,santarelli3 sculptor1 discovers a statue1 #ajh ,santiquattro3 ,cardinal1 #fa1 #eb ,sarto3 see ,andrea ,savonarola3 the master's affection for1 #hg2 his sermons1 #ajf ,scaffolding3 designed by the master1 #hb2 drawing of1 #ih2 fall from1 #bah ,schongauer3 see ,martin ,scipio1 #hd ,scourging of ,christ3 drawn for ,sebastiano1 #aja1 #bfe ,sebastiano del ,piombo1 #aja3 a walk in ,rome1 #aba2 letters from1 #ahe1 #ahg1 #ahh1 #bje2 portrait of ,doria1 #aia2 letter to1 #aig2 prepares the wall for the ,day of ,judgment1 #bag1 #bca1 #bch1 #bec1 note2 his genial humour1 #bfd2 designs for1 #bfe1 #bib1 #cad1 #cbg ,setta ,sangallesca1 #bcg1 #bdb-bde ,settignano3 the master nursed at1 #f ,sibyls1 #db1 #de1 #afd1 #aff-agj1 #agf-agh2 by ,raphael1 #agg ,siege of ,florence1 #bja1 #bje ,siena1 #bgc1 #bib1 #cbg ,sigismondo3 a brother1 #aji ,signorelli3 ,luca1 pictures in the ,uffizi1 #abc2 and ,sistine ,chapel1 #aff2 slight influence of1 #abc1 #abd ,silvester3 ,san1 at ,monte ,cavallo1 #bga-cbg ,simone da ,canossa3 ancestor1 #d1 #f ,sin of ,ham1 #afd1 #agj1 #agd1 #agi ,sistine ,chapel1 #da-di1 #afg-ahj1 #baj ,sixtus ,,iv43 ,pope1 #da ,slaves3 the two1 marble statues1 given to ,strozzi1 #hi1 #abi1 #aaf2 #ahb1 #baf1 #bbe1 #bbg ,snow3 a statue in1 #ae ,socrates1 #hg ,soderini3 ,cardinal1 #ci ,soderini3 ,pier1 ,gonfaloniere1 #bh1 #cf1 #cg1 #if1 #ig2 his criticism of the ,david1 #aah1 #acb ,solari3 ,cristoforo1 ,il ,gobbo1 #aac ,spain1 #bjj1 #cab1 #cac ,spanish ,chapel1 #ii ,spedalingo3 head of the hospital of ,s4,m4 ,nuova1 #aeg1 #aha1 #ahb ,spina3 ,giovanni1 to pay a provision to the master1 #aib2 letter to1 #aid ,spirito3 ,santo1 a crucifix for1 #af ,spoleto1 #bef ,staccoli3 ,hieronimo1 his letter to the ,duke of ,camerino1 #bag ,stairway to the ,library1 #bej ,stanze3 of the ,vatican1 #bfc1 #bgj1 #bga1 #bib ,stefano3 di ,tomaso1 #aia1 #aib ,strozzi3 ,filippo1 a sword hilt given to1 #acf ,strozzi3 ,giovan ,battista1 verses on the ,night1 #bah ,strozzi3 ,lorenzo1 #afa ,strozzi ,palace3 the ,hercules there until the siege1 #aje ,strozzi3 ,roberto1 ,slaves given to1 #hh1 #hi1 #bbg ,stufa3 ,luigi della1 a colossus to spoil the front of his palace1 #aih1 #aii ,sword-hilt3 designed for ,aldobrandini but given to ,strozzi1 #ahf ,tapestry3 ,raphael's cartoons for1 #afg ,tasio3 wood-carver1 #aig ,taro3 river1 #aic ,t3 ,palazzo del1 #bfc ,teridade3 ,king1 #bid ,terribilit3 the master's1 #aja1 #aag ,teyler ,museum3 ,haarlem1 #bec ,tiber1 #aic ,tiberio ,calcagni1 #bdi2 letter to ,lionardo1 #beg1 #beh ,ticino3 river1 #aic ,titian3 his later work1 #bcj1 #bij1 #cbg ,tityos3 drawing1 #bca ,tolemei3 ,claudio1 #he ,tomaso3 see ,cavalieri ,tomaso3 of ,prato1 attorney1 #fb ,tomb of ,julius3 first design1 #cj-cc1 #abh1 #abi2 description1 #fg2 moneys received for1 #fi1 #ahc1 #ahf2 the master's desire to complete it1 #aia2 and trouble concerning it1 #aid1 #bje1 #bjg ,tondi3 see ,madonna and ,child ,topolino3 ,domenico ,fancelli1 letter to1 #aij2 #bfd ,torrigiano3 strikes the master1 #ia2 his history1 #ib2 a ,st4 ,francis by1 #aad ,tribolo3 studied the ,cartoon1 #abg ,trinit de' ,monti1 #bec ,tromboncini3 ,bartolomeo1 music to the madrigals1 #bjg ,turk3 ,the ,grand1 invites the master1 #cg1 #gh ,uffizi3 ,florence1 the painted tondo1 #bi1 #abb2 the dancing ,faun1 #age2 ,signorelli's pictures #abc2 drawings1 #aic ,urbino3 ,francesco1 #bee1 #bef1 #bgc1 #cad ,urbino3 ,francesco ,maria1 ,duke of1 finds fault with the slow progress of the ,tomb of ,julius ,,ii41 #ee1 #fb-fd2 ,paul ,,iii4 arranges a new contract1 #fg1 #fi1 #bjg2 final contract1 #bbe1 #bbf1 #bij ,urbino3 the master thinks of retiring to1 #ff ,urbino3 the ,palace of the ,duke1 #bij ,valdarno1 #bfd ,valori3 ,baccio1 the ,apollo presented to1 #bje1 #bjg ,valentino3 ,duke1 sends the god of ,love to ,mantua1 #bb1 #bc ,valerio ,cioli1 #bfb ,valerio de ,vincena1 #bgj ,valpaio3 ,benvenuto1 #bjg ,valuation of works of art1 #cad ,vansitelli1 #bea ,varchi3 ,lectures and criticisms on the sonnets1 #hf2 oration1 #bfb ,vari3 see ,metello ,vasari3 ,giorgio1 his famous book1 #ib1 #ig1 #ih2 preserves the broken fragments of the arm of the ,david1 #aag2 the story of the ,gonfaloniere1 #aah2 the ,st4 ,matthew1 #abj2 the tondi1 #aba1 #abb2 the ,cartoon1 #abf2 seventeen statues for the ,tomb of ,julius completed1 #acj2 a list of assistants1 #aej1 #aea2 his fable of the vault1 #aeh1 #afc2 the ,apollo1 #bjd2 he completes the works at ,san ,lorenzo1 #bji1 #baa2 how ,sebastiano prepared the wall1 #bag2 the master's fall1 #bah2 the ,day of ,judgment1 #bbb2 the ,cappella ,paolino1 #bcb2 he sees the master working at night1 #bce2 a ,piet1 #bcg2 the cornice1 #bch2 ,st4 ,peter's1 #bda2 plots1 #bdc2 the bridge of ,nanni1 #bde2 the church for the ,florentines in ,rome1 #bdi2 the medal of ,leone1 #beb2 he holds another ,buonarroto at the font1 #bee2 a letter to1 referring to the death of ,urbino1 #bee1 #bef2 the master's will1 #bfi2 he receives the master's body in ,florence1 #bfj2 and describes the opening of the coffin in ,santa ,croce1 #bfa2 and the obsequies at ,san ,lorenzo1 #bfb2 he designs the ,tomb1 #bfb2 and enumerates the pupils1 #bfc ,vauban3 studies the fortifications at ,san ,miniato1 #bjc ,vault3 of the ,sistine ,chapel1 #da-di2 works begun1 #adi2 painting begins1 #aea2 assistants dismissed1 #aef2 mould on the fresco1 #afa2 exposed to view1 #afc2 finished1 #afe2 a description1 #afg-agi1 #bia ,vecchio3 ,palazzo1 #aaf2 cartoon for1 #abd2 ,bandinelli's ,hercules and ,cacus1 #bjd ,venice3 the master invited to1 #gh2 flees to1 #bjb2 ,sebastiano refers to1 #bjf1 #bij1 #cbg ,venusti3 see ,marcello ,victory3 the1 a marble statue in the ,bargello1 #abi1 #bbh ,vincenzo3 see ,borghini ,vinci3 see ,lionardo ,vincula3 ,san ,pietro in1 ,bramante's work needs support1 #cb2 the ,moses placed in1 #cc ,virgil1 #gf1 #bih1 #cjc ,vitelli3 ,alessandro1 #fj ,viterbo3 ,vittoria ,colonna visits1 #he1 #bdj2 the ,piet by ,sebastiano1 #bfe ,vitruvius1 #bcg ,vittoria3 see ,colonna ,volterra3 ,cardinal1 letter from ,soderini to1 #acb ,volterra3 see ,daniele ,windsor3 drawings1 #bcj ,works of art in the house of the master when he died1 #bei ,zanobi3 ,via ,san1 #ahd ,zanobi3 ,mona1 land near her estate1 #ace ,zapata3 ,diogo1 #bhi ,zeuxis1 #cae ,printed by ,,ballantyne1 ,,hanson ,,co4 ,london ,edinburgh #a ,for convenience of reference the chapters in the two parts are divided so as to cover the same periods of time in the life of the master4 #b ,count ,alessandro da ,canossa acknowledged relationship to ,michael ,angelo in a letter1 dated ,october #d1 #aebj 7,gotti1 i4 #d71 addressing the master as honoured kinsman1 but the relationship cannot now be proved4 ,the ancestors of ,michael ,angelo have been traced to one ,bernardo who died before the year #abbh1 and they played their part as citizens of ,florence1 no mean city1 for more than two hundred years--a noble pedigree even for ,michael ,angelo4 #c ,a paid magistrate or mayor1 generally from a neighbouring town or country and not a citizen of the place where he was on duty4 #d ,caprese is made up of scattered hamlets and farmhouses near ,arezzo1 upon the watershed between the ,tiber and the ,arno4 #e ,upon ,march #f1 #adge1 according to our present reckoning1 ,lodovico wrote in his note-book3 ,i record that on this day1 ,march #f1 #adgd1 a male child was born to me4 ,i gave him the name of ,michael ,angelo1 and he was born on a ,monday morning four or five hours before daybreak1 and he was born while ,i was ,podest of ,caprese1 and he was born at ,caprese2 and the godfathers were those ,i have named below4 ,he was baptized on the eighth of the same month in the ,church of ,san ,giovanni at ,caprese4 ,then follow the godfathers2 there are ten of them4 #f ,maestro ,francesco only taught ,michael ,angelo to read and write in the vulgar tongue1 for his pupil complained in after life that he knew no ,latin2 this was not ,francesco's fault1 for his pupil soon followed his friend's--another ,francesco--influence and neglected literature for the art that made him famous4 #g ,ghirlandaio1 born #addi1 died #adid4 #h ,martin ,schongauer1 born at ,colmar about #adej1 died #adhh4 #i ,when ,michael ,angelo was thirteen years old ,lodovico gave in to his wishes and apprenticed him to ,domenico ,ghirlandajo 7he was called ,ghirlandajo because as a goldsmith he had made garlands of golden leaves for the brows of the ,florentine ladies7 upon the unusual terms set forth in the following minute from ,domenico's ledger under the date #adhh3 ,i record this first of ,april how that ,i1 ,lodovico di ,lionardo di ,buonarrota1 bind my son ,michael ,angelo to ,domenico and ,davit di ,tommaso di ,currado for the next three ensuing years1 under these conditions and contracts3 to wit that the said ,michael ,angelo shall stay with the above-named masters during this time1 to learn the art of painting1 and to practise the same1 and to be at the order of the above-named2 and they for their part1 shall give him in the course of these three years twenty-four florins 7fiorini di ,sagello1 #h #abs472 to wit1 six florins in the first year1 eight in the second1 ten in the third1 making in all the sum of ninety-six pounds 7lire74 ,a note of ,april #af1 #adhh1 records that two florins were paid to ,michael ,angelo upon that day4 ,the total sum is estimated by ,gotti 7p4 #f1 note7 to equal #bjf4dj lira present value--about #h #abs4 ,it was usual for apprentices to pay a sum to their masters rather than to be paid4 #aj ,drawings1 even by old masters1 were of no pecuniary value in those days2 they were merely kept for use in the workshop4 ,the fashion of collecting drawings for their own sake was invented by ,giorgio ,vasari some sixty years later4 #aa ,there is a mask of a grinning faun to be seen in the ,bargello at ,florence1 attributed to ,michael ,angelo and said to be this his first work in sculpture4 ,it does not correspond with either the account of ,vasari or of ,condivi2 it is a poor and ugly piece of work1 and shows no sign whatever of the early style of ,michael ,angelo1 but is more likely a work of a later period by some one who had seen the mask under the left arm of ,the ,night on the tomb of ,lorenzo at ,san ,lorenzo4 #ab ,during this time ,michael ,angelo received from the ,magnifico an allowance of five ducats per month1 and was furthermore presented for his gratification with a violet-coloured mantle4 ,but1 indeed1 all the young men who studied in the gardens received stipends of greater or less amount from the liberality of that ,magnificent and most noble citizen1 being constantly encouraged and rewarded by him whilst he lived4 7,vasari47 #ac ,many motives from antique gems may be traced in the art of ,michael ,angelo1 such as the ,judith and her maid1 some of the athletes the ,leda1 and even the ,adam4 #ad ,lorenzo died upon the eighth day of ,april1 #adib4 #ae ,equal to-day to #bj4fj lire--about seventeen shillings4 #af ,nineteen and a quarter inches according to the measurements of ,heath ,wilson 7,michael ,angelo and his ,works1 p4 #ag1 ed4 #ahha74 ,this relief is in the ,casa ,buonarroti1 ,florence4 #ag ,we have no record of this work1 and its whereabouts is not known4 #ah ,the boy1 ,michael ,angelo1 probably enjoyed this frolic and its attendant festivities as much as ,piero1 he could not have done much other work in the dungeon-like studios of ,florence in such cold weather4 ,this incident has been regarded as an insult to the artist and a sign of ,piero's want of taste4 ,michael ,angelo cannot have felt aggrieved as he stayed on at the palace4 ,condivi relates that he remained some months4 ,piero should rather be blamed for not employing his artist guest upon some more lasting work also4 #ai ,nothing is known as to the fate of this work1 it is not now in the church4 #bj ,vasari states that ,michael ,angelo devoted much time to the study of anatomy4 ,for the church of ,santo ,spirito1 in ,florence1 ,michael ,angelo made a crucifix in wood1 which is placed over the lunette of the high altar4 ,this he did to please the ,prior1 who had given him a room wherein he dissected many dead bodies1 zealously studying anatomy4 7,vasari47 ,a pen drawing at ,oxford shows us two students studying anatomy at night2 the body of the subject supports the torch2 one student holds a pair of compasses in his right hand for measuring the proportions4 #ba ,michael ,angelo left ,bologna hastily under fear of personal violence from the sculptors and native craftsmen1 who said he was taking the bread out of their mouths1 rather a strong compliment to a boy of twenty4 #bb ,the dealer ,baldassari del ,milanese paid ,michael ,angelo thirty ducats for this work1 and sold it to ,raffaello ,riario1 ,cardinal di ,san ,giorgio1 as an antique for two hundred ducats1 an evidence1 not of the ,cardinal's foolishness1 but of ,michael ,angelo's careful study of the antique4 #bc ,the ,cardinal ,s4 ,giorgio made ,messer ,baldassari refund the two hundred ducats and take the ,cupid back1 so ,michael ,angelo got nothing for his journey4 ,cesare ,borgia presented this ,cupid to ,guidobaldo di ,montefeltro1 ,duke of ,urbino4 ,after ,cesare ,borgia sacked the town of ,urbino in #aeib he sent the ,cupid to the ,marchioness of ,mantua1 who wrote on ,july #bb1 #aeib1 describing the ,cupid as without a peer among the works of modern times4 ,there is a sleeping ,cupid at ,mantua in the ,museo ,civico1 but it is not by ,michael ,angelo4 ,signor ,fabriczy holds that a ,cupid preserved in the museum at ,turin may be ,michael ,angelo's original work1 but the translator has not seen it4 #bd ,michael ,angelo arrived in ,rome for the first time at the end of ,june #adif1 and wrote in ,july to ,lorenzo di' ,pier ,francesco de' ,medici4 ,the letter bears a superscription to ,sandro ,botticelli2 historians presume from this that it was not safe to write openly to any of the ,medici4 #bnd day of ,july1 #adif4 ,magnificent ,lorenzo1--,i only write to inform you that last ,saturday we arrived safely1 and went at once to visit the ,cardinal di ,san ,giorgio2 and ,i presented your letter to him4 ,it appeared to me that he was pleased to see me1 and he expressed a wish that ,i should go immediately to inspect his collection of statues4 ,i spent the whole day there1 and for that reason was unable to deliver all your letters4 ,on ,sunday the ,cardinal came into the new house1 and had me sent for4 ,i went to him1 and he asked me what ,i thought about the things ,i had seen4 ,i replied by stating my opinion1 and certainly ,i can say with sincerity that there are many fine things in the collection4 ,then he asked me if ,i had the courage to make some beautiful work4 ,i answered that ,i should not be able to achieve anything so great1 but that he should see what ,i could do4 ,we have bought a piece of marble for a life size statue1 and on ,monday ,i shall begin to work4 ,on ,monday last ,i presented your other letter of recommendation to ,rucellai1 who offered me what money ,i might want2 also those to ,cavalcanti4 ,afterwards ,i gave your letter to ,baldassare1 and asked him for the child 7the sleeping ,cupid71 saying ,i was ready to refund his money4 ,he answered very roughly1 swearing he would rather break it in a hundred pieces2 he had bought the child and it was his property2 he possessed writing which proved that he had satisfied the person who sent it to him1 and was under no apprehension that he should have to give it up4 ,then he complained bitterly of you1 saying that you had spoken ill of him4 ,certain of our ,florentines sought to accommodate matters1 but failed in their attempt4 ,now ,i look to coming to terms through the ,cardinal2 for this is the advice of ,baldassare ,balducci4 ,what ensues ,i will report to you4 ,no more by this4 ,to you ,i recommend myself4 ,may ,god keep you from evil4 ,michael ,angelo1 in ,rome4 ,to ,sandro ,botticelli1 at ,florence4 7,gotti1 ii4 #cb47 #be ,this ugly1 but marvellously-finished statue is now in the western corridor of the ,uffizi1 in ,florence4 ,see p4 #ajg4 #bf ,see p4 #ajh4 #bg ,the work is now in the first chapel on the right in the nave of the ,basilica of ,saint ,peter's4 #bh ,now in the ,accademia delle ,belle ,arti of ,florence1 where it was placed for its better preservation in #ahca4 #bi ,the ,office of ,works4 #cj ,documents1 copies of which are to be found in ,gaye1 vol4 ii4 pp4 #ded-dfd1 go to prove that this sculptor was ,agostino di ,antonio di ,duccio1 who was born in #adah and died in #adha4 ,he was the author of the relief illustrating the life of ,s4 ,gemignano upon the faade of the ,duomo at ,modena1 and some of the beautiful and delicate marble reliefs set in the polychromatic front of the ,oratory of ,s4 ,bernardino at ,perugia1 and the fairy-like low relief 7bassissimi rilievi7 panels that decorate the interior of the temple of ,malatesta at ,rimini4 #ca ,the ,madonna and ,child in the church of ,notre ,dame at ,bruges1 identified as this work1 is in marble4 ,vasari also states that the work for the ,moscheroni1 ,merchants of ,bruges1 was a bronze1 but both accounts were written fifty years after the event4 ,albert ,drer saw this work in the church and mentions it as a marble statue in his ,netherlands ,diary1 #aebj-ba4 #cb ,now in the ,tribuna of the ,uffizi1 ,florence4 #cc ,michael ,angelo received payment for the cartoon probably in ,florence on ,february the #bhth1 #aeje 7,gaye1 ii41 p4 #ic71 and he went to ,carrara in ,april of that year1 so the delay was only two months1 a short enough time to prepare his great design4 #cd ,the right bank of the ,tiber below ,rome4 ,on the opposite shore is the ,marmorata1 where blocks of marble were unloaded in the times of the ancient ,romans2 some are there to this day4 #ce ,the covered way from the ,vatican to the ,castle of ,saint ,angelo4 #cf ,heath ,wilson estimates the area it would have covered as #cd-a_/b ft4 by #bc ft4 7p4 #gd74 #cg ,michael ,angelo fled from ,rome during the week after ,easter1 #aejf4 ,he relates the circumstances in a letter of ,october #aedb1 ,no4 c4 d4 xxxv4 ,le ,lettere p4 #dhi1 which corroborates ,condivi's story word for word1 and is another proof of the autobiographical nature of these memoirs4 #ch ,no fragments of this cartoon remain2 perhaps the best copy is that in possession of the ,earl of ,leicester at ,holkham ,hall4 ,see also p4 #abd4 #ci ,like the good ,catholic he was1 he went to hear mass as soon as he had completed his journey2 he always behaved as a good son of the ,church4 #dj ,this composition is generally known as the ,sacrifice of ,noah1 see p4 #agb4 ,condivi evidently did not refer these descriptions to the master1 they are so full of curious individualities of his own4 #da ,that is the picture right4 #db ,the picture right1 i4e41 the spectator's left4 #dc ,to bloom1 as a painter of to-day would say4 #dd ,see p4 #afc4 #de ,see pp4 #adg-afe and #ahc4 ,the first half may be estimated to have taken eight months and a few days1 and the second half from ,january #aeaj to ,october #aeab1 with intervals for journeys to ,florence1 to ,bologna1 and other interruptions4 #df ,that is professional assistance by artists or pupils4 ,workmen were employed to plaster each day's section of work1 writers to do the lettering1 and even decorative workmen for architectural details4 #dg ,these quarries are in the ,alpi ,apuane near ,viareggio1 we are informed by a modern ,florentine sculptor that this marble is of excellent quality4 #dh ,see pp4 #ahc-ahe4 #di ,this column was still lying in the ,piazza of ,san ,lorenzo in #ahhh2 it has now been removed4 #ej ,michael ,angelo's love for ,lorenzo the ,magnificent never abated1 and these tombs may be regarded as a tribute to his early patron's memory4 ,he worked upon them in secret during the siege itself4 #ea ,condivi had not seen this sacristy and described it merely from the fragmentary recollections of the master4 #eb ,possibly in the ,duke's collection there may have been an antique gem engraved with the story of ,leda which influenced ,michael ,angelo in his choice of this classical subject for the picture he painted for the ,duke4 #ec ,the best version of this picture is in one the offices of the ,national ,gallery1 ,london2 it is probably the much restored original which was supposed to have been destroyed by order of ,m4 ,desnoyers4 ,see p4 #bjd4 #ed ,francis ,i4 #ee ,afterwards ,cardinal ,pole1 ,papal ,legate in the time of ,king ,henry ,,viii4 and ,queen ,mary ,i41 born at ,stourton ,castle1 ,staffordshire1 #aejj2 died ,november #ah1 #aeeh4 #ef ,the ,slaves1 now in the ,louvre1 ,paris4 #eg ,the ox1 in ,italian banter1 appears to have taken the position of the ass with us in ,england1 as a dull1 heavy beast1 a fool4 ,michael ,angelo's answer was1 as it were3 ,it is according to the asses you mean2 if it be these asses of ,bolognese doubtless they are much bigger2 if ours of ,florence they are much smaller4 ,you are bigger asses in ,bologna than we are in ,florence4 #eh ,piero ,torrigiano gave his version of the affair to ,benvenuto ,cellini long afterwards3 ,this ,buonarroti and ,i used1 when we were boys1 to go into the ,church of the ,carmine to learn drawing from the ,chapel of ,masaccio4 ,it was ,buonarroti's habit to banter all who were drawing there1 and one day1 when he was annoying me1 ,i got more angry than usual1 and1 clenching my fist1 ,i gave him such a blow on the nose that ,i felt bone and cartilage go down like biscuit beneath my knuckles2 and this mark of mine he will carry with him to his grave4 ,cellini adds--,these words begat in me such hatred of the man since ,i was always gazing at the masterpieces of the divine ,michael ,angelo1 that1 although ,i felt a wish to go with him to ,england1 ,i now could never bear the sight of him4 ,torrigiano worked for ,henry ,,viii4 of ,england in ,henry ,,vii4 chapel1 ,westminster1 and at ,hampton ,court4 ,afterwards he went to ,spain and came to a bad end there1 as ,condivi says4 ,he died in the prisons of the ,inquisition1 he had been condemned for destroying a figure of the ,madonna of his own carving2 his patron paid him insufficiently1 so he went to the house1 hammer in hand1 and destroyed the statue1 with this unfortunate result4 ,he starved himself to death in prison as a worse fate awaited him4 ,see ,vasari4 #ei ,can this refer to the ,second ,edition of ,the ,lives of the ,painters1 ,sculptors1 and ,architects1 by the kindly ,giorgio ,vasari8 #fj --,the ,temptation of ,saint ,anthony1 from the engraving by ,martin ,schongauer4 #fa ,ghirlandaio4 #fb ,there is a drawing in the ,louvre of a faun's head1 in pen and ink1 by ,michael ,angelo1 over a red chalk drawing by an inferior hand4 ,it does not appear to be this drawing mentioned by ,vasari1 but a caprice possibly of the same period1 in which the master has undertaken to draw a head with a pen1 in which the projections and indentations of the profile shall contradict the outline of the conventional red chalk drawing below4 #fc ,vasari tells us that one of these pulpits had not been placed in its position in the church even when ,michael ,angelo's funeral service was held there in #aefd1 so it is quite likely that it was still in the workshop in #adhi4 #fd ,that is the ,hellenic work of the degenerate ,greeks in ,italy3 all that was to be seen in his day4 #fe ,page #aj4 #ff ,all the works of ,michael ,angelo1 whether sculpture1 painting1 or drawing partake of the nature of bas-relief1 that old ,tuscan art developed to such good purpose by the ,florentines4 ,the marks of his chisel hatch out the forms and develop the planes just as the parallel strokes of his pen cut out the reliefs of his drawings from the paper4 ,his method of sculpture in the round was that of a carver of bas-reliefs4 ,he gradually cut away the background more and more until the relief was actually the highest relief possible1 the round4 ,every piece of sculpture ,michael ,angelo executed is the better for a background1 whether niche or wall1 for they all partake of this bas-relief nature2 and his paintings and drawings may every one of them be thought of as bas-reliefs1 and so it is with all the works of the ,florentines1 his contemporaries and predecessors4 ,space and distance never entered into their calculations before the time of ,piero di ,cosimo and his pupil ,andrea del ,sarto1 and even then with but indifferent results4 ,they were all content with the flat bas-relief effects familiar to them in the gates of the ,baptistry and the jewel-like decorations of the ,campanile4 ,their favourite problem was the expression of force by form1 and no art was so useful for that purpose as bas-relief1 because of its fixed main lines of composition and its absolute power of expressing the detail of the action of muscle and bone4 #fg ,leonardo may have shown it to ,vasari also as an early work of the master's2 ,condivi does not mention it4 #fh ,the cast of an angel from this shrine at the ,victoria and ,albert ,museum1 ,south ,kensington1 is not from the one carved by ,michael ,angelo1 nor is it of his school as the label states2 it is probably by ,nicolo del ,arca4 ,michael ,angelo's figure is the companion angel on the other side of the altar4 #fi ,see p4 #ba4 #gj ,probably because it was dangerous to write to any member of the ,medici family4 ,it proves to us that ,michael ,angelo and ,sandro ,botticelli were on confidential terms4 #ga ,see p4 #bd4 #gb ,see p4 #be4 #gc ,vol4 i4 p4 #bb4 #gd ,the ,monte di ,piet is a savings-bank and pawn-broker's1 established by the state or city4 #ge ,le ,lettere1 ii4 p4 #d4 #gf ,gotti1 ii4 p4 #cc 7,archivio ,buonarroti74 #gg ,nine cubits #e4ca metres1 or #ac feet #f inches4 #gh ,agostino di ,duccio4 #gi ,gotti estimates six golden florins at #eg4fj francs1 or about #b #fs4 #hj ,s4,c4 #aejd4 ,see ,le ,lettere1 c41 p4 #fbj4 #ha ,a contemporary account1 ,gotti1 vol4 i4 p4 #bi4 #hb ,firenze3 ,le ,monnier1 #aheg1 p4 #aig4 #hc ,perkins ,tuscan ,sculptors1 vol4 ii4 p4 #gd4 #hd ,this reason given by ,vasari for the use of various mediums is just the sort of reason he would have had himself for using them4 ,michael ,angelo merely used different materials because it was the best way of getting the different effects he wanted1 or1 sometimes possibly1 because they happened to be handy4 #he ,we know how difficult it is to get facts about the works done a few decades ago1 even though the artists be still living2 for instance1 how little we know of the cartoon competition held in ,westminster ,hall in #ahdc1 or the fresco of ,justice painted by ,mr4 ,g4,f4 ,watts1 ,r4,a41 in the ,new ,hall of ,lincoln's ,inn4 #hf ,gotti1 i4 p4 #df 7in the ,archivio ,buonarroti74 #hg ,gaye1 vol4 ii4 pp4 #hc1 #hd1 #he1 #ia1 #ic1 gives all the correspondence4 #hh ,lettere1 ,no4 ccclxxxiii4 #hi ,about fourteen feet1 that is to say1 at least three times the size of life1 as it was a sitting figure4 #ij ,lettere1 ,no4 xlviii4 p4 #fa 7in the ,british ,museum74 #ia ,le ,lettere1 ,no4 #a4 p4 #fe 7in the ,archivio ,buonarroti74 #ib ,that is1 ,dame ,zanobia4 #ic ,le ,lettere1 ,no4 iv4 p4 #h 7in the ,british ,museum74 #id ,we should like to see it2 we have nothing of ,michael ,angelo's which can help us to imagine what this work was like4 #ie ,le ,lettere1 ,no4 lx4 p4 #gf 7in the ,british ,museum74 #if ,le ,lettere1 ,no4 lxii4 p4 #gh 7in the ,archivio ,buonarroti74 #ig ,le ,lettere1 ,no4 lxiii4 p4 #gi 7in the ,british ,museum74 #ih ,le ,lettere1 ,no4 lxiv4 p4 #hj 7in the ,archivio ,buonarroto74 #ii ,nephew of ,antonio del ,pollaiuolo4 #ajj ,le ,lettere1 ,no4 lxv4 p4 #ha 7in the ,archivio ,buonarroto74 #aja ,le ,lettere1 ,no4 lxxii4 p4 #hh 7in the ,british ,museum74 #ajb ,le ,lettere1 ,no4 lxxv4 p4 #ia 7in the ,archivio ,buonarroti74 #ajc ,lettere1 ,no4 ccclxxxiii4 p4 #dbf 7in the ,archivio ,buonarroti74 #ajd ,le ,lettere1 ,no4 c4 7,ricordi7 p4 #efc 7in the ,british ,museum74 #aje ,in the ,buonarroti ,archives2 quoted by ,heath ,wilson1 p4 #abc4 #ajf 4,ibid4 p4 #abd4 #ajg ,le ,lettere1 ,no4 vii4 p4 #ac 7in the ,british ,museum74 #ajh ,the head of the hospital of ,santa ,maria ,nuova in ,florence1 where ,michael ,angelo banked his money4 #aji ,l',indaco4 #aaj ,le ,lettere1 ,no4 x4 p4 #ag 7in the ,british ,museum74 #aaa ,le ,lettere xvii4 p4 #bg 7in the ,british ,museum74 #aab ,lorenzo ,strozzi1 to whose wool-shop ,buonarroto went4 #aac ,lettere1 ,no4 lxxx4 p4 #ig 7in the ,british ,museum74 #aad ,lettere1 ,no4 lxxxi4 p4 #ih 7in the ,british ,museum74 #aae ,albertini1 ,mirabilia ,urbis1 quoted by ,grimm vol4 i4 p4 #ebc4 ,albertini's words are pars testudinea superior4 #aaf ,director of the hospital of ,santa ,maria ,nuova1 where ,michael ,angelo banked his money4 #aag ,le ,lettere1 ,no4 xxi4 p4 #ca 7in the ,british ,museum74 #aah ,j4,a4 ,symonds4 ,the ,sonnets of ,michael ,angelo and ,campanella1 ,no4 lvi4 p4 #ij4 #aai ,milanesi ,lettere1 ,contratti1 c41 xiv4 p4 #fda4 #abj ,the director of the hospital where ,michael ,angelo banked his money4 #aba ,milanese1 ,le ,lettere1 ,no4 xcvii4 p4 #aae4 #abb ,michael ,angelo wrote a postscript to letter ,no4 cxvi43 ,oh1 cursed a thousand times the day and hour when ,i left ,carrara6 ,this is the cause of my utter ruin4 ,but ,i shall go back there soon4 ,nowadays it is a sin to do one's duty4 #abc ,milanese4 ,ricordi1 c41 p4 #eha4 #abd ,milanese4 ,les ,correspondants de ,michel ,ange1 p4 #bd4 #abe 4,ibid4 p4 #bd4 #abf ,the letters of ,vari are in the ,buonarroti ,archives1 ,cod4 xi41 ,no4 #gdj-gfa2 ,symonds1 vol4 i4 p4 #cfb4 #abg ,le ,lettere1 ,no4 ccclxxx41 p4 #dbc 7in the ,archivio ,buonarroti74 #abh ,le ,lettere1 ,no4 xliv41 p4 #ee 7in the ,british ,museum74 #abi ,le ,lettere1 ,no4 cccxc4 p4 #dcg4 ,milanese dates this letter ,august #h1 #aebd4 ,michael ,angelo to ,giovanni ,spina2 he signs it at ,san ,lorenzo4 #acj ,several are by the hand of ,michael ,angelo1 but some are done in the mannered style of the architectural draughtsman of the period1 and suggest a ,florentine assistant4 #aca ,gotti1 i4 #aeh #acb ,lettere1 ,nos4 cd4 and cdii4 pp4 #dej1 #dec4 #acc ,le ,lettere1 ,no4 cccxciv4 p4 #ddb 7in the ,archivio ,buonarroti74 #acd ,le ,lettere1 ,no4 cd4 p4 #dej 7in the ,archivio ,buonarroti74 #ace ,le ,lettere1 ,no4 cccxcvii4 p4 #ddf 7in the ,archivio ,buonarroti74 #acf ,surnamed ,dini2 he fell in the sack of ,rome4 #acg ,le ,lettere1 ,no4 cccxcix4 p4 #ddh 7in the ,archivio ,buonarroti74 #ach ,the gate called ,san ,gallo1 which remained open until daylight4 #aci ,vol4 i4 p4 #bjg4 #adj ,gotti1 i4 #aii4 ,san ,nicolo is a little church on the way to ,san ,miniato2 the tower forms the foreground in the view from the top of the hill4 #ada ,see p4 #fa4 #adb ,the letter is in ,gaye1 ii4 #bbi4 #adc ,any one who has spent a winter day drawing there will confirm ,paolo in this statement4 #add ,correspondants1 pp4 #ajh-aab4 #ade ,vol4 ii4 pp4 #hi1 #abb4 #adf ,in the ,archivio ,buonarroti1 ,codici xi4 ,no4 #gfe2 ,bottari1 ,lettere ,pittoriche1 vol4 iii4 pp4 #gh-hd2 and ,symonds1 vol4 ii4 p4 #be4 #adg ,see p4 #ff4 #adh ,gotti1 ii4 p4 #abc4 #adi ,gotti1 ii4 p4 #abe4 #aej ,see ,gaye1 iv4 #bhi-cji1 and ,lettere1 c41 pp4 #gji-gab4 #aea ,lettere1 ,no4 cdxxxiii41 dated ,july #bj4 #aeb ,lettere1 p4 #gae4 #aec ,lettere1 ,no4 cdxlv4 p4 #eje 7in the ,biblioteca ,nazionale1 ,florence47 #aed ,bottari1 ,lett4 pitt4 iii4 #gif4 #aee ,heath ,wilson1 p4 #ddi4 #aef ,archivio ,buonarroti1 ,cod4 vii4 #aeg ,le ,lettere1 ,no4 cdlix4 p4 #eai 7in the ,archivio ,buonarroti74 #aeh ,the ,sonnets of ,michael ,angelo4 ,by ,j4,a4 ,symonds4 ,no4 lxv4 #aei ,le ,lettere1 ,no4 cdlxxiv4 p4 #ece1 written in #aeee 7in the ,archivio ,buonarroti74 #afj ,if the traveller has no luggage1 or has sent it on before1 he can walk from the ,trastevere station1 past the ,ponte ,rotto1 past the ,temple of ,janus to the ,forum1 and see ,rome for the first time so4 #afa ,le ,lettere1 ,no4 cdxc41 under date #aefj1 p4 #eed 7in the ,archivio ,buonarroti74 #afb ,gotti1 i4 #cji4 #afc ,le ,lettere1 ,no4 ccxxxi4 7,december #bast71 p4 #bfj 7in the ,british ,museum74 #afd ,le ,lettere1 ,no4 cdlxvi4 7,october #aedi71 p4 #ebg 7in the ,archivio ,buonarroti74 #afe ,gotti1 i4 #caa4 #aff ,le ,lettere1 ,no4 cdlxxv4 p4 #ecg 7in the ,archivio ,buonarroti74 #afg ,le ,lettere1 ,no4 cccii41 dated ,february #ac1 #aeeg1 p4 #ccc 7in the ,archivio ,buonarroti74 #afh ,le ,lettere1 ,no4 cdxciv4 p4 #eeh 7in the ,archivio ,buonarroti74 #afi ,le ,lettere1 ,no4 cccxiv41 dated ,july #ae1 #aeei1 p4 #cde 7in the ,archivio ,buonarroti74 #agj ,le ,lettere1 ,nos1 cdlxxxv41 cdlxxxvi4 pp4 #edh1 #eej4 #aga ,gotti4 i4 #cea4 #agb ,florence4 #agc ,reproduced in ,yriarte's ,florence1 p4 #bhj1 ,english edition4 #agd ,see ,frontispiece4 #age ,may we not hope that ,michael ,angelo's good friend1 the ,frate ,sebastiano del ,piombo1 painted a portrait of him during their long friendship1 and that it will come to light one of these days8 #agf ,le ,lettere1 cxci4-cxciii4 pp4 #bag1 #bai1 are on this subject 7in the ,british ,museum74 #agg ,a hospital in ,florence for the benefit of the ,poveri ,vergognosi1 poor folk who have come down in the world4 #agh ,le ,lettere1 ,no4 cclxix4 p4#bii 7in the ,british ,museum74 #agi ,le ,lettere1 ,no4 cdlxxv p4 #eci4 #ahj ,cellini4 #aha ,le ,lettere1 ,no4 cdlxxix4 ,dec4 #bh1 #aeef1 p4 #eda4 #ahb ,carte-,michelesch ,inedite1 p4 #da4 #ahc ,gotti1 i4 #ced4 #ahd ,a little after #h ,p4,m4 #ahe ,four o'clock in the afternoon4 #ahf ,gotti1 i4 p4 #ced4 #ahg ,clement ,,vii4 used to say1 ,when ,buonarroti comes to see me ,i always take a seat and bid him be seated at once1 feeling sure that he will do so without leave or licence otherwise4--,,translator4 #ahh ,albert ,drer4 #ahi ,parmigiano4 #aij ,assisi 7874 #aia ,the ,farnesina4 #aib ,now in the ,vatican ,gallery4 #aic ,the church of ,santa ,maria della ,pace4 #aid ,sebastiano del ,piombo2 the picture was the ,raising of ,lazarus1 ,no4 #a in the ,national ,gallery4 #aie ,chiaroscuro1 monochrome4 #aif ,baldassare ,peruzzi4 #aig ,bandinelli7874 #aih ,baldassare ,peruzzi4 #aii ,piazza ,navona8 #bjj ,in #aech4 #bja ,ottavio ,farnese4 #bjb ,margarite of ,austria1 natural daughter of ,charles ,v4