file which includes the original illustrations4 ,see #cbcfb-;h4htm or #cbcfb-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cbcfb_/pg#cbcfb-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#cb cfb_/cbcfb-;h4zip7 ,images of the original pages are available through ,internet ,archive_/,canadian ,libraries4 ,see http3_/_/www4archive4org_/details_/lives ofmostemine#jivasauoft ,transcriber's note3 ,obvious printer's errors have been corrected4 ,hyphenation and accentuation have been made consistent4 ,all other inconsistencies are as in the original4 ,the author's spelling has been retained4 ,text enclosed by equal signs was in bold face 7bold74 ,,lives ,,of ,,the ,,most ,,eminent ,,painters ,,sculptors ,,architects by ,,giorgio ,,vasari3 ,volume ,,ix4 ,michelagnolo to the ,flemings #aiae ,newly ,translated by ,,gaston ,du ,c4 ,,de ,,vere4 ,with ,five ,hundred ,illustrations3 ,in ,ten ,volumes ,illustration3 #aeaa-aegd ,philip ,lee ,warner1 ,publisher to the ,medici ,society1 ,limited #g ,grafton ,st4 ,london1 ,w4 #aiab-ae ,,contents ,,of ,,volume ,,ix ,,page ,,michelagnolo ,,buonarroti #a ,,francesco ,,primaticcio #adc ,,tiziano ,,da ,,cadore #aeg ,,jacopo ,,sansovino #ahe ,,leone ,,lioni ,,of ,,arezzo #bbg ,,don ,,giulio ,,clovio #bdc ,,divers ,,italian ,,craftsmen ,,still ,,living #bee ,,divers ,,flemings #bfc ,,index ,,of ,,names #bgc ,,illustrations ,,to ,,volume ,,ix ,,plates ,,in ,,colour ,,facing ,,page ,,michelagnolo ,,buonarroti ,the ,holy ,family ,florence3 ,uffizi1 #a1bci #d ,,tiziano ,,da ,,cadore ,the ,madonna of the ,cherries ,vienna3 ,imperial ,gallery1 #ahj #aeh ,,tiziano ,,da ,,cadore ,sacred and ,profane ,love ,rome3 ,borghese ,gallery1 #adg #afd ,,tiziano ,,da ,,cadore ,the ,duke of ,norfolk ,florence3 ,pitti1 #ib #afh ,,tiziano ,,da ,,cadore ,the ,education of ,cupid ,rome3 ,borghese ,gallery1 #agj #agf ,,paris ,,bordone ,the ,venetian ,lovers ,milan3 ,brera1 #aje #agh ,,plates ,,in ,,monochrome ,,michelagnolo ,,buonarroti ,the ,battle of the ,centaurs ,florence3 ,museo ,buonarroti #h ,,michelagnolo ,,buonarroti ,the ,angel with the ,candlestick ,bologna3 ,s4 ,domenico #aj ,,michelagnolo ,,buonarroti ,bacchus ,florence3 ,museo ,nazionale #ab ,,michelagnolo ,,buonarroti ,piet ,rome3 ,s4 ,peter's #ad ,,michelagnolo ,,buonarroti ,wax ,models for the ,david ,florence3 ,museo ,buonarroti #af ,,michelagnolo ,,buonarroti ,madonna1 ,child1 and ,s4 ,john ,florence3 ,museo ,nazionale #ah ,,michelagnolo ,,buonarroti ,young ,captive ,paris3 ,louvre #bj ,,michelagnolo ,,buonarroti ,victory ,florence3 ,museo ,nazionale #bb ,,michelagnolo ,,buonarroti ,moses ,rome3 ,s4 ,pietro in ,vincoli #bd ,,michelagnolo ,,buonarroti ,tomb of ,pope ,julius ,,ii ,rome3 ,s4 ,pietro in ,vincoli #bd ,,michelagnolo ,,buonarroti ,god ,dividing the ,waters from the ,earth ,rome3 ,sistine ,chapel #bh ,,michelagnolo ,,buonarroti ,the ,creation of ,eve ,rome3 ,sistine ,chapel #bh ,,michelagnolo ,,buonarroti ,the ,creation of ,adam ,rome3 ,sistine ,chapel #cb ,,michelagnolo ,,buonarroti ,the ,fall and the ,expulsion ,rome3 ,sistine ,chapel #cb ,,michelagnolo ,,buonarroti ,the ,lybian ,sibyl ,rome3 ,sistine ,chapel #cf ,,michelagnolo ,,buonarroti ,decorative ,figure ,rome3 ,sistine ,chapel #ch ,,michelagnolo ,,buonarroti ,the ,new ,sacristy ,florence3 ,s4 ,lorenzo #dj ,,michelagnolo ,,buonarroti ,madonna and ,child ,florence3 ,s4 ,lorenzo #db ,,michelagnolo ,,buonarroti ,giuliano de' ,medici ,florence3 ,s4 ,lorenzo #dd ,,michelagnolo ,,buonarroti ,tomb of ,giuliano de' ,medici ,florence3 ,s4 ,lorenzo #dd ,,michelagnolo ,,buonarroti ,apollo ,florence3 ,museo ,nazionale #ej ,,michelagnolo ,,buonarroti ,the ,last ,judgment ,rome3 ,sistine ,chapel #ef ,,michelagnolo ,,buonarroti ,charon's ,boat ,rome3 ,sistine ,chapel #eh ,,michelagnolo ,,buonarroti ,s4 ,sebastian ,rome3 ,sistine ,chapel #fj ,,michelagnolo ,,buonarroti ,piet ,florence3 ,duomo #fb ,,michelagnolo ,,buonarroti ,stairs of the ,palace of the ,senators ,rome3 ,the ,capitol #fd ,,michelagnolo ,,buonarroti ,court of the ,palazzo ,farnese ,rome #ff ,,michelagnolo ,,buonarroti ,biblioteca ,laurenziana ,florence #gh ,,michelagnolo ,,buonarroti ,piet ,rome3 ,palazzo ,rondanini #hd ,,michelagnolo ,,buonarroti ,s4 ,peter's ,rome #hf ,,michelagnolo ,,buonarroti ,s4 ,peter's ,rome #hh ,,michelagnolo ,,buonarroti ,porta ,pia ,rome #if ,,michelagnolo ,,buonarroti ,s4 ,maria degli ,angeli ,rome #ih ,,michelagnolo ,,buonarroti ,brutus ,florence3 ,museo ,nazionale #ajj ,,michelagnolo ,,buonarroti ,unfinished ,figure ,florence3 ,museo ,nazionale #ajf ,,francesco ,,primaticcio ,galerie ,henry ,,iv ,fontainebleau #adf ,,francesco ,,primaticcio ,escalier du ,roi ,fontainebleau #adh ,,pellegrino ,,tibaldi ,the ,adoration of the ,shepherds ,vienna3 ,collection of ,prince ,liechtenstein #aeb ,,tiziano ,,da ,,cadore ,ariosto ,london3 ,national ,gallery1 #a1idd #afj ,,tiziano ,,da ,,cadore ,bacchanal ,madrid3 ,the ,prado1 #dej #afb ,,tiziano ,,da ,,cadore ,madonna ,with ,saints and ,donor ,ancona3 ,s4 ,domenico #afb ,,tiziano ,,da ,,cadore ,charles ,v with ,dog ,madrid3 ,the ,prado1 #dec #aff ,,tiziano ,,da ,,cadore ,pope ,paul ,,iii ,naples3 ,museo ,nazionale #afh ,,tiziano ,,da ,,cadore ,dana ,naples3 ,museo ,nazionale #agj ,,tiziano ,,da ,,cadore ,perseus and ,andromeda ,london3 ,wallace ,collection1 #aa #agb ,,tiziano ,,da ,,cadore ,philip ,,ii ,naples3 ,museo ,nazionale #agb ,,tiziano ,,da ,,cadore ,mary ,magdalene ,naples3 ,museo ,nazionale #agd ,,tiziano ,,da ,,cadore ,the ,entombment ,madrid3 ,the ,prado1 #dfd #agf ,,paris ,,bordone ,the ,fisherman and the ,doge ,gradenigo ,venice3 ,accademia1 #cbj #ahj ,,paris ,,bordone ,portrait of a ,woman ,london3 ,national ,gallery1 #fgd #ahj ,,zuccati ,vision of the ,apocalypse ,venice3 ,s4 ,marco #ahb ,,jacopo ,,sansovino ,s4 ,james ,florence3 ,duomo #aij ,,jacopo ,,sansovino ,bacchus ,florence3 ,museo ,nazionale #aib ,,jacopo ,,sansovino ,mars and ,neptune ,venice3 ,ducal ,palace #aif ,,jacopo ,,sansovino ,library of ,s4 ,marco ,venice #aih ,,jacopo ,,sansovino ,loggetta ,venice #bjj ,,jacopo ,,sansovino ,miracle of ,s4 ,anthony ,padua3 ,s4 ,antonio #bjb ,,andrea ,,palladio ,palazzo della ,comunit ,vicenza #baj ,,leone ,,leoni ,tomb of ,gian ,jacopo ,medici ,milan3 ,duomo #bcj ,,cristofano ,,solari 7,,il ,,gobbo7 ,eve ,milan3 ,duomo #bcd ,,guglielmo ,,della ,,porta ,tomb of ,pope ,paul ,,iii ,rome3 ,s4 ,peter's #bcf ,,galeazzo ,,alessi ,palazzo ,grimaldi ,genoa #bdj ,,giulio ,,clovio ,piet ,florence3 ,pitti1 #bda #bdf ,,girolamo ,,sermoneta ,martyrdom of ,s4 ,catherine ,rome3 ,s4 ,maria ,maggiore #beh ,,johannes ,,calcar ,portrait of a ,man ,paris3 ,louvre1 #a1ahe #bff ,,michelagnolo ,,buonarroti ,,life ,,of ,,michelagnolo ,,buonarroti ,,painter1 ,,sculptor1 ,,and ,,architect ,,of ,,florence ,while the most noble and industrious spirits were striving1 by the light of the famous ,giotto and of his followers1 to give to the world a proof of the ability that the benign influence of the stars and the proportionate admixture of humours had given to their intellects1 and while1 desirous to imitate with the excellence of their art the grandeur of ,nature in order to approach as near as possible to that supreme knowledge that many call understanding1 they were universally toiling1 although in vain1 the most benign ,ruler of ,heaven in ,his clemency turned ,his eyes to the earth1 and1 having perceived the infinite vanity of all those labours1 the ardent studies without any fruit1 and the presumptuous self-sufficiency of men1 which is even further removed from truth than is darkness from light1 and desiring to deliver us from such great errors1 became minded to send down to earth a spirit with universal ability in every art and every profession1 who might be able1 working by himself alone1 to show what manner of thing is the perfection of the art of design in executing the lines1 contours1 shadows1 and high lights1 so as to give relief to works of painting1 and what it is to work with correct judgment in sculpture1 and how in architecture it is possible to render habitations secure and commodious1 healthy and cheerful1 well-proportioned1 and rich with varied ornaments4 ,he was pleased1 in addition1 to endow him with the true moral philosophy and with the ornament of sweet poesy1 to the end that the world might choose him and admire him as its highest exemplar in the life1 works1 saintliness of character1 and every action of human creatures1 and that he might be acclaimed by us as a being rather divine than human4 ,and since ,he saw that in the practice of these rare exercises and arts--namely1 in painting1 in sculpture1 and in architecture--the ,tuscan intellects have always been exalted and raised high above all others1 from their being diligent in the labours and studies of every faculty beyond no matter what other people of ,italy1 ,he chose to give him ,florence1 as worthy beyond all other cities1 for his country1 in order to bring all the talents to their highest perfection in her1 as was her due1 in the person of one of her citizens4 ,illustration3 ,,michelagnolo ,,buonarroti3 ,,the ,,holy ,,family 7,florence3 ,uffizi1 #abci4 ,panel7 ,there was born a son1 then1 in the ,casentino1 in the year #adgd1 under a fateful and happy star1 from an excellent and noble mother1 to ,lodovico di ,leonardo ,buonarroti ,simoni1 a descendant1 so it is said1 of the most noble and most ancient family of the ,counts of ,canossa4 ,to that ,lodovico1 ,i say1 who was in that year ,podest of the township of ,chiusi and ,caprese1 near the ,sasso della ,vernia1 where ,s4 ,francis received the ,stigmata1 in the ,diocese of ,arezzo1 a son was born on the #fth of ,march1 a ,sunday1 about the eighth hour of the night1 to which son he gave the name ,michelagnolo1 because1 inspired by some influence from above1 and giving it no more thought1 he wished to suggest that he was something celestial and divine beyond the use of mortals1 as was afterwards seen from the figures of his horoscope1 he having had ,mercury and ,venus in the second house of ,jupiter1 with happy augury1 which showed that from the art of his brain and of his hand there would be seen to issue forth works marvellous and stupendous4 ,having finished his office as ,podest1 ,lodovico returned to ,florence and settled in the village of ,settignano1 at a distance of three miles from the city1 where he had a farm that had belonged to his forefathers2 which place abounds with stone and is all full of quarries of grey-stone1 which is constantly being worked by stone-cutters and sculptors1 who for the most part are born in the place4 ,michelagnolo was put out to nurse by ,lodovico in that village with the wife of a stone-cutter3 wherefore the same ,michelagnolo1 discoursing once with ,vasari1 said to him jestingly1 ,giorgio1 if ,i have anything of the good in my brain1 it has come from my being born in the pure air of your country of ,arezzo1 even as ,i also sucked in with my nurse's milk the chisels and hammer with which ,i make my figures4 ,in time ,lodovico's family increased1 and1 being in poor circumstances1 with slender revenues1 he set about apprenticing his sons to the ,guilds of ,silk and ,wool4 ,michelagnolo1 who by that time was well grown1 was placed to be schooled in grammar with ,maestro ,francesco da ,urbino2 but1 since his genius drew him to delight in design1 all the time that he could snatch he would spend in drawing in secret1 being scolded for this by his father and his other elders1 and at times beaten1 they perchance considering that to give attention to that art1 which was not known by them1 was a mean thing and not worthy of their ancient house4 ,at this time ,michelagnolo had formed a friendship with ,francesco ,granacci1 who1 likewise a lad1 had placed himself with ,domenico ,ghirlandajo in order to learn the art of painting2 wherefore ,granacci1 loving ,michelagnolo1 and perceiving that he was much inclined to design1 supplied him daily with drawings by ,ghirlandajo1 who at that time was reputed to be one of the best masters that there were not only in ,florence1 but throughout all ,italy4 ,whereupon1 the desire to work at art growing greater every day in ,michelagnolo1 ,lodovico1 perceiving that he could not divert the boy from giving his attention to design1 and that there was no help for it1 and wishing to derive some advantage from it and to enable him to learn that art1 resolved on the advice of friends to apprentice him with ,domenico ,ghirlandajo4 ,michelagnolo1 when he was placed with ,domenico ,ghirlandajo1 was fourteen years of age4 ,now he who wrote his life after the year #aeej1 when ,i wrote these ,lives the first time1 has said that some persons1 through not having associated with him1 have related things that never happened1 and have left out many that are worthy to be recorded1 and has touched on this circumstance in particular1 taxing ,domenico with jealousy and saying that he never offered any assistance to ,michelagnolo2 which is clearly false1 as may be seen from an entry by the hand of ,lodovico1 the father of ,michelagnolo1 written in one of ,domenico's books1 which book is now in the possession of his heirs4 ,that entry runs thus3 #adhh1 ,i record1 this first day of ,april1 that ,i1 ,lodovico di ,leonardo di ,buonarrota1 placed ,michelagnolo my son with ,domenico and ,david di ,tommaso di ,currado for the three years next to come1 on these terms and conditions1 that the said ,michelagnolo shall remain with the above-named persons for the said period of time1 in order to learn to paint and to exercise that vocation2 that the said persons shall have command over him2 and that the same ,domenico and ,david shall be bound to give him in those three years twenty-four florins of full weight1 the first year six florins1 the second year eight florins1 and the third ten florins2 in all1 the sum of ninety-six lire4 ,and next1 below this1 is another record1 or rather1 entry1 also written in the hand of ,lodovico3 ,the aforesaid ,michelagnolo has received of that sum1 this sixteenth day of ,april1 two gold florins in gold4 ,i1 ,lodovico di ,leonardo1 his father1 have received twelve lire and twelve soldi as cash due to him4 ,these entries ,i have copied from the book itself1 in order to prove that all that was written at that time1 as well as all that is about to be written1 is the truth2 nor do ,i know that anyone has been more associated with him than ,i have been1 or has been a more faithful friend and servant to him1 as can be proved even to one who knows not the facts1 neither do ,i believe that there is anyone who can show a greater number of letters written by his own hand1 or any written with greater affection than he has expressed to me4 ,i have made this digression for the sake of truth1 and it must suffice for all the rest of his ,life4 ,let us now return to our story4 ,when the ability as well as the person of ,michelagnolo had grown in such a manner1 that ,domenico1 seeing him execute some works beyond the scope of a boy1 was astonished1 since it seemed to him that he not only surpassed the other disciples1 of whom he had a great number1 but very often equalled the things done by himself as master1 it happened that one of the young men who were learning under ,domenico copied with the pen some draped figures of women from works by ,ghirlandajo2 whereupon ,michelagnolo took that drawing and with a thicker pen outlined one of those women with new lineaments1 in the manner that it should have been in order to be perfect4 ,and it is a marvellous thing to see the difference between the two manners1 and the judgment and excellence of a mere lad who was so spirited and bold1 that he had the courage to correct the work of his master4 ,that sheet is now in my possession1 treasured as a relic2 and ,i received it from ,granacci to put in my book of drawings together with others by the same hand1 which ,i received from ,michelagnolo4 ,in the year #aeej1 when ,giorgio was in ,rome1 he showed it to ,michelagnolo1 who recognized it and was pleased to see it again1 saying modestly that he knew more of the art when he was a boy than he did at that time1 when he was an old man4 ,now it happened that when ,domenico was at work on the great chapel of ,s4 ,maria ,novella1 one day that he was out ,michelagnolo set himself to draw the staging from the reality1 with some desks and all the appliances of art1 and some of the young men who were working there4 ,whereupon1 when ,domenico had returned and seen ,michelagnolo's drawing1 he said1 ,this boy knows more about it than ,i do2 and he was struck with amazement at the novel manner and the novel method of imitation that a mere boy of such tender age displayed by reason of the judgment bestowed upon him by ,heaven1 for these1 in truth1 were as marvellous as could have been looked for in the workmanship of a craftsman who had laboured for many years4 ,and this was because all the power and knowledge of the gracious gifts of his nature were exercised by study and by the practice of art1 wherefore these gifts produced every day fruits more divine in ,michelagnolo1 as began to be made clearly manifest in the copy that he executed of a printed sheet by the ,german ,martino1 which gave him a very great name4 ,for there had come to ,florence at that time a scene by the above-named ,martino1 of the ,devils beating ,s4 ,anthony1 engraved on copper1 and ,michelagnolo copied it with the pen in such a manner that it could not be detected1 and then painted that same sheet in colours1 going at times1 in order to counterfeit certain strange forms of devils1 to buy fishes that had scales bizarre in colouring2 and in that work he showed so much ability1 that he acquired thereby credit and fame4 ,he also counterfeited sheets by the hands of various old masters1 making them so similar that they could not be detected1 for1 tinting them and giving them the appearance of age with smoke and various other materials1 he made them so dark that they looked old1 and1 when compared with the originals1 one could not be distinguished from the other4 ,nor did he do this with any other purpose but to obtain the originals from the hands of their owners by giving them the copies1 for he admired them for the excellence of their art and sought to surpass them in his own practice2 on which account he acquired a very great name4 ,illustration3 ,,the ,,battle ,,of ,,the ,,centaurs 7,after the relief by ,michelangelo4 ,florence3 ,museo ,buonarroti7 ,alinari ,at that time the ,magnificent ,lorenzo de' ,medici kept the sculptor ,bertoldo in his garden on the ,piazza di ,s4 ,marco1 not so much as custodian or guardian of the many beautiful antiques that he had collected and gathered together at great expense in that place1 as because1 desiring very earnestly to create a school of excellent painters and sculptors1 he wished that these should have as their chief and guide the above-named ,bertoldo1 who was a disciple of ,donato4 ,bertoldo1 although he was so old that he was not able to work1 was nevertheless a well-practised master and in much repute1 not only because he had polished with great diligence the pulpits cast by his master ,donato1 but also on account of many castings in bronze that he had executed himself1 of battles and certain other small works1 in the execution of which there was no one to be found in ,florence at that time who surpassed him4 ,now ,lorenzo1 who bore a very great love to painting and to sculpture1 was grieved that there were not to be found in his time sculptors noble and famous enough to equal the many painters of the highest merit and reputation1 and he determined1 as ,i have said1 to found a school4 ,to this end he besought ,domenico ,ghirlandajo that1 if he had among the young men in his workshop any that were inclined to sculpture1 he might send them to his garden1 where he wished to train and form them in such a manner as might do honour to himself1 to ,domenico1 and to the whole city4 ,whereupon there were given to him by ,domenico as the best of his young men1 among others1 ,michelagnolo and ,francesco ,granacci2 and they1 going to the garden1 found there that ,torrigiano1 a young man of the ,torrigiani family1 was executing in clay some figures in the round that had been given to him by ,bertoldo4 ,michelagnolo1 seeing this1 made some out of emulation2 wherefore ,lorenzo1 seeing his fine spirit1 always regarded him with much expectation4 ,and he1 thus encouraged1 after some days set himself to counterfeit from a piece of marble an antique head of a ,faun that was there1 old and wrinkled1 which had the nose injured and the mouth laughing4 ,michelagnolo1 who had never yet touched marble or chisels1 succeeded so well in counterfeiting it1 that the ,magnificent ,lorenzo was astonished2 and then1 perceiving that1 departing from the form of the antique head1 he had opened out the mouth after his own fancy and had made a tongue1 with all the teeth showing1 that lord1 jesting pleasantly1 as was his wont1 said to him1 ,surely you should have known that old folks never have all their teeth1 and that some are always wanting4 ,it appeared to ,michelagnolo1 in his simplicity1 both fearing and loving that lord1 that he had spoken the truth2 and no sooner had ,lorenzo departed than he straightway broke one of the teeth and hollowed out the gum1 in such a manner1 that it seemed as if the tooth had dropped out4 ,and then he awaited with eagerness the return of the ,magnificent ,lorenzo1 who1 when he had come and had seen the simplicity and excellence of ,michelagnolo1 laughed at it more than once1 relating it as a miracle to his friends4 ,moreover1 having made a resolve to assist and favour ,michelagnolo1 he sent for his father ,lodovico and asked for the boy from him1 saying that he wished to maintain him as one of his own children2 and ,lodovico gave him up willingly4 ,thereupon the ,magnificent ,lorenzo granted him a chamber in his own house and had him attended1 and he ate always at his table with his own children and with other persons of quality and of noble blood who lived with that lord1 by whom he was much honoured4 ,this was in the year after he had been placed with ,domenico1 when ,michelagnolo was about fifteen or sixteen years of age2 and he lived in that house four years1 which was until the death of the ,magnificent ,lorenzo in #adib4 ,during that time1 then1 ,michelagnolo had five ducats a month from that lord as an allowance and also to help his father2 and for his particular gratification ,lorenzo gave him a violet cloak1 and to his father an office in the ,customs4 ,truth to tell1 all the young men in the garden were salaried1 some little and some much1 by the liberality of that magnificent and most noble citizen1 and rewarded by him as long as he lived4 ,at this time1 at the advice of ,poliziano1 a man eminent in letters1 ,michelagnolo executed from a piece of marble given to him by that lord the ,battle of ,hercules with the ,centaurs1 which was so beautiful that now1 to those who study it from time to time1 it appears as if by the hand not of a youth but of a master of repute1 perfected by study and well practised in that art4 ,it is now in his house1 treasured in memory of him by his nephew ,leonardo as a rare thing1 which indeed it is4 ,that ,leonardo1 not many years since1 had in his house in memory of his uncle a ,madonna of marble in low-relief by the hand of ,michelagnolo1 little more than one braccio in height1 in which when a lad1 at this same time1 wishing to counterfeit the manner of ,donatello1 he acquitted himself so well that it seems as if by ,donatello's hand1 save that there may be seen in it more grace and more design4 ,that work ,leonardo afterwards gave to ,duke ,cosimo de' ,medici1 who treasures it as a unique thing1 for we have no other low-relief in sculpture by his hand save that one4 ,now1 returning to the garden of the ,magnificent ,lorenzo2 that garden was full of antiques and richly adorned with excellent pictures1 all gathered together in that place for their beauty1 for study1 and for pleasure4 ,michelagnolo always had the keys1 and he was much more earnest than the others in his every action1 and showed himself always alert1 bold1 and resolute4 ,he drew for many months from the pictures of ,masaccio in the ,carmine1 where he copied those works with so much judgment1 that the craftsmen and all other men were astonished1 in such sort that envy grew against him together with his fame4 ,it is said that ,torrigiano1 after contracting a friendship with him1 mocked him1 being moved by envy at seeing him more honoured than himself and more able in art1 and struck him a blow of the fist on the nose with such force1 that he broke and crushed it very grievously and marked him for life2 on which account ,torrigiano was banished from ,florence1 as has been related in another place4 ,illustration3 ,,the ,,angel ,,with ,,the ,,candlestick 7,after ,michelagnolo4 ,bologna3 ,s4 ,domenico7 ,alinari ,when the ,magnificent ,lorenzo died1 ,michelagnolo returned to his father's house in infinite sorrow at the death of so great a man1 the friend of every talent4 ,there he bought a great piece of marble1 and from it carved a ,hercules of four braccia1 which stood for many years in the ,palace of the ,strozzi2 this was esteemed an admirable work1 and afterwards1 in the year of the siege1 it was sent into ,france to ,king ,francis by ,giovan ,battista della ,palla4 ,it is said that ,piero de' ,medici1 who had been left heir to his father ,lorenzo1 having long been intimate with ,michelagnolo1 used often to send for him when he wished to buy antiques1 such as cameos and other carved stones4 ,one winter1 when much snow fell in ,florence1 he caused him to make in his courtyard a statue of snow1 which was very beautiful2 and he honoured ,michelagnolo on account of his talents in such a manner1 that his father1 beginning to see that he was esteemed among the great1 clothed him much more honourably than he had been wont to do4 ,for the ,church of ,s4 ,spirito in the city of ,florence ,michelagnolo made a ,crucifix of wood1 which was placed1 as it still is1 above the lunette of the high-altar2 doing this to please the ,prior1 who placed rooms at his disposal1 in which he was constantly flaying dead bodies1 in order to study the secrets of anatomy1 thus beginning to give perfection to the great knowledge of design that he afterwards acquired4 ,it came about that the ,medici were driven out of ,florence1 and a few weeks before that ,michelagnolo had gone to ,bologna1 and then to ,venice1 fearing1 as he saw the insolence and bad government of ,piero de' ,medici1 lest some evil thing might befall him from his being the servant of that family2 but1 not having found any means of living in ,venice1 he returned to ,bologna4 ,there he had the misfortune to neglect1 through lack of thought1 when entering by the gate1 to learn the countersign for going out again1 a command having been issued at that time1 as a precaution1 at the desire of ,messer ,giovanni ,bentivogli1 that all strangers who had not the countersign should be fined fifty ,bolognese lire2 and having fallen into such a predicament1 nor having the means to pay1 ,michelagnolo by chance was seen by ,messer ,giovan ,francesco ,aldovrandi1 one of the ,sixteen of the ,government1 who had compassion on him1 and1 having made him tell his story1 liberated him1 and then kept him in his house for more than a year4 ,one day ,aldovrandi took him to see the tomb of ,s4 ,dominic1 made1 as has been related1 by ,giovanni ,pisano and then by ,maestro ,niccol dell',arca1 sculptors of olden days4 ,in that work there were wanting a ,s4 ,petronio and an ,angel holding a candelabrum1 figures of about one braccio1 and ,aldovrandi asked him if he felt himself able to make them2 and he answered ,yes4 ,whereupon he had the marble given to him1 and ,michelagnolo executed them in such a manner1 that they are the best figures that are there2 and ,messer ,francesco ,aldovrandi caused thirty ducats to be given to him for the two4 ,michelagnolo stayed a little more than a year in ,bologna1 and he would have stayed there even longer1 in order to repay the courtesy of ,aldovrandi1 who loved him both for his design and because1 liking ,michelagnolo's ,tuscan pronunciation in reading1 he was pleased to hear from his lips the works of ,dante1 ,petrarca1 ,boccaccio1 and other ,tuscan poets4 ,but1 since he knew that he was wasting his time1 he was glad to return to ,florence4 ,illustration3 ,,bacchus 7,after ,michelagnolo4 ,florence3 ,museo ,nazionale7 ,alinari ,there he made for ,lorenzo di ,pier ,francesco de' ,medici a ,s4 ,giovannino of marble1 and then set himself to make from another piece of marble a ,cupid that was sleeping1 of the size of life4 ,this1 when finished1 was shown by means of ,baldassarre del ,milanese to ,lorenzo di ,pier ,francesco as a beautiful thing1 and he1 having pronounced the same judgment1 said to ,michelagnolo3 ,if you were to bury it under ground and then sent it to ,rome treated in such a manner as to make it look old1 ,i am certain that it would pass for an antique1 and you would thus obtain much more for it than by selling it here4 ,it is said that ,michelagnolo handled it in such a manner as to make it appear an antique2 nor is there any reason to marvel at that1 seeing that he had genius enough to do it1 and even more4 ,others maintain that ,milanese took it to ,rome and buried it in a vineyard that he had there1 and then sold it as an antique to ,cardinal ,san ,giorgio for two hundred ducats4 ,others1 again1 say that ,milanese sold to the ,cardinal one that ,michelagnolo had made for him1 and that he wrote to ,lorenzo di ,pier ,francesco that he should cause thirty crowns to be given to ,michelagnolo1 saying that he had not received more for the ,cupid1 and thus deceiving the ,cardinal1 ,lorenzo di ,pier ,francesco1 and ,michelagnolo2 but afterwards1 having received information from one who had seen that the boy was fashioned in ,florence1 the ,cardinal contrived to learn the truth by means of a messenger1 and so went to work that ,milanese's agent had to restore the money and take back the ,cupid4 ,that work1 having come into the possession of ,duke ,valentino1 was presented by him to the ,marchioness of ,mantua1 who took it to her own country1 where it is still to be seen at the present day4 ,this affair did not happen without some censure attaching to ,cardinal ,san ,giorgio1 in that he did not recognize the value of the work1 which consisted in its perfection2 for modern works1 if only they be excellent1 are as good as the ancient4 ,what greater vanity is there than that of those who concern themselves more with the name than the fact8 ,but of that kind of men1 who pay more attention to the appearance than to the reality1 there are some to be found at any time4 ,now this event brought so much reputation to ,michelagnolo1 that he was straightway summoned to ,rome and engaged by ,cardinal ,san ,giorgio1 with whom he stayed nearly a year1 although1 as one little conversant with our arts1 he did not commission ,michelagnolo to do anything4 ,at that time a barber of the ,cardinal1 who had been a painter1 and could paint with great diligence in distemper-colours1 but knew nothing of design1 formed a friendship with ,michelagnolo1 who made for him a cartoon of ,s4 ,francis receiving the ,stigmata4 ,that cartoon was painted very carefully in colours by the barber on a little panel2 and the picture is now to be seen in ,s4 ,pietro a ,montorio in the first chapel on the left hand as one enters the church4 ,the talent of ,michelagnolo was then clearly recognized by a ,roman gentleman named ,messer ,jacopo ,galli1 an ingenious person1 who caused him to make a ,cupid of marble as large as life1 and then a figure of a ,bacchus ten palms high1 who has a cup in the right hand1 and in the left hand the skin of a tiger1 with a bunch of grapes at which a little satyr is trying to nibble4 ,in that figure it may be seen that he sought to achieve a certain fusion in the members that is marvellous1 and in particular that he gave it both the youthful slenderness of the male and the fullness and roundness of the female--a thing so admirable1 that he proved himself excellent in statuary beyond any other modern that had worked up to that time4 ,on which account1 during his stay in ,rome1 he made so much proficience in the studies of art1 that it was a thing incredible to see his exalted thoughts and the difficulties of the manner exercised by him with such supreme facility2 to the amazement not only of those who were not accustomed to see such things1 but also of those familiar with good work1 for the reason that all the works executed up to that time appeared as nothing in comparison with his4 ,these things awakened in ,cardinal di ,san ,dionigi1 called ,cardinal de ,rohan1 a ,frenchman1 a desire to leave in a city so famous some worthy memorial of himself by the hand of so rare a craftsman2 and he caused him to make a ,piet of marble in the round1 which1 when finished1 was placed in the ,chapel of the ,vergine ,maria della ,febbre in ,s4 ,pietro1 where the ,temple of ,mars used to be4 ,to this work let no sculptor1 however rare a craftsman1 ever think to be able to approach in design or in grace1 or ever to be able with all the pains in the world to attain to such delicacy and smoothness or to perforate the marble with such art as ,michelagnolo did therein1 for in it may be seen all the power and worth of art4 ,among the lovely things to be seen in the work1 to say nothing of the divinely beautiful draperies1 is the body of ,christ2 nor let anyone think to see greater beauty of members or more mastery of art in any body1 or a nude with more detail in the muscles1 veins1 and nerves over the framework of the bones1 nor yet a corpse more similar than this to a real corpse4 ,here is perfect sweetness in the expression of the head1 harmony in the joints and attachments of the arms1 legs1 and trunk1 and the pulses and veins so wrought1 that in truth ,wonder herself must marvel that the hand of a craftsman should have been able to execute so divinely and so perfectly1 in so short a time1 a work so admirable2 and it is certainly a miracle that a stone without any shape at the beginning should ever have been reduced to such perfection as ,nature is scarcely able to create in the flesh4 ,such were ,michelagnolo's love and zeal together in this work1 that he left his name--a thing that he never did again in any other work--written across a girdle that encircles the bosom of ,our ,lady4 ,and the reason was that one day ,michelagnolo1 entering the place where it was set up1 found there a great number of strangers from ,lombardy1 who were praising it highly1 and one of them asked one of the others who had done it1 and he answered1 ,our ,gobbo from ,milan4 ,michelagnolo stood silent1 but thought it something strange that his labours should be attributed to another2 and one night he shut himself in there1 and1 having brought a little light and his chisels1 carved his name upon it4 ,and truly the work is such1 that an exalted spirit has said1 as to a real and living figure-- ,bellezza ed ,onestate ,e ,doglia e ,piet in vivo marmo morte1 ,deh1 come voi pur fate1 ,non piangete si forte1 ,che anzi tempo risveglisi da morte2 ,e pur mal grado suo ,nostro ,signore1 e tuo ,sposo1 ,figliuolo1 e ,padre1 ,unica ,sposa sua1 ,figliuola1 e ,madre4 ,from this work he acquired very great fame1 and although certain persons1 rather fools than otherwise1 say that he has made ,our ,lady too young1 are these so ignorant as not to know that unspotted virgins maintain and preserve their freshness of countenance a long time without any mark1 and that persons afflicted as ,christ was do the contrary8 ,that circumstance1 therefore1 won an even greater increase of glory and fame for his genius than all his previous works4 ,illustration3 ,,piet 7,after ,michelagnolo4 ,rome3 ,s4 ,peter's7 ,anderson ,letters were written to him from ,florence by some of his friends1 saying that he should return1 because it was not unlikely that he might obtain the spoiled block of marble lying in the ,office of ,works1 which ,piero ,soderini1 who at that time had been made ,gonfalonier of the city for life1 had very often talked of having executed by ,leonardo da ,vinci1 and was then arranging to give to ,maestro ,andrea ,contucci of ,monte ,sansovino1 an excellent sculptor1 who was seeking to obtain it4 ,now1 however difficult it might be to carve a complete figure out of it without adding pieces 7for which work of finishing it without adding pieces none of the others1 save ,buonarroti alone1 had courage enough71 ,michelagnolo had felt a desire for it for many years back2 and1 having come to ,florence1 he sought to obtain it4 ,this block of marble was nine braccia high1 and from it1 unluckily1 one ,maestro ,simone da ,fiesole had begun a giant1 and he had managed to work so ill1 that he had hacked a hole between the legs1 and it was altogether misshapen and reduced to ruin1 insomuch that the ,wardens of ,works of ,s4 ,maria del ,fiore1 who had the charge of the undertaking1 had placed it on one side without troubling to have it finished2 and so it had remained for many years past1 and was likely to remain4 ,michelagnolo measured it all anew1 considering whether he might be able to carve a reasonable figure from that block by accommodating himself as to the attitude to the marble as it had been left all misshapen by ,maestro ,simone2 and he resolved to ask for it from ,soderini and the ,wardens1 by whom it was granted to him as a thing of no value1 they thinking that whatever he might make of it would be better than the state in which it was at that time1 seeing that neither in pieces nor in that condition could it be of any use to their building4 ,whereupon ,michelagnolo made a model of wax1 fashioning in it1 as a device for the ,palace1 a young ,david with a sling in his hand1 to the end that1 even as he had defended his people and governed them with justice1 so those governing that city might defend her valiantly and govern her justly4 ,and he began it in the ,office of ,works of ,s4 ,maria del ,fiore1 in which he made an enclosure of planks and masonry1 thus surrounding the marble2 and1 working at it continuously without anyone seeing it1 he carried it to perfect completion4 ,the marble had already been spoilt and distorted by ,maestro ,simone1 and in some places it was not enough to satisfy the wishes of ,michelagnolo for what he would have liked to do with it2 and he therefore suffered certain of the first marks of ,maestro ,simone's chisel to remain on the extremity of the marble1 some of which are still to be seen4 ,and truly it was a miracle on the part of ,michelagnolo to restore to life a thing that was dead4 ,this statue1 when finished1 was of such a kind that many disputes took place as to how to transport it to the ,piazza della ,signoria4 ,whereupon ,giuliano da ,san ,gallo and his brother ,antonio made a very strong framework of wood and suspended the figure from it with ropes1 to the end that it might not hit against the wood and break to pieces1 but might rather keep rocking gently2 and they drew it with windlasses over flat beams laid upon the ground1 and then set it in place4 ,on the rope which held the figure suspended he made a slip-knot which was very easy to undo but tightened as the weight increased1 which is a most beautiful and ingenious thing2 and ,i have in my book a drawing of it by his own hand--an admirable1 secure1 and strong contrivance for suspending weights4 ,illustration3 ,,wax ,,models ,,for ,,the ,,david 7,after ,michelagnolo4 ,florence3 ,museo ,buonarroti7 ,alinari ,it happened at this time that ,piero ,soderini1 having seen it in place1 was well pleased with it1 but said to ,michelagnolo1 at a moment when he was retouching it in certain parts1 that it seemed to him that the nose of the figure was too thick4 ,michelagnolo noticed that the ,gonfalonier was beneath the ,giant1 and that his point of view prevented him from seeing it properly2 but in order to satisfy him he climbed upon the staging1 which was against the shoulders1 and quickly took up a chisel in his left hand1 with a little of the marble-dust that lay upon the planks of the staging1 and then1 beginning to strike lightly with the chisel1 let fall the dust little by little1 nor changed the nose a whit from what it was before4 ,then1 looking down at the ,gonfalonier1 who stood watching him1 he said1 ,look at it now4 ,i like it better1 said the ,gonfalonier1 you have given it life4 ,and so ,michelagnolo came down1 laughing to himself at having satisfied that lord1 for he had compassion on those who1 in order to appear full of knowledge1 talk about things of which they know nothing4 ,when it was built up1 and all was finished1 he uncovered it1 and it cannot be denied that this work has carried off the palm from all other statues1 modern or ancient1 ,greek or ,latin2 and it may be said that neither the ,marforio at ,rome1 nor the ,tiber and the ,nile of the ,belvedere1 nor the ,giants of ,monte ,cavallo1 are equal to it in any respect1 with such just proportion1 beauty and excellence did ,michelagnolo finish it4 ,for in it may be seen most beautiful contours of legs1 with attachments of limbs and slender outlines of flanks that are divine2 nor has there ever been seen a pose so easy1 or any grace to equal that in this work1 or feet1 hands and head so well in accord1 one member with another1 in harmony1 design1 and excellence of artistry4 ,and1 of a truth1 whoever has seen this work need not trouble to see any other work executed in sculpture1 either in our own or in other times1 by no matter what craftsman4 ,michelagnolo received from ,piero ,soderini in payment for it four hundred crowns2 and it was set in place in the year #aejd4 ,in consequence of the fame that he thereby won as a sculptor1 he made for the above-named ,gonfalonier a most beautiful ,david of bronze1 which ,soderini sent to ,france2 and at this time1 also1 he began1 but did not finish1 two medallions of marble--one for ,taddeo ,taddei1 which is now in his house1 and another that he began for ,bartolommeo ,pitti1 which was presented by ,fra ,miniato ,pitti of ,monte ,oliveto1 a man with a rare knowledge in cosmography and many other sciences1 and particularly in painting1 to ,luigi ,guicciardini1 who was much his friend4 ,these works were held to be admirable in their excellence2 and at this same time1 also1 he blocked out a statue of ,s4 ,matthew in marble in the ,office of ,works of ,s4 ,maria del ,fiore1 which statue1 rough as it is1 reveals its full perfection and teaches sculptors in what manner figures can be carved out of marble without their coming out misshapen1 so that it may be possible to go on ever improving them by removing more of the marble with judgment1 and also to draw back and change some part1 according as the necessity may arise4 ,he also made a medallion in bronze of a ,madonna1 which he cast in bronze at the request of certain ,flemish merchants of the ,moscheroni family1 persons of high nobility in their own country1 who paid him a hundred crowns for it1 and intended to send it to ,flanders4 ,illustration3 ,,madonna1 ,,child1 ,,and ,s4 ,,john 7,after the relief by ,michelagnolo4 ,florence3 ,museo ,nazionale7 ,anderson ,there came to ,agnolo ,doni1 a ,florentine citizen and a friend of ,michelagnolo1 who much delighted to have beautiful things both by ancient and by modern craftsmen1 a desire to possess some work by ,michelagnolo2 wherefore that master began for him a round picture containing a ,madonna1 who1 kneeling on both knees1 has an ,infant in her arms and presents ,him to ,joseph1 who receives ,him4 ,here ,michelagnolo expresses in the turn of the head of the ,mother of ,christ and in the gaze of her eyes1 which she keeps fixed on the supreme beauty of her ,son1 her marvellous contentment and her lovingness in sharing it with that saintly old man1 who receives ,him with equal affection1 tenderness1 and reverence1 as may be seen very readily in his countenance1 without considering it long4 ,nor was this enough for ,michelagnolo1 who1 the better to show how great was his art1 made in the background of his work a number of nudes1 some leaning1 some standing1 and some seated2 and with such diligence and finish he executed this work1 that without a doubt1 of his pictures on panel1 which indeed are but few1 it is held to be the most finished and the most beautiful work that there is to be found4 ,when it was completed1 he sent it covered up to ,agnolo's house by a messenger1 with a note demanding seventy ducats in payment4 ,it seemed strange to ,agnolo1 who was a careful person1 to spend so much on a picture1 although he knew that it was worth more1 and he said to the messenger that forty was enough1 which he gave to him4 ,thereupon ,michelagnolo sent them back to him1 with a message to say that he should send back either one hundred ducats or the picture4 ,then ,agnolo1 who liked the work1 said1 ,i will give him these seventy1 but he was not content2 indeed1 angered by ,agnolo's breach of faith1 he demanded the double of what he had asked the first time1 so that1 if ,agnolo wanted the picture1 he was forced to send him a hundred and forty4 ,it happened that while ,leonardo da ,vinci1 that rare painter1 was painting in the ,great ,council ,hall1 as has been related in his ,life1 ,piero ,soderini1 who was then ,gonfalonier1 moved by the great ability that he saw in ,michelagnolo1 caused a part of that ,hall to be allotted to him2 which was the reason that he executed the other faade in competition with ,leonardo1 taking as his subject the ,war of ,pisa4 ,to this end ,michelagnolo was given a room in the ,hospital of the ,dyers at ,s4 ,onofrio1 and there he began a vast cartoon1 but would never consent that anyone should see it4 ,and this he filled with naked men that were bathing in the ,river ,arno on account of the heat1 when suddenly the alarm sounded in the camp1 announcing that the enemy were attacking2 and1 as the soldiers were springing out of the water to dress themselves1 there could be seen1 depicted by the divine hands of ,michelagnolo1 some hastening to arm themselves in order to give assistance to their companions1 others buckling on their cuirasses1 many fastening other armour on their bodies1 and a vast number beginning the fray and fighting on horseback4 ,there was1 among other figures1 an old man who had a garland of ivy on his head to shade it1 and he1 having sat down in order to put on his hose1 into which his legs would not go because they were wet with water1 and hearing the cries and tumult of the soldiers and the uproar of the drummers1 was struggling to draw on one stocking by force2 and1 besides that all the muscles and nerves of his figure could be perceived1 his mouth was so distorted as to show clearly how he was straining and struggling even to the very tips of his toes4 ,there were also drummers1 and figures with their clothes in their arms running to the combat2 and there were to be seen the most extravagant attitudes1 some standing1 some kneeling or bent double1 others stretched horizontally and struggling in mid-air1 and all with masterly foreshortenings4 ,there were also many figures in groups1 all sketched in various manners1 some outlined with charcoal1 some drawn with strokes1 others stumped in and heightened with lead-white1 ,michelagnolo desiring to show how much he knew in his profession4 ,wherefore the craftsmen were seized with admiration and astonishment1 seeing the perfection of art revealed to them in that drawing by ,michelagnolo2 and some who saw them1 after beholding figures so divine1 declare that there has never been seen any work1 either by his hand or by the hands of others1 no matter how great their genius1 that can equal it in divine beauty of art4 ,and1 in truth1 it is likely enough1 for the reason that since the time when it was finished and carried to the ,sala del ,papa with great acclamation from the world of art and extraordinary glory for ,michelagnolo1 all those who studied from that cartoon and drew those figures--as was afterwards the custom in ,florence for many years both for strangers and for natives--became persons eminent in art1 as we have since seen4 ,for among those who studied the cartoon were ,aristotile da ,san ,gallo1 the friend of ,michelagnolo1 ,ridolfo ,ghirlandajo1 ,raffaello ,sanzio of ,urbino1 ,francesco ,granacci1 ,baccio ,bandinelli1 and the ,spaniard ,alonzo ,berughetta1 and then there followed ,andrea del ,sarto1 ,franciabigio1 ,jacopo ,sansovino1 ,rosso1 ,maturino1 ,lorenzetto1 ,tribolo1 who was then a boy1 ,jacopo da ,pontormo1 and ,perino del ,vaga2 and all these became excellent ,florentine masters4 ,the cartoon having thus become a school for craftsmen1 it was taken into the ,great ,upper ,hall in the house of the ,medici2 and this was the reason that it was left with too little caution in the hands of the craftsmen1 insomuch that during the illness of ,duke ,giuliano1 while no one was expecting such a thing1 it was torn up and divided into many pieces1 as has been related elsewhere1 and scattered over various places1 to which some pieces bear witness that are still to be seen in ,mantua1 in the house of ,m4 ,uberto ,strozzi1 a gentleman of that city1 where they are treasured with great reverence2 and1 indeed1 they seem to the eye things rather divine than human4 ,illustration3 ,,young ,,captive 7,after ,michelagnolo4 ,paris3 ,louvre7 ,alinari ,the name of ,michelagnolo1 by reason of the ,piet that he had made1 the ,giant in ,florence1 and the cartoon1 had become so famous1 that in the year #aejc1 ,pope ,alexander ,,vi having died and ,julius ,,ii having been elected1 at which time ,michelagnolo was about twenty-nine years of age1 he was summoned with much graciousness by ,julius ,,ii1 who wished to set him to make his tomb2 and for the expenses of the journey a hundred crowns were paid to him by the ,pope's representatives4 ,having made his way to ,rome1 he spent many months there before he was made to set his hand to any work4 ,but finally the ,pope's choice fell on a design that he had made for that tomb1 an excellent testimony to the genius of ,michelagnolo1 which in beauty and magnificence1 abundance of ornamentation and richness of statuary1 surpassed every ancient or imperial tomb4 ,whereupon ,pope ,julius took courage1 and thus resolved to set his hand to make anew the ,church of ,s4 ,pietro in ,rome1 in order to erect the tomb in it1 as has been related in another place4 ,and so ,michelagnolo set to work with high hopes2 and1 in order to make a beginning1 he went to ,carrara to excavate all the marble1 with two assistants1 receiving a thousand crowns on that account from ,alamanno ,salviati in ,florence4 ,there1 in those mountains1 he spent eight months without other moneys or supplies2 and he had many fantastic ideas of carving great statues in those quarries1 in order to leave memorials of himself1 as the ancients had done before him1 being invited by those masses of stone4 ,then1 having picked out the due quantity of marbles1 he caused them to be loaded on board ship at the coast and then conveyed to ,rome1 where they filled half the ,piazza di ,s4 ,pietro1 round about ,s4 ,caterina1 and between the church and the corridor that goes to the ,castello4 ,in that place ,michelagnolo had prepared his room for executing the figures and the rest of the tomb2 and1 to the end that the ,pope might be able to come at his convenience to see him at work1 he had caused a drawbridge to be constructed between the corridor and that room1 which led to a great intimacy between them4 ,but in time these favours brought much annoyance and even persecution upon him1 and stirred up much envy against him among his fellow-craftsmen4 ,illustration3 ,,victory 7,after ,michelagnolo4 ,florence3 ,museo ,nazionale7 ,anderson ,of this work ,michelagnolo executed during the lifetime and after the death of ,julius four statues completely finished and eight only blocked out1 as will be related in the proper place2 and since the work was designed with extraordinary invention1 we will describe here below the plan that he adopted4 ,in order to produce an effect of supreme grandeur1 he decided that it should be wholly isolated1 so as to be seen from all four sides1 each side in one direction being twelve braccia and each in the other eighteen1 so that the proportions were a square and a half4 ,it had a range of niches running right round the outer side1 which were divided one from another by terminal figures clothed from the middle upwards1 which with their heads supported the first cornice1 and each terminal figure had bound to it1 in a strange and bizarre attitude1 a naked captive1 whose feet rested on a projection of the base4 ,these captives were all provinces subjugated by that ,pontiff and rendered obedient to the ,apostolic ,church2 and there were various other statues1 likewise bound1 of all the noble arts and sciences1 which were thus shown to be subject to death no less than was that ,pontiff1 who made such honourable use of them4 ,on the corners of the first cornice were to go four large figures1 the ,active and the ,contemplative ,life1 ,s4 ,paul1 and ,moses4 ,the structure rose above the cornice in steps gradually diminishing1 with a frieze of scenes in bronze1 and with other figures1 children and ornaments all around1 and at the summit1 as a crown to the work1 were two figures1 one of which was ,heaven1 who1 smiling1 was supporting a bier on her shoulder1 together with ,cybele1 the ,goddess of ,earth1 who appeared to be grieving that she was left in a world robbed of all virtue by the death of such a man2 and ,heaven appeared to be smiling with gladness that his soul had passed to celestial glory4 ,the work was so arranged that one might enter and come out again by the ends of the quadrangular structure1 between the niches1 and the interior curved in the form of an oval after the manner of a temple1 in the centre of which was the sarcophagus wherein was to be laid the dead body of that ,pope4 ,and1 finally1 there were to be in this whole work forty statues of marble1 without counting the other scenes1 children1 and ornaments1 the carvings covering the cornices1 and the other architectural members of the work4 ,michelagnolo ordained1 to expedite the labour1 that a part of the marbles should be conveyed to ,florence1 where he intended at times to spend the summer months in order to avoid the malaria of ,rome2 and there he executed one side of the work in many pieces1 complete in every detail4 ,in ,rome he finished entirely with his own hand two of the captives1 figures divinely beautiful1 and other statues1 than which none better have ever been seen2 but in the end they were never placed in position1 and those captives were presented by him to ,s4 ,ruberto ,strozzi1 when ,michelagnolo happened to be lying ill in his house2 which captives were afterwards sent as presents to ,king ,francis1 and they are now at ,ecouen in ,france4 ,eight statues1 likewise1 he blocked out in ,rome1 and in ,florence he blocked out five and finished a ,victory with a captive beneath1 which are now in the possession of ,duke ,cosimo1 having been presented by ,michelagnolo's nephew1 ,leonardo1 to his ,excellency1 who has placed the ,victory in the ,great ,hall of his ,palace1 which was painted by ,vasari4 ,he finished the ,moses1 a statue in marble of five braccia1 which no modern work will ever equal in beauty2 and of the ancient statues1 also1 the same may be said4 ,for1 seated in an attitude of great dignity1 he rests one arm on the ,tables1 which he holds with one hand1 and with the other he holds his beard1 which is long and waving1 and carved in the marble in such sort1 that the hairs--in which the sculptor finds such difficulty--are wrought with the greatest delicacy1 soft1 feathery1 and detailed in such a manner1 that one cannot but believe that his chisel was changed into a pencil4 ,to say nothing of the beauty of the face1 which has all the air of a true ,saint and most dread ,prince1 you seem1 while you gaze upon it1 to wish to demand from him the veil wherewith to cover that face1 so resplendent and so dazzling it appears to you1 and so well has ,michelagnolo expressed the divinity that ,god infused in that most holy countenance4 ,in addition1 there are draperies carved out and finished with most beautiful curves of the borders2 while the arms with their muscles1 and the hands with their bones and nerves1 are carried to such a pitch of beauty and perfection1 and the legs1 knees1 and feet are covered with buskins so beautifully fashioned1 and every part of the work is so finished1 that ,moses may be called now more than ever the friend of ,god1 seeing that ,he has deigned to assemble together and prepare his body for the ,resurrection before that of any other1 by the hands of ,michelagnolo4 ,well may the ,hebrews continue to go there1 as they do every ,sabbath1 both men and women1 like flocks of starlings1 to visit and adore that statue2 for they will be adoring a thing not human but divine4 ,illustration3 ,,moses 7,after ,michelagnolo4 ,rome3 ,s4 ,pietro in ,vincoli7 ,anderson ,finally all the agreements for this work were made1 and the end came into view2 and of the four sides one of the smaller ones was afterwards erected in ,s4 ,pietro in ,vincola4 ,it is said that while ,michelagnolo was executing the work1 there came to the ,ripa all the rest of the marbles for the tomb that had remained at ,carrara1 which were conveyed to the ,piazza di ,s4 ,pietro1 where the others were2 and1 since it was necessary to pay those who had conveyed them1 ,michelagnolo went1 as was his custom1 to the ,pope4 ,but1 his ,holiness having on his hands that day some important business concerning ,bologna1 he returned to his house and paid for those marbles out of his own purse1 thinking to have the order for them straightway from his ,holiness4 ,he returned another day to speak of them to the ,pope1 but found difficulty in entering1 for one of the grooms told him that he had orders not to admit him1 and that he must have patience4 ,a ,bishop then said to the groom1 ,perhaps you do not know this man8 ,only too well do ,i know him1 answered the groom2 but ,i am here to do as ,i am commanded by my superiors and by the ,pope4 ,this action displeased ,michelagnolo1 and1 considering that it was contrary to what he had experienced before1 he said to the ,pope's groom that he should tell his ,holiness that from that time forward1 when he should want him1 it would be found that he had gone elsewhere2 and then1 having returned to his house1 at the second hour of the night he set out on post-horses1 leaving two servants to sell all the furniture of his house to the ,jews and to follow him to ,florence1 whither he was bound4 ,having arrived at ,poggibonzi1 a place in the ,florentine territory1 and therefore safe1 he stopped2 and almost immediately five couriers arrived with letters from the ,pope to bring him back4 ,despite their entreaties and also the letters1 which ordered him to return to ,rome under threat of punishment1 he would not listen to a word2 but finally the prayers of the couriers induced him to write a few words in reply to his ,holiness1 asking for pardon1 but saying that he would never again return to his presence1 since he had caused him to be driven away like a criminal1 that his faithful service had not deserved such treatment1 and that his ,holiness should look elsewhere for someone to serve him4 ,illustration3 ,,tomb ,,of ,,pope ,,julius ,,ii 7,after ,michelagnolo4 ,rome3 ,s4 ,pietro in ,vincoli7 ,alinari ,after arriving at ,florence1 ,michelagnolo devoted himself during the three months that he stayed there to finishing the cartoon for the ,great ,hall1 which ,piero ,soderini1 the ,gonfalonier1 desired that he should carry into execution4 ,during that time there came to the ,signoria three ,briefs commanding them to send ,michelagnolo back to ,rome3 wherefore he1 perceiving this vehemence on the part of the ,pope1 and not trusting him1 conceived the idea1 so it is said1 of going to ,constantinople to serve the ,grand ,turk1 who desired to secure him1 by means of certain ,friars of ,s4 ,francis1 to build a bridge crossing from ,constantinople to ,pera4 ,however1 he was persuaded by ,piero ,soderini1 although very unwilling1 to go to meet the ,pope as a person of public importance with the title of ,ambassador of the city1 to reassure him2 and finally the ,gonfalonier recommended him to his brother ,cardinal ,soderini for presentation to the ,pope1 and sent him off to ,bologna1 where his ,holiness had already arrived from ,rome4 ,his departure from ,rome is also explained in another way--namely1 that the ,pope became angered against ,michelagnolo1 who would not allow any of his works to be seen2 that ,michelagnolo suspected his own men1 doubting 7as happened more than once7 that the ,pope disguised himself and saw what he was doing on certain occasions when he himself was not at home or at work2 and that on one occasion1 when the ,pope had bribed his assistants to admit him to see the chapel of his uncle ,sixtus1 which1 as was related a little time back1 he caused ,buonarroti to paint1 ,michelagnolo1 having waited in hiding because he suspected the treachery of his assistants1 threw planks down at the ,pope when he entered the chapel1 not considering who it might be1 and drove him forth in a fury4 ,it is enough for us to know that in the one way or the other he fell out with the ,pope and then became afraid1 so that he had to fly from his presence4 ,now1 having arrived in ,bologna1 he had scarcely drawn off his riding-boots when he was conducted by the ,pope's servants to his ,holiness1 who was in the ,palazzo de' ,sedici2 and he was accompanied by a ,bishop sent by ,cardinal ,soderini1 because the ,cardinal1 being ill1 was not able to go himself4 ,having come into the presence of the ,pope1 ,michelagnolo knelt down1 but his ,holiness looked askance at him1 as if in anger1 and said to him1 ,instead of coming yourself to meet us1 you have waited for us to come to meet you6 meaning to infer that ,bologna is nearer to ,florence than ,rome4 ,michelagnolo1 with a courtly gesture of the hands1 but in a firm voice1 humbly begged for pardon1 saying in excuse that he had acted as he had done in anger1 not being able to endure to be driven away so abruptly1 but that1 if he had erred1 his ,holiness should once more forgive him4 ,the ,bishop who had presented ,michelagnolo to his ,holiness1 making excuse for him1 said to the ,pope that such men were ignorant creatures1 that they were worth nothing save in their own art1 and that he should freely pardon him4 ,the ,pope1 seized with anger1 belaboured the ,bishop with a staff that he had in his hand1 saying to him1 ,it is you that are ignorant1 who level insults at him that we ourselves do not think of uttering2 and then the ,bishop was driven out by the groom with fisticuffs4 ,when he had gone1 the ,pope1 having discharged his anger upon him1 gave ,michelagnolo his benediction2 and the master was detained in ,bologna with gifts and promises1 until finally his ,holiness commanded him that he should make a statue of bronze in the likeness of ,pope ,julius1 five braccia in height4 ,in this work he showed most beautiful art in the attitude1 which had an effect of much majesty and grandeur1 and displayed richness and magnificence in the draperies1 and in the countenance1 spirit1 force1 resolution1 and stern dignity2 and it was placed in a niche over the door of ,s4 ,petronio4 ,it is said that while ,michelagnolo was working at it1 he received a visit from ,francia1 a most excellent goldsmith and painter1 who wished to see it1 having heard so much praise and fame of him and of his works1 and not having seen any of them1 so that agents had been set to work to enable him to see it1 and he had obtained permission4 ,whereupon1 seeing the artistry of ,michelagnolo1 he was amazed3 and then1 being asked by ,michelagnolo what he thought of that figure1 ,francia answered that it was a most beautiful casting and a fine material4 ,wherefore ,michelagnolo1 considering that he had praised the bronze rather than the workmanship1 said to him1 ,i owe the same obligation to ,pope ,julius1 who has given it to me1 that you owe to the apothecaries who give you your colours for painting2 and in his anger1 in the presence of all the gentlemen there1 he declared that ,francia was a fool4 ,in the same connection1 when a son of ,francia's came before him and was announced as a very beautiful youth1 ,michelagnolo said to him1 ,your father's living figures are finer than those that he paints4 ,among the same gentlemen was one1 whose name ,i know not1 who asked ,michelagnolo which he thought was the larger1 the statue of the ,pope or a pair of oxen2 and he answered1 ,that depends on the oxen4 ,if they are these ,bolognese oxen1 then without a doubt our ,florentine oxen are not so big4 ,michelagnolo had the statue finished in clay before the ,pope departed from ,bologna for ,rome1 and his ,holiness1 having gone to see it1 but not knowing what was to be placed in the left hand1 and seeing the right hand raised in a proud gesture1 asked whether it was pronouncing a benediction or a curse4 ,michelagnolo answered that it was admonishing the people of ,bologna to mind their behaviour1 and asked his ,holiness to decide whether he should place a book in the left hand2 and he said1 ,put a sword there1 for ,i know nothing of letters4 ,the ,pope left a thousand crowns in the bank of ,m4 ,anton ,maria da ,lignano for the completion of the statue1 and at the end of the sixteen months that ,michelagnolo toiled over the work it was placed on the frontispiece in the faade of the ,church of ,s4 ,petronio1 as has been related2 and we have also spoken of its size4 ,this statue was destroyed by the ,bentivogli1 and the bronze was sold to ,duke ,alfonso of ,ferrara1 who made with it a piece of artillery called ,la ,giulia2 saving only the head1 which is to be found in his guardaroba4 ,illustration3 ,,god ,,dividing ,,the ,,waters ,,from ,,the ,,earth 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,when the ,pope had returned to ,rome and ,michelagnolo was at work on the statue1 ,bramante1 the friend and relative of ,raffaello da ,urbino1 and for that reason little the friend of ,michelagnolo1 perceiving that the ,pope held in great favour and estimation the works that he executed in sculpture1 was constantly planning with ,raffaello in ,michelagnolo's absence to remove from the mind of his ,holiness the idea of causing ,michelagnolo1 after his return1 to devote himself to finishing his tomb2 saying that for a man to prepare himself a tomb during his own lifetime was an evil augury and a hurrying on of his death4 ,and they persuaded his ,holiness that on the return of ,michelagnolo1 he should cause him to paint in memory of his uncle ,sixtus the vaulting of the chapel that he had built in the ,palace4 ,in this manner it seemed possible to ,bramante and other rivals of ,michelagnolo to draw him away from sculpture1 in which they saw him to be perfect1 and to plunge him into despair1 they thinking that if they compelled him to paint1 he would do work less worthy of praise1 since he had no experience of colours in fresco1 and that he would prove inferior to ,raffaello1 and1 even if he did succeed in the work1 in any case it would make him angry against the ,pope2 so that in either event they would achieve their object of getting rid of him4 ,and so1 when ,michelagnolo returned to ,rome1 the ,pope was not disposed at that time to finish his tomb1 and requested him to paint the vaulting of the chapel4 ,michelagnolo1 who desired to finish the tomb1 believing the vaulting of that chapel to be a great and difficult labour1 and considering his own want of practice in colours1 sought by every means to shake such a burden from his shoulders1 and proposed ,raffaello for the work4 ,but the more he refused1 the greater grew the desire of the ,pope1 who was headstrong in his undertakings1 and1 in addition1 was being spurred on anew by the rivals of ,michelagnolo1 and especially by ,bramante2 so that his ,holiness1 who was quick-tempered1 was on the point of becoming enraged with ,michelagnolo4 ,whereupon ,michelagnolo1 perceiving that his ,holiness was determined in the matter1 resolved to do it2 and the ,pope commanded ,bramante to erect the scaffolding from which the vaulting might be painted4 ,bramante made it all supported by ropes1 piercing the vaulting2 which having perceived1 ,michelagnolo inquired of ,bramante how he was to proceed to fill up the holes when he had finished painting it1 and he replied that he would think of that afterwards1 and that it could not be done otherwise4 ,michelagnolo recognized that ,bramante was either not very competent for such a work or else little his friend1 and he went to the ,pope and said to him that the scaffolding was not satisfactory1 and that ,bramante had not known how to make it2 and the ,pope answered1 in the presence of ,bramante1 that he should make it after his own fashion4 ,and so he commanded that it should be erected upon props so as not to touch the walls1 a method of making scaffoldings for vaults that he taught afterwards to ,bramante and others1 whereby many fine works have been executed4 ,thus he enabled a poor creature of a carpenter1 who rebuilt the scaffolding1 to dispense with so many of the ropes1 that1 after selling them 7for ,michelagnolo gave them to him71 he made up a dowry for his daughter4 ,illustration3 ,,the ,,creation ,,of ,,eve 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,he then set his hand to making the cartoons for that vaulting2 and the ,pope decided1 also1 that the walls which the masters before him in the time of ,sixtus had painted should be scraped clean1 and decreed that he should have fifteen thousand ducats for the whole cost of the work2 which price was fixed through ,giuliano da ,san ,gallo4 ,thereupon1 forced by the magnitude of the undertaking to resign himself to obtaining assistance1 ,michelagnolo sent for men to ,florence2 and he determined to demonstrate in such a work that those who had painted there before him were destined to be vanquished by his labours1 and also resolved to show to the modern craftsmen how to draw and paint4 ,having begun the cartoons1 he finished them2 and the circumstances of the work spurred him to soar to great heights1 both for his own fame and for the welfare of art4 ,and then1 desiring to paint it in fresco-colours1 and not having any experience of them1 there came from ,florence to ,rome certain of his friends who were painters1 to the end that they might give him assistance in such a work1 and also that he might learn from them the method of working in fresco1 in which some of them were well-practised2 and among these were ,granaccio1 ,giuliano ,bugiardini1 ,jacopo di ,sandro1 the elder ,indaco1 ,agnolo di ,donnino1 and ,aristotile4 ,having made a commencement with the work1 he caused them to begin some things as specimens2 but1 perceiving that their efforts were very far from what he desired1 and not being satisfied with them1 he resolved one morning to throw to the ground everything that they had done4 ,then1 shutting himself up in the chapel1 he would never open to them1 nor even allowed himself to be seen by them when he was at home4 ,and so1 when the jest appeared to them to be going too far1 they resigned themselves to it and returned in shame to ,florence4 ,thereupon ,michelagnolo1 having made arrangements to paint the whole work by himself1 carried it well on the way to completion with the utmost solicitude1 labour1 and study2 nor would he ever let himself be seen1 lest he should give any occasion to compel him to show it1 so that the desire in the minds of everyone to see it grew greater every day4 ,pope ,julius was always very desirous to see any undertakings that he was having carried out1 and therefore became more eager than ever to see this one1 which was hidden from him4 ,and so one day he resolved to go to see it1 but was not admitted1 for ,michelagnolo would never have consented to show it to him2 out of which affair arose the quarrel that has been described1 when he had to depart from ,rome because he would not show his work to the ,pope4 ,now1 when a third of the work was finished 7as ,i ascertained from him in order to clear up all doubts71 it began to throw out certain spots of mould1 one winter that the north wind was blowing4 ,the reason of this was that the ,roman lime1 which is made of travertine and white in colour1 does not dry very readily1 and1 when mixed with pozzolana1 which is of a tawny colour1 makes a dark mixture which1 when soft1 is very watery2 and when the wall has been well soaked1 it often breaks out into an efflorescence in the drying2 and thus this salt efflorescence of moisture came out in many places1 but in time the air consumed it4 ,michelagnolo was in despair over this1 and was unwilling to continue the work1 asking the ,pope to excuse him1 since he was not succeeding2 but his ,holiness sent ,giuliano da ,san ,gallo to see him1 and he1 having told him whence the defect arose and taught him how to remove the spots of mould1 encouraged him to persevere4 ,now1 when he had finished half of it1 the ,pope1 who had subsequently gone to see it several times 7mounting certain ladders with the assistance of ,michelagnolo71 insisted that it should be thrown open1 for he was hasty and impatient by nature1 and could not wait for it to be completely finished and to receive1 as the saying is1 the final touch4 ,no sooner was it thrown open than all ,rome was drawn to see it1 and the ,pope was the first1 not having the patience to wait until the dust caused by the dismantling of the scaffolding had settled4 ,thereupon ,raffaello da ,urbino1 who was very excellent in imitation1 after seeing it straightway changed his manner1 and without losing any time1 in order to display his ability1 painted the ,prophets and ,sibyls in the work of the ,pace2 and at the same time ,bramante sought to have the other half of the chapel entrusted by the ,pope to ,raffaello4 ,which hearing1 ,michelagnolo complained of ,bramante1 and revealed to the ,pope without any reserve many faults both in his life and in his architectural works2 of which last1 in the building of ,s4 ,pietro1 as was seen afterwards1 ,michelagnolo became the corrector4 ,but the ,pope1 recognizing more clearly every day the ability of ,michelagnolo1 desired that he should continue the work1 judging1 after he had seen it uncovered1 that he could make the second half considerably better2 and so in twenty months he carried that work to perfect completion by himself alone1 without the assistance even of anyone to grind his colours4 ,michelagnolo complained at times that on account of the haste that the ,pope imposed on him he was not able to finish it in his own fashion1 as he would have liked2 for his ,holiness was always asking him importunately when he would finish it4 ,on one occasion1 among others1 he replied1 ,it will be finished when ,i shall have satisfied myself in the matter of art4 ,but it is our pleasure1 answered the ,pope1 that you should satisfy us in our desire to have it done quickly2 and he added1 finally1 that if ,michelagnolo did not finish the work quickly he would have him thrown down from the scaffolding4 ,whereupon ,michelagnolo1 who feared and had good reason to fear the anger of the ,pope1 straightway finished all that was wanting1 without losing any time1 and1 after taking down the rest of the scaffolding1 threw it open to view on the morning of ,all ,saints' ,day1 when the ,pope went into the chapel to sing ,mass1 to the great satisfaction of the whole city4 ,michelagnolo desired to retouch some parts a secco1 as the old masters had done on the scenes below1 painting backgrounds1 draperies1 and skies in ultramarine1 and ornaments in gold in certain places1 to the end that this might produce greater richness and a more striking effect2 and the ,pope1 having learned that this ornamentation was wanting1 and hearing the work praised so much by all who had seen it1 wished him to finish it2 but1 since it would have been too long a labour for ,michelagnolo to rebuild the scaffolding1 it was left as it was4 ,his ,holiness1 often seeing ,michelagnolo1 would say to him that the chapel should be enriched with colours and gold1 since it looked poor4 ,and ,michelagnolo would answer familiarly1 ,holy ,father1 in those times men did not bedeck themselves with gold1 and those that are painted there were never very rich1 but rather holy men1 on which account they despised riches4 ,for this work ,michelagnolo was paid by the ,pope three thousand crowns on several occasions1 of which he had to spend twenty-five on colours4 ,the work was executed with very great discomfort to himself1 from his having to labour with his face upwards1 which so impaired his sight that for a time1 which was not less than several months1 he was not able to read letters or look at drawings save with his head backwards4 ,and to this ,i can bear witness1 having painted five vaulted chambers in the great apartments in the ,palace of ,duke ,cosimo1 when1 if ,i had not made a chair on which ,i could rest my head and lie down at my work1 ,i would never have finished it2 even so1 it has so ruined my sight and injured my head1 that ,i still feel the effects1 and ,i am astonished that ,michelagnolo endured all that discomfort so well4 ,but in truth1 becoming more and more kindled every day by his fervour in the work1 and encouraged by the proficience and improvement that he made1 he felt no fatigue and cared nothing for discomfort4 ,illustration3 ,,the ,,creation ,,of ,,adam 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,the distribution of this work is contrived with six pendentives on either side1 with one in the centre of the walls at the foot and at the head1 and on these he painted ,sibyls and ,prophets1 six braccia in height2 in the centre of the vault the history of the world from the ,creation down to the ,deluge and the ,drunkenness of ,noah1 and in the lunettes all the ,genealogy of ,christ4 ,in these compartments he used no rule of perspectives in foreshortening1 nor is there any fixed point of view1 but he accommodated the compartments to the figures rather than the figures to the compartments1 being satisfied to execute those figures1 both the nude and the draped1 with the perfection of design1 so that another such work has never been and never can be done1 and it is scarcely possible even to imitate his achievement4 ,this work1 in truth1 has been and still is the lamp of our art1 and has bestowed such benefits and shed so much light on the art of painting1 that it has served to illuminate a world that had lain in darkness for so many hundreds of years4 ,and it is certain that no man who is a painter need think any more to see new inventions1 attitudes1 and draperies for the clothing of figures1 novel manners of expression1 and things painted with greater variety and force1 because he gave to this work all the perfection that can be given to any work executed in such a field of art4 ,and at the present day everyone is amazed who is able to perceive in it the excellence of the figures1 the perfection of the foreshortenings1 and the extraordinary roundness of the contours1 which have in them slenderness and grace1 being drawn with the beauty of proportion that is seen in beautiful nudes2 and these1 in order to display the supreme perfection of art1 he made of all ages1 different in expression and in form1 in countenance and in outline1 some more slender and some fuller in the members2 as may also be seen in the beautiful attitudes1 which are all different1 some seated1 some moving1 and others upholding certain festoons of oak-leaves and acorns1 placed there as the arms and device of ,pope ,julius1 and signifying that at that time and under his government was the age of gold2 for ,italy was not then in the travail and misery that she has since suffered4 ,between them1 also1 they hold some medallions containing stories in relief in imitation of bronze and gold1 taken from the ,book of ,kings4 ,illustration3 ,,the ,,fall ,,and ,,the ,,expulsion 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,besides this1 in order to display the perfection of art and also the greatness of ,god1 he painted in a scene ,god dividing ,light from ,darkness1 wherein may be seen ,his ,majesty as ,he rests self-sustained with the arms outstretched1 and reveals both love and power4 ,in the second scene he depicted with most beautiful judgment and genius ,god creating the ,sun and ,moon1 in which ,he is supported by many little ,angels1 in an attitude sublime and terrible by reason of the foreshortenings in the arms and legs4 ,in the same scene ,michelagnolo depicted ,him after the ,blessing of the ,earth and the ,creation of the ,animals1 when ,he is seen on that vaulting as a figure flying in foreshortening2 and wherever you go throughout the chapel1 it turns constantly and faces in every direction4 ,so1 also1 in the next scene1 where ,he is dividing the ,water from the ,earth2 and both these are very beautiful figures and refinements of genius such as could be produced only by the divine hands of ,michelagnolo4 ,he then went on1 beyond that scene1 to the ,creation of ,adam1 wherein he figured ,god as borne by a group of nude ,angels of tender age1 which appear to be supporting not one figure only1 but the whole weight of the world2 this effect being produced by the venerable majesty of ,his form and by the manner of the movement with which ,he embraces some of the little ,angels with one arm1 as if to support ,himself1 and with the other extends the right hand towards ,adam1 a figure of such a kind in its beauty1 in the attitude1 and in the outlines1 that it appears as if newly fashioned by the first and supreme ,creator rather than by the brush and design of a mortal man4 ,beyond this1 in another scene1 he made ,god taking our mother ,eve from ,adam's side1 in which may be seen those two nude figures1 one as it were dead from his being the thrall of sleep1 and the other become alive and filled with animation by the blessing of ,god4 ,very clearly do we see from the brush of this most gifted craftsman the difference that there is between sleep and wakefulness1 and how firm and stable1 speaking humanly1 the ,divine ,majesty may appear4 ,next to this there follows the scene when ,adam1 at the persuasion of a figure half woman and half serpent1 brings death upon himself and upon us by the ,forbidden ,fruit2 and there1 also1 are seen ,adam and ,eve driven from ,paradise4 ,in the figure of the ,angel is shown with nobility and grandeur the execution of the mandate of a wrathful ,lord1 and in the attitude of ,adam the sorrow for his sin together with the fear of death1 as likewise in the woman may be seen shame1 abasement1 and the desire to implore pardon1 as she presses the arms to the breast1 clasps the hands palm to palm1 and sinks the neck into the bosom1 and also turns the head towards the ,angel1 having more fear of the justice of ,god than hope in ,his mercy4 ,nor is there less beauty in the story of the sacrifice of ,cain and ,abel2 wherein are some who are bringing up the wood1 some who are bent down and blowing at the fire1 and others who are cutting the throat of the victim2 which certainly is all executed with not less consideration and attention than the others4 ,he showed the same art and the same judgment in the story of the ,deluge1 wherein are seen various deaths of men1 who1 terrified by the horror of those days1 are striving their utmost in different ways to save their lives4 ,for in the faces of those figures may be seen life a prey to death1 not less than fear1 terror1 and disregard of everything2 and compassion is visible in many that are assisting one another to climb to the summit of a rock in search of safety1 among them one who1 having embraced one half dead1 is striving his utmost to save him1 than which ,nature herself could show nothing better4 ,nor can ,i tell how well expressed is the story of ,noah1 who1 drunk with wine1 is sleeping naked1 and has before him one son who is laughing at him and two who are covering him up--a scene incomparable in the beauty of the artistry1 and not to be surpassed save by himself alone4 ,illustration3 ,,the ,,lybian ,,sibyl 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,then1 as if his genius had taken courage from what it had achieved up to that time1 it soared upwards and proved itself even greater in the five ,sibyls and seven ,prophets that are painted there1 each five braccia or more in height4 ,in all these are well-varied attitudes1 beautiful draperies1 and different vestments2 and all1 in a word1 are wrought with marvellous invention and judgment1 and to him who can distinguish their expressions they appear divine4 ,jeremiah is seen with the legs crossed1 holding one hand to the beard1 and resting that elbow on the knee2 the other hand rests in his lap1 and he has the head bowed in a manner that clearly demonstrates the melancholy1 cogitation1 anxious thought and bitterness of soul that his people cause him4 ,equally fine1 also1 are two little children that are behind him1 and likewise the first ,sibyl1 beyond him in the direction of the door1 in which figure1 wishing to depict old age1 in addition to enveloping her in draperies1 he sought to show that her blood is already frozen by time2 besides which1 since her sight has become feeble1 he has made her as she reads bring the book very close to her eyes4 ,beyond this figure follows the ,prophet ,ezekiel1 an old man1 who has a grace and a movement that are most beautiful1 and is much enveloped in draperies1 while with one hand he holds a roll of prophecies1 and with the other uplifted1 turning his head1 he appears to be about to utter great and lofty words2 and behind him he has two boys who hold his books4 ,next to him follows a ,sibyl1 who is doing the contrary to the ,erythran ,sibyl that we described above1 for1 holding her book away from her1 she seeks to turn a page1 while with one knee over the other she sits sunk within herself1 pondering gravely over what she is to write2 and then a boy who is behind her1 blowing on a burning brand1 lights her lamp4 ,this figure is of extraordinary beauty in the expression of the face1 in the head-dress1 and in the arrangement of the draperies2 besides which she has the arms nude1 which are equal to the other parts4 ,beyond this ,sibyl he painted the ,prophet ,joel1 who1 sunk within himself1 has taken a scroll and reads it with great attention and appreciation3 and from his aspect it is so clearly evident that he is satisfied with that which he finds written there1 that he looks like a living person who has applied his thoughts intently to some matter4 ,over the door of the chapel1 likewise1 he placed the aged ,zaccharias1 who1 seeking through his written book for something that he cannot find1 stands with one leg on high and the other low2 and1 while the ardour of the search after something that he cannot find causes him to stand thus1 he takes no notice of the discomfort that he suffers in such a posture4 ,this figure is very beautiful in its aspect of old age1 and somewhat full in form1 and has draperies with few folds1 which are most beautiful4 ,in addition1 there is another ,sibyl1 who is next in the direction of the altar on the other side1 displaying certain writings1 and1 with her boys in attendance1 is no less worthy of praise than are the others4 ,beyond her is the ,prophet ,isaiah1 who1 wholly absorbed in his own thoughts1 has the legs crossed over one another1 and1 holding one hand in his book to mark the place where he was reading1 has placed the elbow of the other arm upon the book1 with the cheek pressed against the hand2 and1 being called by one of the boys that he has behind him1 he turns only the head1 without disturbing himself otherwise4 ,whoever shall consider his countenance1 shall see touches truly taken from ,nature herself1 the true mother of art1 and a figure which1 when well studied in every part1 can teach in liberal measure all the precepts of the good painter4 ,beyond this ,prophet is an aged ,sibyl of great beauty1 who1 as she sits1 studies from a book in an attitude of extraordinary grace1 not to speak of the beautiful attitudes of the two boys that are about her4 ,nor may any man think with all his imaginings to be able to attain to the excellence of the figure of a youth representing ,daniel1 who1 writing in a great book1 is taking certain things from other writings and copying them with extraordinary attention2 and as a support for the weight of the book ,michelagnolo painted a boy between his legs1 who is upholding it while he writes1 all which no brush held by a human hand1 however skilful1 will ever be able to equal4 ,and so1 also1 with the beautiful figure of the ,libyan ,sibyl1 who1 having written a great volume drawn from many books1 is in an attitude of womanly grace1 as if about to rise to her feet2 and in one and the same movement she makes as if to rise and to close the book--a thing most difficult1 not to say impossible1 for any other but the master of the work4 ,and what can be said of the four scenes at the corners1 on the spandrels of that vaulting2 in one of which ,david1 with all the boyish strength that he can exert in the conquest of a giant1 is cutting off his head1 bringing marvel to the faces of some soldiers who are about the camp4 ,and so1 also1 do men marvel at the beautiful attitudes that ,michelagnolo depicted in the story of ,judith1 at the opposite corner1 in which may be seen the trunk of ,holofernes1 robbed of life but still quivering1 while ,judith is placing the lifeless head in a basket on the head of her old serving-woman1 who1 being tall in stature1 is stooping to the end that ,judith may be able to reach up to her and adjust the weight well2 and the servant1 while upholding the burden with her hands1 seeks to conceal it1 and1 turning her head towards the trunk1 which1 although dead1 draws up an arm and a leg and makes a noise in the tent1 she shows in her expression fear of the camp and terror of the dead body--a picture truly full of thought4 ,but more beautiful and more divine than this or any of the others is the story of the ,serpents of ,moses1 which is above the left-hand corner of the altar2 for the reason that in it is seen the havoc wrought by death1 the rain of serpents1 their stings and their bites1 and there may also be perceived the serpent of brass that ,moses placed upon a pole4 ,in this scene are shown vividly the various deaths that those die who are robbed of all hope by the bite of the serpents1 and one sees the deadly venom causing vast numbers to die in terror and convulsions1 to say nothing of the rigid legs and twisted arms of those who remain in the attitudes in which they were struck down1 unable to move1 and the marvellous heads that are shrieking and thrown backwards in despair4 ,not less beautiful than all these are those who1 having looked upon the serpent1 and feeling their pains alleviated by the sight of it1 are gazing on it with profound emotion2 and among them is a woman who is supported by another figure in such a manner that the assistance rendered to her by him who upholds her is no less manifest than her pressing need in such sudden alarm and hurt4 ,in the next scene1 likewise1 in which ,ahasuerus1 reclining in a bed1 is reading his chronicles1 are figures of great beauty1 and among them three figures eating at a table1 which represent the council that was held for the deliverance of the ,jewish people and the hanging of ,haman4 ,the figure of ,haman was executed by ,michelagnolo in an extraordinary manner of foreshortening1 for he counterfeited the trunk that supports his person1 and that arm which comes forward1 not as painted things but as real and natural1 standing out in relief1 and so also that leg which he stretches outwards and other parts that bend inwards3 which figure1 among all that are beautiful and difficult1 is certainly the most beautiful and the most difficult4 ,illustration3 ,,decorative ,,figure 7,after the fresco by ,michelagnolo ,buonarroti4 ,rome3 ,sistine ,chapel7 ,anderson ,it would take too long to describe all the beautiful fantasies in the different actions in the part where there is all the ,genealogy of the ,fathers1 beginning with the sons of ,noah1 to demonstrate the ,genealogy of ,jesus ,christ1 in which figures is a variety of things that it is not possible to enumerate1 such as draperies1 expressions of heads1 and an infinite number of novel and extraordinary fancies1 all most beautifully considered4 ,nothing there but is carried into execution with genius3 all the figures there are masterly and most beautifully foreshortened1 and everything that you look at is divine and beyond praise4 ,and who will not be struck dumb with admiration at the sight of the sublime force of ,jonas1 the last figure in the chapel1 wherein by the power of art the vaulting1 which in fact springs forward in accord with the curve of the masonry1 yet1 being in appearance pushed back by that figure1 which bends inwards1 seems as if straight1 and1 vanquished by the art of design with its lights and shades1 even appears in truth to recede inwards8 ,oh1 truly happy age of ours1 and truly blessed craftsmen6 ,well may you be called so1 seeing that in our time you have been able to illumine anew in such a fount of light the darkened sight of your eyes1 and to see all that was difficult made smooth by a master so marvellous and so unrivalled6 ,certainly the glory of his labours makes you known and honoured1 in that he has stripped from you that veil which you had over the eyes of your minds1 which were so full of darkness1 and has delivered the truth from the falsehood that overshadowed your intellects4 ,thank ,heaven1 therefore1 for this1 and strive to imitate ,michelagnolo in everything4 ,when the work was thrown open1 the whole world could be heard running up to see it1 and1 indeed1 it was such as to make everyone astonished and dumb4 ,wherefore the ,pope1 having been magnified by such a result and encouraged in his heart to undertake even greater enterprises1 rewarded ,michelagnolo liberally with money and rich gifts3 and ,michelagnolo would say at times of the extraordinary favours that the ,pope conferred upon him1 that they showed that he fully recognized his worth1 and that1 if by way of proving his friendliness he sometimes played him strange tricks1 he would heal the wound with signal gifts and favours4 ,as when1 ,michelagnolo once demanding from him leave to go to ,florence for the festival of ,s4 ,john1 and asking money for that purpose1 the ,pope said1 ,well1 but when will you have this chapel finished8 ,as soon as ,i can1 ,holy ,father4 ,the ,pope1 who had a staff in his hand1 struck ,michelagnolo1 saying1 ,as soon as ,i can6 ,as soon as ,i can6 ,i will soon make you finish it6 ,whereupon ,michelagnolo went back to his house to get ready to go to ,florence2 but the ,pope straightway sent ,cursio1 his ,chamberlain1 to ,michelagnolo with five hundred crowns to pacify him1 fearing lest he might commit one of his caprices1 and ,cursio made excuse for the ,pope1 saying that such things were favours and marks of affection4 ,and ,michelagnolo1 who knew the ,pope's nature and1 after all1 loved him1 laughed over it all1 for he saw that in the end everything turned to his profit and advantage1 and that the ,pontiff would do anything to keep a man such as himself as his friend4 ,when the chapel was finished1 before the ,pope was overtaken by death1 his ,holiness commanded ,cardinal ,santiquattro and ,cardinal ,aginense1 his nephew1 in the event of his death1 that they should cause his tomb to be finished1 but on a smaller scale than before4 ,to this work ,michelagnolo set himself once again1 and so made a beginning gladly with the tomb1 hoping to carry it once and for all to completion without so many impediments2 but he had from it ever afterwards vexations1 annoyances1 and travails1 more than from any other work that he did in all his life1 and it brought upon him for a long time1 in a certain sense1 the accusation of being ungrateful to that ,pope1 who had so loved and favoured him4 ,thus1 when he had returned to the tomb1 and was working at it continually1 and also at times preparing designs from which he might be able to execute the faades of the chapel1 envious ,fortune decreed that that memorial1 which had been begun with such perfection1 should be left unfinished4 ,for at that time there took place the death of ,pope ,julius1 and the work was abandoned on account of the election of ,pope ,leo ,x1 who1 being no less splendid than ,julius in mind and spirit1 had a desire to leave in his native city 7of which he was the first ,pope71 in memory of himself and of a divine craftsman who was his fellow-citizen1 such marvels as only a mighty ,prince like himself could undertake4 ,wherefore he gave orders that the faade of ,s4 ,lorenzo1 a church built by the ,medici family in ,florence1 should be erected for him1 which was the reason that the work of the tomb of ,julius was left unfinished2 and he demanded advice and designs from ,michelagnolo1 and desired that he should be the head of that work4 ,michelagnolo made all the resistance that he could1 pleading that he was pledged in the matter of the tomb to ,santiquattro and ,aginense1 but the ,pope answered him that he was not to think of that1 and that he himself had already seen to it and contrived that ,michelagnolo should be released by them2 promising1 also1 that he should be able to work in ,florence1 as he had already begun to do1 at the figures for that tomb4 ,all this was displeasing to the ,cardinals1 and also to ,michelagnolo1 who went off in tears4 ,illustration3 ,,the ,,new ,,sacristy 7,after ,michelangelo4 ,florence3 ,s4 ,lorenzo7 ,alinari ,many and various were the discussions that arose on this subject1 on the ground that such a work as that faade should have been distributed among several persons1 and in the matter of the architecture many craftsmen flocked to ,rome to see the ,pope1 and made designs2 ,baccio d',agnolo1 ,antonio da ,san ,gallo1 ,andrea ,sansovino and ,jacopo ,sansovino1 and the gracious ,raffaello da ,urbino1 who was afterwards summoned to ,florence for that purpose at the time of the ,pope's visit4 ,thereupon ,michelagnolo resolved to make a model and not to accept anyone beyond himself as his guide or superior in the architecture of such a work2 but this refusal of assistance was the reason that neither he nor any other executed the work1 and that those masters returned in despair to their customary pursuits4 ,michelagnolo1 going to ,carrara1 had an order authorizing that a thousand crowns should be paid to him by ,jacopo ,salviati2 but on his arrival ,jacopo was shut up in his room on business with some citizens1 and ,michelagnolo1 refusing to wait for an audience1 departed without saying a word and went straightway to ,carrara4 ,jacopo heard of ,michelagnolo's arrival1 and1 not finding him in ,florence1 sent him a thousand crowns to ,carrara4 ,the messenger demanded that ,michelagnolo should write him a receipt1 to which he answered that the money was for the expenses of the ,pope and not for his own interest1 and that the messenger might take it back1 but that he was not accustomed to write out quittances or receipts for others2 whereupon the other returned in alarm to ,jacopo without a receipt4 ,while ,michelagnolo was at ,carrara and was having marble quarried for the tomb of ,julius1 thinking at length to finish it1 no less than for the faade1 a letter was written to him saying that ,pope ,leo had heard that in the mountains of ,pietrasanta near ,seravezza1 in the ,florentine dominion1 at the summit of the highest mountain1 which is called ,monte ,altissimo1 there were marbles of the same excellence and beauty as those of ,carrara4 ,this ,michelagnolo already knew1 but it seems that he would not take advantage of it because of his friendship with the ,marchese ,alberigo1 ,lord of ,carrara1 and1 in order to do him a good service1 chose to quarry those of ,carrara rather than those of ,seravezza2 or it may have been that he judged it to be a long undertaking and likely to waste much time1 as indeed it did4 ,however1 he was forced to go to ,seravezza1 although he pleaded in protest that it would be more difficult and costly1 as in truth it was1 especially at the beginning1 and1 moreover1 that the report about the marble was perhaps not true2 but for all that the ,pope would not hear a word of objection4 ,thereupon it was decided to make a road for several miles through the mountains1 breaking down rocks with hammers and pickaxes to obtain a level1 and sinking piles in the marshy places2 and there ,michelagnolo spent many years in executing the wishes of the ,pope4 ,finally five columns of the proper size were excavated1 one of which is on the ,piazza di ,s4 ,lorenzo in ,florence1 and the others are on the sea-shore4 ,and for this reason the ,marchese ,alberigo1 who saw his business ruined1 became the bitter enemy of ,michelagnolo1 who was not to blame4 ,michelagnolo1 in addition to these columns1 excavated many other marbles there1 which are still in the quarries1 abandoned there for more than thirty years4 ,but at the present day ,duke ,cosimo has given orders for the road to be finished1 of which there are still two miles to make over very difficult ground1 for the transportation of these marbles1 and also a road from another quarry of excellent marble that was discovered at that time by ,michelagnolo1 in order to be able to finish many beautiful undertakings4 ,in the same district of ,seravezza he discovered a mountain of variegated marble that is very hard and very beautiful1 below ,stazema1 a village in those mountains2 where the same ,duke ,cosimo has caused a paved road of more than four miles to be made1 for conveying the marble to the sea4 ,but to return to ,michelagnolo3 having gone back to ,florence1 he lost much time now in one thing and now in another4 ,and he made at that time for the ,palace of the ,medici a model for the knee-shaped windows of those rooms that are at the corner1 where ,giovanni da ,udine adorned the chamber in stucco and painting1 which is a much extolled work2 and he caused to be made for them by the goldsmith ,piloto1 but under his own direction1 those jalousies of perforated copper1 which are certainly admirable things4 ,michelagnolo consumed many years in quarrying marbles1 although it is true that while they were being excavated he made models of wax and other things for the work4 ,but this undertaking was delayed so long1 that the money assigned by the ,pope for the purpose was spent on the war in ,lombardy2 and at the death of ,leo the work was left unfinished1 nothing being accomplished save the laying of a foundation in front to support it1 and the transportation of a large column of marble from ,carrara to the ,piazza di ,s4 ,lorenzo4 ,illustration3 ,,madonna ,,and ,,child 7,after ,michelagnolo4 ,florence3 ,new ,sacristy of ,s4 ,lorenzo7 ,anderson ,the death of ,leo completely dismayed the craftsmen and the arts both in ,rome and in ,florence2 and while ,adrian ,,vi was alive ,michelagnolo gave his attention in ,florence to the tomb of ,julius4 ,but after the death of ,adrian ,clement ,,vii was elected1 who was no less desirous than ,leo and his other predecessors to leave his fame established by the arts of architecture1 sculpture1 and painting4 ,at this time1 which was the year #aebe1 ,giorgio ,vasari was taken as a little boy to ,florence by the ,cardinal of ,cortona1 and placed with ,michelagnolo to learn art4 ,but ,michelagnolo was then summoned to ,rome by ,pope ,clement ,,vii1 who had made a beginning with the library of ,s4 ,lorenzo and also the new sacristy1 in which he proposed to place the marble tombs that he was having made for his forefathers2 and he resolved that ,vasari should go to work with ,andrea del ,sarto until he should himself be free again1 and went in person to ,andrea's workshop to present him4 ,michelagnolo departed for ,rome in haste1 harassed once again by ,francesco ,maria1 ,duke of ,urbino1 the nephew of ,pope ,julius1 who complained of him1 saying that he had received sixteen thousand crowns for the above-named tomb1 yet was living a life of pleasure in ,florence2 and he threatened in his anger that1 if ,michelagnolo did not give his attention to the work1 he would make him rue it4 ,having arrived in ,rome1 ,pope ,clement1 who wished to make use of him1 advised him to draw up his accounts with the agents of the ,duke1 believing that after all that he had done he must be their creditor rather than their debtor2 and so the matter rested4 ,after discussing many things together1 they resolved to finish completely the library and new sacristy of ,s4 ,lorenzo in ,florence4 ,michelagnolo therefore departed from ,rome1 and raised the cupola that is now to be seen1 causing it to be wrought in various orders of composition2 and he had a ball with seventy-two faces made by the goldsmith ,piloto1 which is very beautiful4 ,it happened1 while ,michelagnolo was raising the cupola1 that he was asked by some friends1 ,should you not make your lantern very different from that of ,filippo ,brunelleschi8 ,and he answered them1 ,different it can be made with ease1 but better1 no4 ,he made four tombs in that sacristy1 to adorn the walls and to contain the bodies of the fathers of the two ,popes1 the elder ,lorenzo and his brother ,giuliano1 and those of ,giuliano1 the brother of ,leo1 and of ,duke ,lorenzo1 his nephew4 ,and since he wished to execute the work in imitation of the old sacristy that ,filippo ,brunelleschi had built1 but with another manner of ornamentation1 he made in it an ornamentation in a composite order1 in a more varied and more original manner than any other master at any time1 whether ancient or modern1 had been able to achieve1 for in the novelty of the beautiful cornices1 capitals1 bases1 doors1 tabernacles1 and tombs1 he departed not a little from the work regulated by measure1 order1 and rule1 which other men did according to a common use and after ,vitruvius and the antiquities1 to which he would not conform4 ,that licence has done much to give courage to those who have seen his methods to set themselves to imitate him1 and new fantasies have since been seen which have more of the grotesque than of reason or rule in their ornamentation4 ,wherefore the craftsmen owe him an infinite and everlasting obligation1 he having broken the bonds and chains by reason of which they had always followed a beaten path in the execution of their works4 ,and even more did he demonstrate and seek to make known such a method afterwards in the library of ,s4 ,lorenzo1 at the same place2 in the beautiful distribution of the windows1 in the pattern of the ceiling1 and in the marvellous entrance of the vestibule4 ,nor was there ever seen a more resolute grace1 both in the whole and in the parts1 as in the consoles1 tabernacles1 and cornices1 nor any staircase more commodious2 in which last he made such bizarre breaks in the outlines of the steps1 and departed so much from the common use of others1 that everyone was amazed4 ,illustration3 ,,giuliano ,,de' ,,medici 7,after ,michelagnolo4 ,florence3 ,new ,sacristy of ,s4 ,lorenzo7 ,anderson ,at this time he sent his disciple ,pietro ,urbano of ,pistoia to ,rome to carry to completion a nude ,christ holding the ,cross1 a most admirable figure1 which was placed beside the principal chapel of the ,minerva1 at the commission of ,messer ,antonio ,metelli4 ,about the same time there took place the sack of ,rome and the expulsion of the ,medici from ,florence2 by reason of which upheaval those who governed the city of ,florence resolved to rebuild the fortifications1 and therefore made ,michelagnolo ,commissary ,general over all that work4 ,whereupon he made designs and caused fortifications to be built for several parts of the city1 and finally encircled the hill of ,san ,miniato with bastions1 which he made not with sods of earth1 wood1 and bundles of brushwood1 as is generally done1 but with a stout base of chestnut1 oak1 and other good materials interwoven1 and in place of sods he took unbaked bricks made with tow and the dung of cattle1 squared with very great diligence4 ,and for this reason he was sent by the ,signoria of ,florence to ,ferrara1 to inspect the fortifications of ,duke ,alfonso ,i1 and so also his artillery and munitions2 where he received many courtesies from that lord1 who besought him that he should do something for him with his own hand at his leisure1 and ,michelagnolo promised that he would4 ,after his return1 he was continually engaged in fortifying the city1 but1 although he was thus occupied1 nevertheless he kept working at a picture of a ,leda for that ,duke1 painted with his own hand in distemper-colours1 which was a divine thing1 as will be related in the proper place2 also continuing the statues for the tombs of ,s4 ,lorenzo1 but in secret4 ,at this time ,michelagnolo spent some six months on the hill of ,san ,miniato in order to press on the fortification of that hill1 because if the enemy became master of it1 the city was lost2 and so he pursued these undertakings with the utmost diligence4 ,illustration3 ,,tomb ,,of ,,giuliano ,,de' ,,medici 7,after ,michelagnolo4 ,florence3 ,new ,sacristy of ,s4 ,lorenzo7 ,anderson ,at this same time he continued the work in the above-mentioned sacristy1 in which were seven statues that were left partly finished and partly not4 ,with these1 and with the architectural inventions of the tombs1 it must be confessed that he surpassed every man in these three professions2 to which testimony is borne by the statues of marble1 blocked out and finished by him1 which are to be seen in that place4 ,one is ,our ,lady1 who is in a sitting attitude1 with the right leg crossed over the left and one knee placed upon the other1 and the ,child1 with the thighs astride the leg that is uppermost1 turns in a most beautiful attitude towards ,his ,mother1 hungry for her milk1 and she1 while holding ,him with one hand and supporting herself with the other1 bends forward to give it to ,him2 and although the figure is not equal in every part1 and it was left rough and showing the marks of the gradine1 yet with all its imperfections there may be recognized in it the full perfection of the work4 ,even more did he cause everyone to marvel by the circumstance that in making the tombs of ,duke ,giuliano and ,duke ,lorenzo de' ,medici he considered that earth alone was not enough to give them honourable burial in their greatness1 and desired that all the phases of the world should be there1 and that their sepulchres should be surrounded and covered by four statues2 wherefore he gave to one ,night and ,day1 and to the other ,dawn and ,twilight2 which statues1 most beautifully wrought in form1 in attitude1 and in the masterly treatment of the muscles1 would suffice1 if that art were lost1 to restore her to her pristine lustre4 ,there1 among the other statues1 are the two ,captains1 armed2 one the pensive ,duke ,lorenzo1 the very presentment of wisdom1 with legs so beautiful and so well wrought1 that there is nothing better to be seen by mortal eye2 and the other is ,duke ,giuliano1 so proud a figure1 with the head1 the throat1 the setting of the eyes1 the profile of the nose1 the opening of the mouth1 and the hair all so divine1 to say nothing of the hands1 arms1 knees1 feet1 and1 in short1 every other thing that he carved therein1 that the eye can never be weary or have its fill of gazing at them2 and1 of a truth1 whoever studies the beauty of the buskins and the cuirass1 believes it to be celestial rather than mortal4 ,but what shall ,i say of the ,dawn1 a nude woman1 who is such as to awaken melancholy in the soul and to render impotent the style of sculpture8 ,in her attitude may be seen her effort1 as she rises1 heavy with sleep1 and raises herself from her downy bed2 and it seems that in awakening she has found the eyes of that great ,duke closed in death1 so that she is agonized with bitter grief1 weeping in her own unchangeable beauty in token of her great sorrow4 ,and what can ,i say of the ,night1 a statue not rare only1 but unique8 ,who is there who has ever seen in that art in any age1 ancient or modern1 statues of such a kind8 ,for in her may be seen not only the stillness of one sleeping1 but the grief and melancholy of one who has lost a great and honoured possession2 and we must believe that this is that night of darkness that obscures all those who thought for some time1 ,i will not say to surpass1 but to equal ,michelagnolo in sculpture and design4 ,in that statue is infused all the somnolence that is seen in sleeping forms2 wherefore many verses in ,latin and rhymes in the vulgar tongue were written in her praise by persons of great learning1 such as these1 of which the author is not known-- ,la ,notte che tu vedi in si dolci atti ,dormire1 fu da un ,angelo scolpita ,in questo sasso2 e perche dorme1 ha vita4 ,destala1 se no 'l credi1 e parleratti4 ,to which ,michelagnolo1 speaking in the person of ,night1 answered thus-- ,grato mi il sonno1 e pi l'esser di sasso2 ,mentre che il danno e la vergogna dura1 ,non veder' non sentir' m' gran ventura4 ,per non mi destar'2 deh parla basso4 ,truly1 if the enmity that there is between ,fortune and ,genius1 between the envy of the one and the excellence of the other1 had not prevented such a work from being carried to completion1 ,art was like to prove to ,nature that she surpassed her by a great measure in every conception4 ,while ,michelagnolo was labouring with the greatest solicitude and love at these works1 there came in #aebi the siege of ,florence1 which hindered their completion only too effectually1 and was the reason that he did little or no more work upon them1 the citizens having laid upon him the charge of fortifying not only the hill of ,s4 ,miniato1 but also the city1 as we have related4 ,and thus1 having lent a thousand crowns to that ,republic1 and being elected one of the ,nine1 a military ,council appointed for the war1 he turned all his mind and soul to perfecting those fortifications4 ,but in the end1 when the enemy had closed round the city1 and all hope of assistance was failing little by little1 and the difficulties of maintaining the defence were increasing1 and it appeared to ,michelagnolo that he was in a sorry pass with regard to his personal safety1 he determined to leave ,florence and make his way to ,venice1 without making himself known to anyone on the road4 ,he set out secretly1 therefore1 by way of the hill of ,s4 ,miniato1 without anyone knowing of it1 taking with him ,antonio ,mini1 his disciple1 and the goldsmith ,piloto1 his faithful friend2 and each of them carried a number of crowns on his person1 sewn into his quilted doublet4 ,having arrived in ,ferrara1 they rested there2 and it happened that on account of the alarm caused by the war and the league of the ,emperor and the ,pope1 who were besieging ,florence1 ,duke ,alfonso d',este was keeping strict watch in ,ferrara1 and required to be secretly informed by the hosts who gave lodging to travellers of the names of all those who lodged with them from one day to another2 and he caused a list of all foreigners1 with their nationality1 to be brought to him every day4 ,it came to pass1 then1 that when ,michelagnolo had dismounted with his companions1 intending to stay there without revealing himself1 this became known in that way to the ,duke1 who was very glad1 because he had already become his friend4 ,that ,prince was a man of lofty mind1 delighting constantly in persons of ability all his life long1 and he straightway sent some of the first men of his ,court with orders to conduct him in the name of his ,excellency to the ,palace1 where the ,duke was1 to remove thither his horses and all his baggage1 and to give him a handsome lodging in that ,palace4 ,michelagnolo1 finding himself in the power of another1 was constrained to obey and to make the best of a bad business1 and he went with those courtiers to the ,duke1 but without removing his baggage from the inn4 ,thereupon the ,duke1 after first complaining of his reserve1 gave him a great reception2 and then1 making him rich and honourable presents1 he sought to detain him in ,ferrara with the promise of a fine salary4 ,he1 having his mind set on something else1 would not consent to remain2 but the ,duke again made him a free offer of all that was in his power1 praying him that he should at least not depart as long as the war continued4 ,whereupon ,michelagnolo1 not wishing to be outdone in courtesy1 thanked him warmly1 and1 turning towards his two companions1 said that he had brought twelve thousand crowns to ,ferrara1 and that1 if the ,duke had need of them1 they were at his disposal1 together with himself4 ,the ,duke then took him through the ,palace to divert him1 as he had done on another occasion1 and showed him all the beautiful things that he had there1 including a portrait of himself by ,tiziano1 which was much commended by ,michelagnolo4 ,however1 his ,excellency was not able to keep him in the ,palace1 for he insisted on returning to the inn2 wherefore the host who was lodging him received from the ,duke a great abundance of things wherewith to do him honour1 and also orders that at his departure he should not accept anything for his lodging4 ,from ,ferrara he made his way to ,venice1 where many gentlemen sought to become known to him2 but he1 who always had a very poor opinion of their knowledge of his profession1 departed from the ,giudecca1 where he had his lodging4 ,there1 so it is said1 he made for that city at that time1 at the request of the ,doge ,gritti1 a design for the bridge of the ,rialto1 which was very rare in invention and in ornamentation4 ,michelagnolo was invited with great insistence to go back to his native country1 being urgently requested not to abandon his undertaking there1 and receiving a safe-conduct2 and finally1 vanquished by love of her1 he returned1 but not without danger to his life4 ,at this time he finished the ,leda that he was painting1 as has been related1 at the request of ,duke ,alfonso2 and it was afterwards taken to ,france by ,antonio ,mini1 his disciple4 ,and at this same time he saved the campanile of ,s4 ,miniato1 a tower which sorely harassed the enemy's forces with its two pieces of artillery1 so that their artillerists1 having set to work to batter it with heavy cannon1 had half ruined it1 and were like to destroy it completely1 when ,michelagnolo protected it so well with bales of wool and stout mattresses suspended by cords1 that it is still standing4 ,it is said1 also1 that at the time of the siege there came to him an opportunity to acquire1 according to a desire that he had long had1 a block of marble of nine braccia which had come from ,carrara1 and which ,pope ,clement1 after much rivalry and contention between him and ,baccio ,bandinelli1 had given to ,baccio4 ,but ,michelagnolo1 now that such a matter was in the hands of the ,commonwealth1 asked for it from the ,gonfalonier1 who gave it to him that he might likewise try his hand upon it1 although ,baccio had already made a model and hacked away much of the stone in blocking it out4 ,thereupon ,michelagnolo made a model1 which was held to be a marvellous and very beautiful thing2 but on the return of the ,medici the marble was restored to ,baccio4 ,when peace had been made1 ,baccio ,valori1 the ,pope's ,commissioner1 received orders to have some of the most partisan citizens arrested and imprisoned in the ,bargello1 and the same tribunal sought out ,michelagnolo at his house2 but he1 fearing that1 had fled secretly to the house of one who was much his friend1 where he remained hidden many days4 ,finally1 when the first fury had abated1 ,pope ,clement1 remembering the ability of ,michelagnolo1 caused a diligent search to be made for him1 with orders that nothing should be said to him1 but rather that his former appointments should be restored to him1 and that he should attend to the work of ,s4 ,lorenzo1 over which he placed as proveditor ,m4 ,giovan ,battista ,figiovanni1 the old servant of the ,medici family and ,prior of ,s4 ,lorenzo4 ,thus reassured1 ,michelagnolo1 in order to make ,baccio ,valori his friend1 began a figure of three braccia in marble1 which was an ,apollo drawing an arrow from his quiver1 and carried it almost to completion4 ,it is now in the apartment of the ,prince of ,florence1 and is a very rare work1 although it is not completely finished4 ,at this time a certain gentleman was sent to ,michelagnolo by ,duke ,alfonso of ,ferrara1 who1 having heard that the master had made some rare work for him with his own hand1 did not wish to lose such a jewel4 ,having arrived in ,florence and found ,michelagnolo1 the envoy presented to him letters of recommendation from that lord2 whereupon ,michelagnolo1 receiving him courteously1 showed him the ,leda embracing the ,swan that he had painted1 with ,castor and ,pollux issuing from the ,egg1 in a large picture executed in distemper1 as it were with the breath4 ,the ,duke's envoy1 thinking from the praise that he heard everywhere of ,michelagnolo that he should have done something great1 and not recognizing the excellence and artistry of that figure1 said to ,michelagnolo3 ,oh1 this is but a trifle4 ,michelagnolo1 knowing that no one is better able to pronounce judgment on works than those who have had long practise in them1 asked him what was his vocation4 ,and he answered1 with a sneer1 ,i am a merchant2 believing that he had not been recognized by ,michelagnolo as a gentleman1 and as it were making fun of such a question1 and at the same time affecting to despise the industry of the ,florentines4 ,michelagnolo1 who had understood perfectly the meaning of his words1 at once replied3 ,you will find you have made a bad bargain this time for your master4 ,get you gone out of my sight4 ,illustration3 ,,apollo 7,after ,michelagnolo4 ,florence3 ,museo ,nazionale7 ,alinari ,now in those days ,antonio ,mini1 his disciple1 who had two sisters waiting to be married1 asked him for the ,leda1 and he gave it to him willingly1 with the greater part of the designs and cartoons that he had made1 which were divine things1 and also two chests full of models1 with a great number of finished cartoons for making pictures1 and some of works that had been painted4 ,when ,antonio took it into his head to go to ,france1 he carried all these with him2 the ,leda he sold to ,king ,francis by means of some merchants1 and it is now at ,fontainebleau1 but the cartoons and designs were lost1 for he died there in a short time1 and some were stolen2 and so our country was deprived of all these valuable labours1 which was an incalculable loss4 ,the cartoon of the ,leda has since come back to ,florence1 and ,bernardo ,vecchietti has it2 and so also four pieces of the cartoons for the chapel1 with nudes and ,prophets1 brought back by the sculptor ,benvenuto ,cellini1 and now in the possession of the heirs of ,girolamo degli ,albizzi4 ,it became necessary for ,michelagnolo to go to ,rome to see ,pope ,clement1 who1 although angry with him1 yet1 as the friend of every talent1 forgave him everything1 and gave him orders that he should return to ,florence and have the library and sacristy of ,s4 ,lorenzo completely finished2 and1 in order to shorten that work1 a vast number of statues that were to be included in it were distributed among other masters4 ,two he allotted to ,tribolo1 one to ,raffaello da ,montelupo1 and one to ,fra ,giovanni ,agnolo1 the ,servite friar1 all sculptors2 and he gave them assistance in these1 making rough models in clay for each of them4 ,whereupon they all worked valiantly1 and he1 also1 caused work to be pursued on the library1 and thus the ceiling was finished in carved woodwork1 which was executed after his models by the hands of the ,florentines ,carota and ,tasso1 excellent carvers and also masters of carpentry2 and likewise the shelves for the books1 which were executed at that time by ,battista del ,cinque and his friend ,ciappino1 good masters in that profession4 ,and in order to give the work its final perfection there was summoned to ,florence the divine ,giovanni da ,udine1 who1 together with others his assistants and also some ,florentine masters1 decorated the tribune with stucco2 and they all sought with great solicitude to give completion to that vast undertaking4 ,now1 just as ,michelagnolo was about to have the statues carried into execution1 at that very time the ,pope took it into his head to have him near his person1 being desirous to have the walls of the ,chapel of ,sixtus painted1 where ,michelagnolo had painted the vaulting for ,julius ,,ii1 his nephew4 ,on the principal wall1 where the altar is1 ,clement wished him to paint the ,universal ,judgment1 to the end that he might display in that scene all that the art of design could achieve1 and opposite to it1 on the other wall1 over the principal door1 he had commanded that he should depict the scene when ,lucifer was expelled for his pride from ,heaven1 and all those ,angels who sinned with him were hurled after him into the centre of ,hell3 of which inventions it was found that ,michelagnolo many years before had made various sketches and designs1 one of which was afterwards carried into execution in the ,church of the ,trinit at ,rome by a ,sicilian painter1 who stayed many months with ,michelagnolo1 to serve him and to grind his colours4 ,this work1 painted in fresco1 is in the ,chapel of ,s4 ,gregorio1 in the cross of the church1 and1 although it is executed badly1 there is a certain variety and terrible force in the attitudes and groups of those nudes that are raining down from ,heaven1 and of the others who1 having fallen into the centre of the earth1 are changed into various forms of ,devils1 very horrible and bizarre2 and it is certainly an extraordinary fantasy4 ,while ,michelagnolo was directing the preparation of the designs and cartoons of the ,last ,judgment on the first wall1 he never ceased for a single day to be at strife with the agents of the ,duke of ,urbino1 by whom he was accused of having received sixteen thousand crowns from ,julius ,,ii for the tomb4 ,this accusation was more than he could bear1 and he desired to finish the work some day1 although he was already an old man1 and he would have willingly stayed in ,rome to finish it1 now that he had found1 without seeking it1 such a pretext for not returning any more to ,florence1 since he had a great fear of ,duke ,alessandro de' ,medici1 whom he regarded as little his friend2 for1 when the ,duke had given him to understand through ,signor ,alessandro ,vitelli that he should select the best site for the building of the castle and citadel of ,florence1 he answered that he would not go save at the command of ,pope ,clement4 ,finally an agreement was formed in the matter of the tomb1 that it should be finished in the following manner3 there was no longer to be an isolated tomb in a rectangular shape1 but only one of the original faades1 in the manner that best pleased ,michelagnolo1 and he was to be obliged to place in it six statues by his own hand4 ,in this contract that was made with the ,duke of ,urbino1 his ,excellency consented that ,michelagnolo should be at the disposal of ,pope ,clement for four months in the year1 either in ,florence or wherever he might think fit to employ him4 ,but1 although it seemed to ,michelagnolo that at last he had obtained some peace1 he was not to be quit of it so easily1 for ,pope ,clement1 desiring to see the final proof of the force of his art1 kept him occupied with the cartoon of the ,judgment4 ,however1 contriving to convince the ,pope that he was thus engaged1 at the same time he kept working in secret1 never relaxing his efforts1 at the statues that were going into the above-named tomb4 ,in the year #aecca came the death of ,pope ,clement1 whereupon the work of the library and sacristy in ,florence1 which had remained unfinished in spite of all the efforts made to finish it1 was stopped4 ,then1 at length1 ,michelagnolo thought to be truly free and able to give his attention to finishing the tomb of ,julius ,,ii4 ,but ,paul ,,iii1 not long after his election1 had him summoned to his presence1 and1 besides paying him compliments and making him offers1 requested him to enter his service and remain near his person4 ,michelagnolo refused1 saying that he was not able to do it1 being bound by contract to the ,duke of ,urbino until the tomb of ,julius should be finished4 ,the ,pope flew into a rage and said3 ,i have had this desire for thirty years1 and now that ,i am ,pope do you think ,i shall not satisfy it8 ,i shall tear up the contract1 for ,i am determined to have you serve me1 come what may4 ,michelagnolo1 hearing this resolution1 was tempted to leave ,rome and in some way find means to give completion to the tomb2 however1 fearing1 like a wise man1 the power of the ,pope1 he resolved to try to keep him pacified with words1 seeing that he was so old1 until something should happen4 ,the ,pope1 who wished to have some extraordinary work executed by ,michelagnolo1 went one day with ten ,cardinals to visit him at his house1 where he demanded to see all the statues for the tomb of ,julius1 which appeared to him marvellous1 and particularly the ,moses1 which figure alone was said by the ,cardinal of ,mantua to be enough to do honour to ,pope ,julius4 ,and after seeing the designs and cartoons that he was preparing for the wall of the chapel1 which appeared to the ,pope to be stupendous1 he again besought ,michelagnolo with great insistence that he should enter his service1 promising that he would persuade the ,duke of ,urbino to content himself with three statues1 and that the others should be given to other excellent masters to execute after his models4 ,whereupon1 his ,holiness having arranged this with the agents of the ,duke1 a new contract was made1 which was confirmed by the ,duke2 and ,michelagnolo of his own free will bound himself to pay for the other three statues and to have the tomb erected1 depositing for this purpose in the bank of the ,strozzi one thousand five hundred and eighty ducats4 ,this he might have avoided1 and it seemed to him that he had truly done enough to be free of such a long and troublesome undertaking2 and afterwards he caused the tomb to be erected in ,s4 ,pietro in ,vincola in the following manner4 ,he erected the lower base1 which was all carved1 with four pedestals which projected outwards as much as was necessary to give space for the captive that was originally intended to stand on each of them1 instead of which there was left a terminal figure2 and since the lower part had thus a poor effect1 he placed at the feet of each terminal figure a reversed console resting on the pedestal4 ,those four terminal figures had between them three niches1 two of which 7those at the sides7 were round1 and were to have contained the ,victories4 ,instead of the ,victories1 he placed in one ,leah1 the daughter of ,laban1 to represent the ,active ,life1 with a mirror in her hand to signify the consideration that we should give to our actions1 and in the other hand a garland of flowers1 to denote the virtues that adorn our life during its duration1 and make it glorious after death2 and the other figure was her sister ,rachel1 representing the ,contemplative ,life1 with the hands clasped and one knee bent1 and on the countenance a look as of ecstasy of spirit4 ,these statues ,michelagnolo executed with his own hand in less than a year4 ,in the centre is the other niche1 rectangular in shape1 which in the original design was to have been one of the doors that were to lead into the little oval temple of the rectangular tomb2 this having become a niche1 there is placed in it1 upon a dado of marble1 the gigantic and most beautiful statue of ,moses1 of which we have already said enough4 ,above the heads of the terminal figures1 which form capitals1 are architrave1 frieze1 and cornice1 which project beyond those figures and are carved with rich ornaments1 foliage1 ovoli1 dentils1 and other rich members1 distributed over the whole work4 ,over that cornice rises another course1 smooth and without carvings1 but with different terminal figures standing directly above those below1 after the manner of pilasters1 with a variety of cornice-members2 and since this course accompanies that below and resembles it in every part1 there is in it a space similar to the other1 forming a niche like that in which there is now the ,moses1 and in the niche1 resting on projections of the cornice1 is a sarcophagus of marble with the recumbent statue of ,pope ,julius1 executed by the sculptor ,maso dal ,bosco1 while in that niche1 also1 there stands a ,madonna who is holding her ,son in her arms1 wrought by the sculptor ,scherano da ,settignano from a model by ,michelagnolo2 which statues are passing good4 ,in two other rectangular niches1 above the ,active and the ,contemplative ,life1 are two larger statues1 a ,prophet and a ,sibyl seated1 which were both executed by ,raffaello da ,montelupo1 as has been related in the ,life of his father ,baccio1 but little to the satisfaction of ,michelagnolo4 ,for its crowning completion this work had a different cornice1 which1 like those below1 projected over the whole work2 and above the terminal figures1 as a finish1 were candelabra of marble1 with the arms of ,pope ,julius in the centre4 ,above the ,prophet and the ,sibyl1 in the recess of each niche1 he made a window for the convenience of the friars who officiate in that church1 the choir having been made behind2 which windows serve to send their voices into the church when they say the divine office1 and permit the celebration to be seen4 ,truly this whole work has turned out very well1 but not by a great measure as it had been planned in the original design4 ,footnote #a3 #aecd4 ,illustration3 ,,the ,,last ,,judgment 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,michelagnolo resolved1 since he could not do otherwise1 to serve ,pope ,paul1 who allowed him to continue the work as ordered by ,clement1 without changing anything in the inventions and the general conception that had been laid before him1 thus showing respect for the genius of that great man1 for whom he felt such reverence and love that he sought to do nothing but what pleased him2 of which a proof was soon seen4 ,his ,holiness desired to place his own arms beneath the ,jonas in the chapel1 where those of ,pope ,julius ,,ii had previously been put2 but ,michelagnolo1 being asked to do this1 and not wishing to do a wrong to ,julius and ,clement1 would not place them there1 saying that they would not look well2 and the ,pope1 in order not to displease him1 was content to have it so1 having recognized very well the excellence of such a man1 and how he always followed what was just and honourable without any adulation or respect of persons--a thing that the great are wont to experience very seldom4 ,michelagnolo1 then1 caused a projection of well baked and chosen bricks to be carefully built on the wall of the above-named chapel 7a thing which was not there before71 and contrived that it should overhang half a braccio from above1 so that neither dust nor any other dirt might be able to settle upon it4 ,but ,i will not go into the particulars of the invention and composition of this scene1 because so many copies of it1 both large and small1 have been printed1 that it does not seem necessary to lose time in describing it4 ,it is enough for us to perceive that the intention of this extraordinary man has been to refuse to paint anything but the human body in its best proportioned and most perfect forms and in the greatest variety of attitudes1 and not this only1 but likewise the play of the passions and contentments of the soul1 being satisfied with justifying himself in that field in which he was superior to all his fellow-craftsmen1 and to lay open the way of the grand manner in the painting of nudes1 and his great knowledge in the difficulties of design2 and1 finally1 he opened out the way to facility in this art in its principal province1 which is the human body1 and1 attending to this single object1 he left on one side the charms of colouring and the caprices and new fantasies of certain minute and delicate refinements which many other painters1 perhaps not without some show of reason1 have not entirely neglected4 ,for some1 not so well grounded in design1 have sought with variety of tints and shades of colouring1 with various new and bizarre inventions1 and1 in short1 with the other method1 to win themselves a place among the first masters2 but ,michelagnolo1 standing always firmly rooted in his profound knowledge of art1 has shown to those who know enough how they should attain to perfection4 ,but to return to the story3 ,michelagnolo had already carried to completion more than three-fourths of the work1 when ,pope ,paul went to see it4 ,and ,messer ,biagio da ,cesena1 the master of ceremonies1 a person of great propriety1 who was in the chapel with the ,pope1 being asked what he thought of it1 said that it was a very disgraceful thing to have made in so honourable a place all those nude figures showing their nakedness so shamelessly1 and that it was a work not for the chapel of a ,pope1 but for a bagnio or tavern4 ,michelagnolo was displeased at this1 and1 wishing to revenge himself1 as soon as ,biagio had departed he portrayed him from life1 without having him before his eyes at all1 in the figure of ,minos with a great serpent twisted round the legs1 among a heap of ,devils in ,hell2 nor was ,messer ,biagio's pleading with the ,pope and with ,michelagnolo to have it removed of any avail1 for it was left there in memory of the occasion1 and it is still to be seen at the present day4 ,it happened at this time that ,michelagnolo fell no small distance from the staging of this work1 and hurt his leg2 and in his pain and anger he would not be treated by anyone4 ,now there was living at this same time the ,florentine ,maestro ,baccio ,rontini1 his friend1 an ingenious physician1 who had a great affection for his genius2 and he1 taking compassion on him1 went one day to knock at his door4 ,receiving no answer either from the neighbours or from him1 he so contrived to climb by certain secret ways from one room to another1 that he came to ,michelagnolo1 who was in a desperate state4 ,and then ,maestro ,biagio would never abandon him or take himself off until he was cured4 ,having recovered from this injury1 he returned to his labour1 and1 working at it continually1 he carried it to perfect completion in a few months1 giving such force to the paintings in the work1 that he justified the words of ,dante-- ,morti li morti1 i vivi parean vivi4 ,and here1 also1 may be seen the misery of the damned and the joy of the blessed4 ,wherefore1 when this ,judgment was thrown open to view1 it proved that he had not only vanquished all the earlier masters who had worked there1 but had sought to surpass the vaulting that he himself had made so famous1 excelling it by a great measure and outstripping his own self4 ,for he imagined to himself the terror of those days1 and depicted1 for the greater pain of all who have not lived well1 the whole ,passion of ,christ1 causing various naked figures in the air to carry the ,cross1 the ,column1 the ,lance1 the ,sponge1 the ,nails1 and the ,crown of ,thorns1 all in different attitudes1 executed to perfection in a triumph of facility over their difficulties4 ,in that scene is ,christ seated1 with a countenance proud and terrible1 turning towards the damned and cursing them2 not without great fear in ,our ,lady1 who1 hearing and beholding that vast havoc1 draws her mantle close around her4 ,there are innumerable figures1 ,prophets and ,apostles1 that form a circle about ,him1 and in particular ,adam and ,s4 ,peter1 who are believed to have been placed there1 one as the first parent of those thus brought to judgment1 and the other as having been the first foundation of the ,christian ,church2 and at ,his feet is a most beautiful ,s4 ,bartholomew1 who is displaying his flayed skin4 ,there is likewise a nude figure of ,s4 ,laurence2 besides which1 there are multitudes of ,saints without number1 both male and female1 and other figures1 men and women1 around ,him1 near or distant1 who embrace one another and make rejoicing1 having received eternal blessedness by the grace of ,god and as the reward of their works4 ,beneath the feet of ,christ are the ,seven ,angels with the ,seven ,trumpets described by ,s4 ,john the ,evangelist1 who1 as they sound the call to judgment1 cause the hair of all who behold them to stand on end at the terrible wrath that their countenances reveal4 ,among others are two ,angels that have each the ,book of ,life in the hands3 and near them1 on one side1 not without beautiful consideration1 are seen the ,seven ,mortal ,sins in the forms of ,devils1 assailing and striving to drag down to ,hell the souls that are flying towards ,heaven1 all with very beautiful attitudes and most admirable foreshortenings4 ,nor did he hesitate to show to the world1 in the resurrection of the dead1 how they take to themselves flesh and bones once more from the same earth1 and how1 assisted by others already alive1 they go soaring towards ,heaven1 whence succour is brought to them by certain souls already blessed2 not without evidence of all those marks of consideration that could be thought to be required in so great a work4 ,for studies and labours of every kind were executed by him1 which may be recognized throughout the whole work without exception2 and this is manifested with particular clearness in the barque of ,charon1 who1 in an attitude of fury1 strikes with his oars at the souls dragged down by the ,devils into the barque1 after the likeness of the picture that the master's best-beloved poet1 ,dante1 described when he said-- ,caron demonio con occhi di bragia1 ,loro accennando1 tutte le raccoglie1 ,batte col remo qualunque si adagia4 ,illustration3 ,,charon',s ,,boat3 ,,detail ,,from ,,the ,,last ,,judgment 7,after the fresco by ,michelangelo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,nor would it be possible to imagine how much variety there is in the heads of those ,devils1 which are truly monsters from ,hell4 ,in the sinners may be seen sin and the fear of eternal damnation2 and1 to say nothing of the beauty of every detail1 it is extraordinary to see so great a work executed with such harmony of painting1 that it appears as if done in one day1 and with such finish as was never achieved in any miniature4 ,and1 of a truth1 the terrible force and grandeur of the work1 with the multitude of figures1 are such that it is not possible to describe it1 for it is filled with all the passions known to human creatures1 and all expressed in the most marvellous manner4 ,for the proud1 the envious1 the avaricious1 the wanton1 and all the other suchlike sinners can be distinguished with ease by any man of fine perception1 because in figuring them ,michelagnolo observed every rule of ,nature in the expressions1 in the attitudes1 and in every other natural circumstance2 a thing which1 although great and marvellous1 was not impossible to such a man1 for the reason that he was always observant and shrewd and had seen men in plenty1 and had acquired by commerce with the world that knowledge that philosophers gain from cogitation and from writings4 ,wherefore he who has judgment and understanding in painting perceives there the most terrible force of art1 and sees in those figures such thoughts and passions as were never painted by any other but ,michelagnolo4 ,so1 also1 he may see there how the variety of innumerable attitudes is accomplished1 in the strange and diverse gestures of young and old1 male and female2 and who is there who does not recognize in these the terrible power of his art1 together with the grace that he had from ,nature1 since they move the hearts not only of those who have knowledge in that profession1 but even of those who have none8 ,there are foreshortenings that appear as if in relief1 a harmony of painting that gives great softness1 and fineness in the parts painted by him with delicacy1 all showing in truth how pictures executed by good and true painters should be2 and in the outlines of the forms turned by him in such a way as could not have been achieved by any other but ,michelagnolo1 may be seen the true ,judgment and the true ,damnation and ,resurrection4 ,this is for our art the exemplar and the grand manner of painting sent down to men on earth by ,god1 to the end that they may see how ,destiny works when intellects descend from the heights of ,heaven to earth1 and have infused in them divine grace and knowledge4 ,this work leads after it bound in chains those who persuade themselves that they have mastered art2 and at the sight of the strokes drawn by him in the outlines of no matter what figure1 every sublime spirit1 however mighty in design1 trembles and is afraid4 ,and while the eyes gaze at his labours in this work1 the senses are numbed at the mere thought of what manner of things all other pictures1 those painted and those still unpainted1 would appear if placed in comparison with such perfection4 ,truly blessed may he be called1 and blessed his memories1 who has seen this truly stupendous marvel of our age6 ,most happy and most fortunate ,paul ,,iii1 in that ,god granted that under thy protection should be acquired the renown that the pens of writers shall give to his memory and thine6 ,how highly are thy merits enhanced by his genius6 ,and what good fortune have the craftsmen had in this age from his birth1 in that they have seen the veil of every difficulty torn away1 and have beheld in the pictures1 sculptures1 and architectural works executed by him all that can be imagined and achieved6 ,illustration3 ,s4 ,,sebastian 7,after the fresco by ,michelagnolo4 ,rome3 ,the ,vatican1 ,sistine ,chapel7 ,anderson ,he toiled eight years over executing this work1 and threw it open to view in the year #aeda1 ,i believe1 on ,christmas day1 to the marvel and amazement of all ,rome1 nay1 of the whole world2 and ,i1 who was that year in ,venice1 and went to ,rome to see it1 was struck dumb by its beauty4 ,pope ,paul1 as has been related1 had caused a chapel called the ,pauline to be erected on the same floor by ,antonio da ,san ,gallo1 in imitation of that of ,nicholas ,v2 and in this he resolved that ,michelagnolo should paint two great pictures with two large scenes4 ,in one he painted the ,conversion of ,s4 ,paul1 with ,jesus ,christ in the air and a multitude of nude ,angels making most beautiful movements1 and below1 all dazed and terrified1 ,paul fallen from his horse to the level of the ground1 with his soldiers about him1 some striving to raise him up1 and others1 struck with awe by the voice and splendour of ,christ1 are flying in beautiful attitudes and marvellous movements of panic1 while the horse1 taking to flight1 appears to be carrying away in its headlong course him who seeks to hold it back2 and this whole scene is executed with extraordinary design and art4 ,in the other picture is the ,crucifixion of ,s4 ,peter1 who is fixed1 a nude figure of rare beauty1 upon the cross2 showing the ministers of the crucifixion1 after they have made a hole in the ground1 seeking to raise the cross on high1 to the end that he may remain crucified with his feet in the air2 and there are many remarkable and beautiful considerations4 ,michelagnolo1 as has been said elsewhere1 gave his attention only to the perfection of art1 and therefore there are no landscapes to be seen there1 nor trees1 nor buildings1 nor any other distracting graces of art1 for to these he never applied himself1 as one1 perchance1 who would not abase his great genius to such things4 ,these1 executed by him at the age of seventy-five1 were his last pictures1 and1 as he used himself to tell me1 they cost him much fatigue1 for the reason that painting1 and particularly working in fresco1 is no art for men who have passed a certain age4 ,michelagnolo arranged that ,perino del ,vaga1 a very excellent painter1 should decorate the vaulting with stucco and with many things in painting1 after his designs1 and such1 also1 was the wish of ,pope ,paul ,,iii2 but the work was afterwards delayed1 and nothing more was done1 even as many undertakings are left unfinished1 partly by the fault of want of resolution in the craftsmen1 and partly by that of ,princes little zealous in urging them on4 ,pope ,paul had made a beginning with the fortifying of the ,borgo1 and had summoned many gentlemen1 together with ,antonio da ,san ,gallo1 to a conference2 but he wished that ,michelagnolo also should have a part in this1 knowing that the fortifications about the hill of ,s4 ,miniato in ,florence had been constructed under his direction4 ,after much discussion1 ,michelagnolo was asked what he thought2 and he1 having opinions contrary to ,san ,gallo and many others1 declared them freely4 ,whereupon ,san ,gallo said to him that his arts were sculpture and painting1 and not fortification4 ,michelagnolo replied that of sculpture and painting he knew little1 but of fortification1 what with the thought that he had devoted to it for a long time1 and his experience in what he had done1 it appeared to him that he knew more than either ,antonio or any of his family2 showing him in the presence of the company that he had made many errors in that art4 ,words rising high on either side1 the ,pope had to command silence2 but no long time passed before ,michelagnolo brought a design for all the fortifications of the ,borgo1 which laid open the way for all that has since been ordained and executed2 and this was the reason that the great gate of ,s4 ,spirito1 which was approaching completion under the direction of ,san ,gallo1 was left unfinished4 ,illustration3 ,,piet 7,after ,michelagnolo4 ,florence3 ,duomo7 ,alinari ,the spirit and genius of ,michelagnolo could not rest without doing something2 and1 since he was not able to paint1 he set to work on a piece of marble1 intending to carve from it four figures in the round and larger than life1 including a ,dead ,christ1 for his own delight and to pass the time1 and because1 as he used to say1 the exercise of the hammer kept him healthy in body4 ,this ,christ1 taken down from the ,cross1 is supported by ,our ,lady1 by ,nicodemus1 who bends down and assists her1 planted firmly on his feet in a forceful attitude1 and by one of the ,maries1 who also gives her aid1 perceiving that the ,mother1 overcome by grief1 is failing in strength and not able to uphold ,him4 ,nor is there anywhere to be seen a dead form equal to that of ,christ1 who1 sinking with the limbs hanging limp1 lies in an attitude wholly different1 not only from that of any other work by ,michelagnolo1 but from that of any other figure that was ever made4 ,a laborious work is this1 a rare achievement in a single stone1 and truly divine2 but1 as will be related hereafter1 it remained unfinished1 and suffered many misfortunes1 although ,michelagnolo had intended that it should serve to adorn his own tomb1 at the foot of that altar where he thought to place it4 ,it happened in the year #aedf that ,antonio da ,san ,gallo died2 whereupon1 there being now no one to direct the building of ,s4 ,pietro1 many suggestions were made by the superintendents to the ,pope as to who should have it4 ,finally his ,holiness1 inspired1 ,i believe1 by ,god1 resolved to send for ,michelagnolo4 ,but he1 when asked to take ,antonio's place1 refused it1 saying1 in order to avoid such a burden1 that architecture was not his proper art2 and in the end1 entreaties not availing1 the ,pope commanded that he should accept it1 whereupon1 to his great displeasure and against his wish1 he was forced to undertake that enterprise4 ,and one day among others that he went to ,s4 ,pietro to see the wooden model that ,san ,gallo had made1 and to examine the building1 he found there the whole ,san ,gallo faction1 who1 crowding before ,michelagnolo1 said to him in the best terms at their command that they rejoiced that the charge of the building was to be his1 and that the model was a field where there would never be any want of pasture4 ,you speak the truth1 answered ,michelagnolo1 meaning to infer1 as he declared to a friend1 that it was good for sheep and oxen1 who knew nothing of art4 ,and afterwards he used to say publicly that ,san ,gallo had made it wanting in lights1 that it had on the exterior too many ranges of columns one above another1 and that1 with its innumerable projections1 pinnacles1 and subdivisions of members1 it was more akin to the ,german manner than to the good method of the ancients or to the gladsome and beautiful modern manner2 and1 in addition to this1 that it was possible to save fifty years of time and more than three hundred thousand crowns of money in finishing the building1 and to execute it with more majesty1 grandeur1 and facility1 greater beauty and convenience1 and better ordered design4 ,this he afterwards proved by a model that he made1 in order to bring it to the form in which the work is now seen constructed2 and thus he demonstrated that what he said was nothing but the truth4 ,this model cost him twenty-five crowns1 and was made in a fortnight2 that of ,san ,gallo1 as has been related1 cost four thousand1 and took many years to finish4 ,from this and other circumstances it became evident that that fabric was but a shop and a business for making money1 and that it would be continually delayed1 with the intention of never finishing it1 by those who had undertaken it as a means of profit4 ,illustration3 ,,stairs ,,of ,,the ,,palace ,,of ,,the ,,senators 7,after ,michelagnolo4 ,rome3 ,the ,capitol7 ,anderson ,such methods did not please our upright ,michelagnolo1 and in order to get rid of all these people1 while the ,pope was forcing him to accept the office of architect to the work1 he said to them openly one day that they should use all the assistance of their friends and do all that they could to prevent him from entering on that office1 because1 if he were to undertake such a charge1 he would not have one of them about the building4 ,which words1 spoken in public1 were taken very ill1 as may be believed1 and were the reason that they conceived a great hatred against him1 which increased every day as they saw the whole design being changed1 both within and without1 so that they would scarcely let him live1 seeking out daily new and various devices to harass him1 as will be related in the proper place4 ,finally the ,pope issued a ,motu-proprio creating him head of that fabric1 with full authority1 and giving him power to do or undo whatever he chose1 and to add1 take away1 or vary anything at his pleasure2 and he decreed that all the officials employed in the work should be subservient to his will4 ,whereupon ,michelagnolo1 seeing the great confidence and trust that the ,pope placed in him1 desired1 in order to prove his generosity1 that it should be declared in the ,motu-proprio that he was serving in the fabric for the love of ,god and without any reward4 ,it is true that the ,pope had formerly granted to him the ferry over the river at ,parma1#b which yielded him about six hundred crowns2 but he lost it at the death of ,duke ,pier ,luigi ,farnese1 and in exchange for it he was given a ,chancellery at ,rimini1 a post of less value4 ,about that he showed no concern2 and1 although the ,pope sent him money several times by way of salary1 he would never accept it1 to which witness is borne by ,messer ,alessandro ,ruffini1 ,chamberlain to the ,pope at that time1 and by ,m4 ,pier ,giovanni ,aliotti1 ,bishop of ,forl4 ,finally the model that had been made by ,michelagnolo was approved by the ,pope2 which model diminished ,s4 ,pietro in size1 but gave it greater grandeur1 to the satisfaction of all those who have judgment1 although some who profess to be good judges1 which in fact they are not1 do not approve of it4 ,he found that the four principal piers built by ,bramante1 and left by ,antonio da ,san ,gallo1 which had to support the weight of the tribune1 were weak2 and these he partly filled up1 and beside them he made two winding or spiral staircases1 in which is an ascent so easy that the beasts of burden can climb them1 carrying all the materials to the very top1 and men on horseback1 likewise1 can go up to the uppermost level of the arches4 ,the first cornice above the arches he constructed of travertine1 curving in a round1 which is an admirable and graceful thing1 and very different from any other2 nor could anything better of that kind be done4 ,he also made a beginning with the two great recesses of the transepts2 and whereas formerly1 under the direction of ,bramante1 ,baldassarre1 and ,raffaello1 as has been related1 eight tabernacles were being made on the side towards the ,camposanto1 and that plan was afterwards followed by ,san ,gallo1 ,michelagnolo reduced these to three1 with three chapels in the interior1 and above them a vaulting of travertine1 and a range of windows giving a brilliant light1 which are varied in form and of a sublime grandeur4 ,but1 since these things are in existence1 and are also to be seen in engraving1 not only those of ,michelagnolo1 but those of ,san ,gallo as well1 ,i will not set myself to describe them1 for it is in no way necessary4 ,let it suffice to say that he set himself1 with all possible diligence1 to cause the work to be carried on in those parts where the fabric was to be changed in design1 to the end that it might remain so solid and stable that it might never be changed by another2 which was the wise provision of a shrewd and prudent intellect1 because it is not enough to do good work1 if further precautions be not taken1 seeing that the boldness and presumption of those who might be supposed to have knowledge if credit were placed rather in their words than in their deeds1 and at times the favour of such as know nothing1 may give rise to many misfortunes4 ,footnote #b3 ,piacenza4 ,the ,roman people1 with the sanction of that ,pope1 had a desire to give some useful1 commodious1 and beautiful form to the ,campidoglio1 and to furnish it with colonnades1 ascents1 and inclined approaches with and without steps1 and also with the further adornment of the ancient statues that were already there1 in order to embellish that place4 ,for this purpose they sought the advice of ,michelagnolo1 who made them a most beautiful and very rich design1 in which1 on the side where the ,senatore stands1 towards the east1 he arranged a faade of travertine1 and a flight of steps that ascends from two sides to meet on a level space1 from which one enters into the centre of the hall of that ,palace1 with rich curving wings adorned with balusters that serve as supports and parapets4 ,and there1 to enrich that part1 he caused to be placed on certain bases the two ancient figures in marble of recumbent ,river ,gods1 each of nine braccia1 and of rare workmanship1 one of which is the ,tiber and the other the ,nile2 and between them1 in a niche1 is to go a ,jove4 ,on the southern side1 where there is the ,palace of the ,conservatori1 in order that it might be made rectangular1 there followed a rich and well varied faade1 with a loggia at the foot full of columns and niches1 where many ancient statues are to go2 and all around are various ornaments1 doors1 windows1 and the like1 of which some are already in place4 ,on the other side from this1 towards the north1 below the ,araceli1 there is to follow another similar faade2 and before it1 towards the west1 is to be an ascent of baston-like steps1 which will be almost level1 with a border and parapet of balusters2 here will be the principal entrance1 with a colonnade1 and bases on which will be placed all that wealth of noble statues in which the ,campidoglio is now so rich4 ,in the middle of the ,piazza1 on a base in the form of an oval1 is placed the famous bronze horse on which is the statue of ,marcus ,aurelius1 which the same ,pope ,paul caused to be removed from the ,piazza di ,laterano1 where ,sixtus ,,iv had placed it4 ,this edifice is now being made so beautiful that it is worthy to be numbered among the finest works that ,michelagnolo has executed1 and it is being carried to completion at the present day under the direction of ,m4 ,tommaso de' ,cavalieri1 a ,roman gentleman who was1 and still is1 one of the greatest friends that ,michelagnolo ever had1 as will be related hereafter4 ,illustration3 ,,court ,,of ,,the ,,palazzo ,,farnese 7,after ,michelagnolo4 ,rome7 ,anderson ,pope ,paul ,,iii had caused ,san ,gallo1 while he was alive1 to carry forward the ,palace of the ,farnese family1 but the great upper cornice1 to finish the roof on the outer side1 had still to be constructed1 and his ,holiness desired that ,michelagnolo should execute it from his own designs and directions4 ,michelagnolo1 not being able to refuse the ,pope1 who so esteemed and favoured him1 caused a model of wood to be made1 six braccia in length1 and of the size that it was to be2 and this he placed on one of the corners of the ,palace1 so that it might show what effect the finished work would have4 ,it pleased his ,holiness and all ,rome1 and that part of it has since been carried to completion which is now to be seen1 proving to be the most varied and the most beautiful of all that have ever been known1 whether ancient or modern4 ,on this account1 after ,san ,gallo was dead1 the ,pope desired that ,michelagnolo should have charge of the whole fabric as well2 and there he made the great marble window with the beautiful columns of variegated marble1 which is over the principal door of the ,palace1 with a large escutcheon of great beauty and variety1 in marble1 of ,pope ,paul ,,iii1 the founder of that ,palace4 ,within the ,palace he continued1 above the first range of the court1 the two other ranges1 with the most varied1 graceful1 and beautiful windows1 ornaments and upper cornice that have ever been seen1 so that1 through the labours and the genius of that man that court has now become the most handsome in ,europe4 ,he widened and enlarged the ,great ,hall1 and set in order the front vestibule1 and caused the vaulting of that vestibule to be constructed in a new variety of curve1 in the form of a half oval4 ,now in that year there was found at the ,baths of ,antoninus a mass of marble seven braccia in every direction1 in which there had been carved by the ancients a ,hercules standing upon a mound1 who was holding the ,bull by the horns1 with another figure assisting him1 and around that mound various figures of ,shepherds1 ,nymphs1 and different animals--a work of truly extraordinary beauty1 showing figures so perfect in one single block without any added pieces1 which was judged to have been intended for a fountain4 ,michelagnolo advised that it should be conveyed into the second court1 and there restored so as to make it spout water in the original manner2 all which advice was approved1 and the work is still being restored at the present day with great diligence1 by order of the ,farnese family1 for that purpose4 ,at that time1 also1 ,michelagnolo made a design for the building of a bridge across the ,river ,tiber in a straight line with the ,farnese ,palace1 to the end that it might be possible to go from that palace to another palace and gardens that they possessed in the ,trastevere1 and also to see at one glance in a straight line from the principal door which faces the ,campo di ,fiore1 the court1 the fountain1 the ,strada ,giulia1 the bridge1 and the beauties of the other garden1 even to the other door which opened on the ,strada di ,trastevere--a rare work1 worthy of that ,pontiff and of the judgment1 design1 and art of ,michelagnolo4 ,in the year #aedg died ,sebastiano ,viniziano1 the ,friar of the ,piombo2 and1 ,pope ,paul proposing that the ancient statues of his ,palace should be restored1 ,michelagnolo willingly favoured the ,milanese sculptor ,guglielmo della ,porta1 a young man of promise1 who had been recommended by the above-named ,fra ,sebastiano to ,michelagnolo1 who1 liking his work1 presented him to ,pope ,paul for the restoration of those statues4 ,and the matter went so far forward that ,michelagnolo obtained for him the office of the ,piombo1 and he then set to work on restoring the statues1 some of which are to be seen in that ,palace at the present day4 ,but ,guglielmo1 forgetting the benefits that he had received from ,michelagnolo1 afterwards became one of his opponents4 ,in the year #aedi there took place the death of ,pope ,paul ,,iii2 whereupon1 after the election of ,pope ,julius ,,iii1 ,cardinal ,farnese gave orders for a grand tomb to be made for his kinsman ,pope ,paul by the hand of ,fra ,guglielmo1 who arranged to erect it in ,s4 ,pietro1 below the first arch of the new church1 beneath the tribune1 which obstructed the floor of the church1 and was1 in truth1 not the proper place4 ,michelagnolo advised1 most judiciously1 that it could not and should not stand there1 and the ,frate1 believing that he was doing this out of envy1 became filled with hatred against him2 but afterwards he recognized that ,michelagnolo had spoken the truth1 and that the fault was his1 in that he had had the opportunity and had not finished the work1 as will be related in another place4 ,and to this ,i can bear witness1 for the reason that in the year #aeej ,i had gone by order of ,pope ,julius ,,iii to ,rome to serve him 7and very willingly1 for love of ,michelagnolo71 and ,i took part in that discussion4 ,michelagnolo desired that the tomb should be erected in one of the niches1 where there is now the ,column of the ,possessed1 which was the proper place1 and ,i had so gone to work that ,julius ,,iii was resolving to have his own tomb made in the other niche with the same design as that of ,pope ,paul1 in order to balance that work2 but the ,frate1 who set himself against this1 brought it about that his own was never finished after all1 and that the tomb of the other ,pontiff was also not made2 which had all been predicted by ,michelagnolo4 ,in the same year ,pope ,julius turned his attention to having a chapel of marble with two tombs constructed in the ,church of ,s4 ,pietro a ,montorio for ,cardinal ,antonio di ,monte1 his uncle1 and ,messer ,fabiano1 his grandfather1 the first founder of the greatness of that illustrious house4 ,for this work ,vasari having made designs and models1 ,pope ,julius1 who always esteemed the genius of ,michelagnolo and loved ,vasari1 desired that ,michelagnolo should fix the price between them2 and ,vasari besought the ,pope that he should prevail upon him to take it under his protection4 ,now ,vasari had proposed ,simone ,mosca for the carvings of this work1 and ,raffaello da ,montelupo for the statues2 but ,michelagnolo advised that no carvings of foliage should be made in it1 not even in the architectural parts of the work1 saying that where there are to be figures of marble there must not be any other thing4 ,on which account ,vasari feared that the work should be abandoned1 because it would look poor2 but in fact1 when he saw it finished1 he confessed that ,michelagnolo had shown great judgment4 ,michelagnolo would not have ,montelupo make the statues1 remembering how badly he had acquitted himself in those of his own tomb of ,julius ,,ii1 and he was content1 rather1 that they should be entrusted to ,bartolommeo ,ammanati1 whom ,vasari had proposed1 although ,buonarroti had something of a private grievance against him1 as also against ,nanni di ,baccio ,bigio1 caused by a reason which1 if one considers it well1 seems slight enough2 for when they were very young1 moved rather by love of art than by a desire to do wrong1 they had entered with great pains into his house1 and had taken from ,antonio ,mini1 the disciple of ,michelagnolo1 many sheets with drawings2 but these were afterwards all restored to him by order of the ,tribunal of ,eight1 and1 at the intercession of his friend ,messer ,giovanni ,norchiati1 ,canon of ,s4 ,lorenzo1 he would not have any other punishment inflicted on them4 ,vasari1 when ,michelagnolo spoke to him of this matter1 said to him1 laughing1 that it did not seem to him that they deserved any blame1 and that he himself1 if he had ever been able1 would have not taken a few drawings only1 but robbed him of everything by his hand that he might have been able to seize1 merely for the sake of learning art4 ,one must look kindly1 he said1 on those who seek after excellence1 and also reward them1 and therefore such men must not be treated like those who go about stealing money1 household property1 and other things of value2 and so the matter was turned into a jest4 ,this was the reason that a beginning was made with the work of the ,montorio1 and that in the same year ,vasari and ,ammanati went to have the marble conveyed from ,carrara to ,rome for the execution of that work4 ,at that time ,vasari was with ,michelagnolo every day2 and one morning the ,pope in his kindness gave them both leave that they might visit the ,seven ,churches on horseback 7for it was ,holy ,year71 and receive the ,pardon in company4 ,whereupon1 while going from one church to another1 they had many useful and beautiful conversations on art and every industry1 and out of these ,vasari composed a dialogue1 which will be published at some more favourable opportunity1 together with other things concerning art4 ,in that year ,pope ,julius ,,iii confirmed the ,motu-proprio of ,pope ,paul ,,iii with regard to the building of ,s4 ,pietro2 and although much evil was spoken to him of ,michelagnolo by the friends of the ,san ,gallo faction1 in the matter of that fabric of ,s4 ,pietro1 at that time the ,pope would not listen to a word1 for ,vasari had demonstrated to him 7as was the truth7 that ,michelagnolo had given life to the building1 and also persuaded his ,holiness that he should do nothing concerned with design without the advice of ,michelagnolo4 ,this promise the ,pope kept ever afterwards1 for neither at the ,vigna ,julia did he do anything without his counsel1 nor at the ,belvedere1 where there was built the staircase that is there now1 in place of the semicircular staircase that came forward1 ascending in eight steps1 and turned inwards in eight more steps1 erected in former times by ,bramante in the great recess in the centre of the ,belvedere4 ,and ,michelagnolo designed and caused to be built the very beautiful quadrangular staircase1 with balusters of peperino-stone1 which is there at the present day4 ,vasari had finished in that year the printing of his work1 the ,lives of the ,painters1 ,sculptors1 and ,architects1 in ,florence4 ,now he had not written the ,life of any living master1 although some who were old were still alive1 save only of ,michelagnolo2 and in the book were many records of circumstances that ,vasari had received from his lips1 his age and his judgment being the greatest among all the craftsmen4 ,giorgio therefore presented the work to him1 and he received it very gladly2 and not long afterwards1 having read it1 ,michelagnolo sent to him the following sonnet1 written by himself1 which ,i am pleased to include in this place in memory of his loving-kindness3 ,se con lo stile o co' colori havete ,alla ,natura pareggiato l',arte1 ,anzi a quella scemato il pregio in parte1 ,che 'l bel di lei pi bello a noi rendete1 ,poich con dotta man posto vi siete ,a pi degno lavoro1 a vergar carte1 ,quel che vi manca a lei di pregio in parte1 ,nel dar vita ad altrui tutto togliete4 ,che se secolo alcuno omai contese ,in far bell'opre1 almen cedale1 poi ,che convien'1 ch'al prescritto fine arrive4 ,or le memorie altrui gi spente accese ,tornando fate1 or che sien quelle1 e voi1 ,mal grado d'esse1 eternalmente vive4 ,vasari departed for ,florence1 and left to ,michelagnolo the charge of having the work founded in the ,montorio4 ,now ,messer ,bindo ,altoviti1 the ,consul of the ,florentine colony at that time1 was much the friend of ,vasari1 and on this occasion ,giorgio said to him that it would be well to have this work erected in the ,church of ,s4 ,giovanni de' ,fiorentini1 and that he had already spoken of it with ,michelagnolo1 who would favour the enterprise2 and that this would be a means of giving completion to that church4 ,this proposal pleased ,messer ,bindo1 and1 being very intimate with the ,pope1 he urged it warmly upon him1 demonstrating that it would be well that the chapel and the tombs which his ,holiness was having executed for the ,montorio should be placed in the ,church of ,s4 ,giovanni de' ,fiorentini2 adding that the result would be that with this occasion and this spur the ,florentine colony would undertake such expenditure that the church would receive its completion1 and1 if his ,holiness were to build the principal chapel1 the other merchants would build six chapels1 and then little by little all the rest4 ,whereupon the ,pope changed his mind1 and1 although the model for the work was already made and the price arranged1 went to the ,montorio and sent for ,michelagnolo1 to whom ,vasari was writing every day1 receiving answers from him according to the opportunities presented in the course of affairs4 ,michelagnolo then wrote to ,vasari1 on the first day of ,august in #aeej1 of the change that the ,pope had made2 and these are his words1 written in his own hand3 ,,rome4 ,,my ,,dear ,,messer ,,giorgio1 ,with regard to the founding of the work at ,s4 ,pietro a ,montorio1 and how the ,pope would not listen to a word1 ,i wrote you nothing1 knowing that you are kept informed by your man here4 ,now ,i must tell you what has happened1 which is as follows4 ,yesterday morning the ,pope1 having gone to the said ,montorio1 sent for me4 ,i met him on the bridge1 on his way back1 and had a long conversation with him about the tombs allotted to you2 and in the end he told me that he was resolved that he would not place those tombs on that mount1 but in the ,church of the ,florentines4 ,he sought from me my opinion and also designs1 and ,i encouraged him not a little1 considering that by this means the said church would be finished4 ,respecting your three letters received1 ,i have no pen wherewith to answer to such exalted matters1 but if ,i should rejoice to be in some sort what you make me1 ,i should rejoice for no other reason save that you might have a servant who might be worth something4 ,but ,i do not marvel that you1 who restore dead men to life1 should lengthen the life of the living1 or rather1 that you should steal from death for an unlimited period those barely alive4 ,to cut this short1 such as ,i am1 ,i am wholly yours1 ,,michelagnolo ,,buonarroti4 ,while these matters were being discussed1 and the ,florentine colony was seeking to raise money1 certain difficulties arose1 on account of which they came to no decision1 and the affair grew cold4 ,meanwhile1 ,vasari and ,ammanati having by this time had all the marbles quarried at ,carrara1 a great part of them were sent to ,rome1 and with them ,ammanati1 through whom ,vasari wrote to ,buonarroti that he should ascertain from the ,pope where he wanted the tomb1 and1 after receiving his orders1 should have the work begun4 ,the moment that ,michelagnolo received the letter1 he spoke to his ,holiness2 and with his own hand he wrote the following resolution to ,vasari3 #acth of ,october1 #aeej4 ,,my ,,dear ,,messer ,,giorgio1 ,the instant that ,bartolommeo arrived here1 ,i went to speak to the ,pope1 and1 having perceived that he wished to begin the work once more at the ,montorio1 in the matter of the tombs1 ,i looked for a mason from ,s4 ,pietro4 ',tantecose'#c heard this and insisted on sending one of his choosing1 and ,i1 to avoid contending with a man who commands the winds1 have retired from the matter1 because1 he being a light-minded person1 ,i would not care to be drawn into any entanglement4 ,enough that in my opinion there is no more thought to be given to the ,church of the ,florentines4 ,fare you well1 and come back soon4 ,nothing else occurs to me4 ,footnote #c3 ,busybody1 or ,jack-of-all-,trades4 ,michelagnolo used to call ,monsignor di ,forl ,tantecose1 because he insisted on doing everything himself4 ,being ,chamberlain to the ,pope1 he had charge of the medals1 jewels1 cameos1 little figures in bronze1 pictures1 and drawings1 and desired that everything should depend on him4 ,michelagnolo was always anxious to avoid the man1 because he had been constantly working against the master's interests1 and therefore ,buonarroti feared lest he might be drawn into some entanglement by the intrigues of such a man4 ,in short1 the ,florentine colony lost a very fine opportunity for that church1 and ,god knows when they will have such another2 and to me it was an indescribable grief4 ,i have desired not to omit to make this brief record1 to the end that it may be seen that our ,michelagnolo always sought to help his fellow-countrymen and his friends1 and also art4 ,vasari had scarcely returned to ,rome1 when1 before the beginning of the year #aeea1 the ,san ,gallo faction arranged a conspiracy against ,michelagnolo1 whereby the ,pope was to hold an assembly in ,s4 ,pietro1 and to summon together the superintendents and all those who had the charge of the work1 in order to show to the ,pope1 by means of false calumnies1 that ,michelagnolo had ruined that fabric1 because1 he having already built the apse of the ,king1 where there are the three chapels1 and having executed these with the three windows above1 they1 not knowing what was to be done with the vaulting1 with feeble judgment had given the elder ,cardinal ,salviati and ,marcello ,cervini1 who afterwards became ,pope1 to understand that ,s4 ,pietro was being left with little light4 ,whereupon1 all being assembled1 the ,pope said to ,michelagnolo that the deputies declared that the apse would give little light1 and he answered3 ,i would like to hear these deputies speak in person4 ,cardinal ,marcello replied3 ,we are here4 ,then ,michelagnolo said to him3 ,monsignore1 above these windows1 in the vaulting1 which is to be made of travertine1 there are to be three others4 ,you have never told us that1 said the ,cardinal4 ,and ,michelagnolo answered3 ,i am not obliged1 nor do ,i intend to be obliged1 to say either to your ,highness or to any other person what ,i am bound or desirous to do4 ,your office is to obtain the money and to guard it from thieves1 and the charge of the design for the building you must leave to me4 ,and then1 turning to the ,pope1 he said3 ,holy ,father1 you see what my gains are1 and that if these fatigues that ,i endure do not profit me in my mind1 ,i am wasting my time and my work4 ,the ,pope1 who loved him1 laid his hands on his shoulders1 and said3 ,you shall profit both in mind and in body2 do not doubt it4 ,michelagnolo having thus been able to get rid of those persons1 the ,pope came to love him even more2 and he commanded him and ,vasari that on the day following they should both present themselves at the ,vigna ,julia1 in which place his ,holiness had many discussions with him1 and they carried that work almost to the condition of perfect beauty in which it now is2 nor did the ,pope discuss or do anything in the matter of design without ,michelagnolo's advice and judgment4 ,and1 among other things1 since ,michelagnolo went often with ,vasari to visit him1 the ,pope insisted1 once when he was at the fountain of the ,acqua ,vergine with twelve ,cardinals1 after ,buonarroti had come up2 the ,pope1 ,i say1 insisted very strongly that he should sit beside him1 although he sought most humbly to excuse himself2 thus always honouring his genius as much as lay in his power4 ,the ,pope caused him to make the model of a faade for a palace that his ,holiness desired to build beside ,s4 ,rocco1 intending to avail himself of the ,mausoleum of ,augustus for the rest of the masonry2 and1 as a design for a faade1 there is nothing to be seen that is more varied1 more ornate1 or more novel in manner and arrangement1 for the reason that1 as has been seen in all his works1 he never consented to be bound by any law1 whether ancient or modern1 in matters of architecture1 as one who had a brain always able to discover things new and well-varied1 and in no way less beautiful4 ,that model is now in the possession of ,duke ,cosimo de' ,medici1 who had it as a present from ,pope ,pius ,,iv when he went to ,rome2 and he holds it among his dearest treasures4 ,that ,pope had such respect for ,michelagnolo1 that he was constantly taking up his defence against ,cardinals and others who sought to calumniate him1 and he desired that other craftsmen1 however able and renowned they might be1 should always go to seek him at his house2 such1 indeed1 were the regard and reverence that he felt for him1 that his ,holiness did not venture1 lest he might annoy him1 to call upon ,michelagnolo for many works which1 although he was old1 he could have executed4 ,as far back as the time of ,paul ,,iii ,michelagnolo had made a beginning with the work of refounding1 under his own direction1 the ,ponte ,s4 ,maria at ,rome1 which had been weakened by the constant flow of water and by age1 and was falling into ruin4 ,the refounding was contrived by ,michelagnolo by means of caissons1 and by making stout reinforcements against the piers2 and already he had carried a great part of it to completion1 and had spent large sums on wood and travertine on behalf of the work1 when1 in the time of ,julius ,,iii1 an assembly was held by the ,clerks of the ,chamber with a view to making an end of it1 and a proposal was made among them by the architect ,nanni di ,baccio ,bigio1 saying that if it were allotted by contract to him it would be finished in a short time and without much expense2 and this they suggested on the pretext1 as it were1 of doing a favour to ,michelagnolo and relieving him of a burden1 because he was old1 alleging that he gave no thought to it1 and that if matters remained as they were the end would never be seen4 ,the ,pope1 who little liked being troubled1 not thinking what the result might be1 gave authority to the ,clerks of the ,chamber that they should have charge of the work1 as a thing pertaining to them2 and then1 without ,michelagnolo hearing another word about it1 they gave it with all those materials1 without any conditions1 to ,nanni1 who gave no attention to the reinforcements1 which were necessary for the refounding1 but relieved the bridge of some weight1 in consequence of having seen a great quantity of travertine wherewith it had been flanked and faced in ancient times1 the result of which was to give weight to the bridge and to make it stouter1 stronger1 and more secure4 ,in place of that he used gravel and other materials cast with cement1 in such a manner that no defect could be seen in the inner part of the work1 and on the outer side he made parapets and other things1 insomuch that to the eye it appeared as if made altogether new2 but it was made lighter all over and weakened throughout4 ,five years afterwards1 when the flood of the year #aeeg came down1 it happened that the bridge collapsed in such a manner as to make known the little judgment of the ,clerks of the ,chamber and the loss that ,rome suffered by departing from the counsel of ,michelagnolo1 who predicted the ruin of the bridge many times to me and to his other friends4 ,thus ,i remember that he said to me1 when we were passing there together on horseback1 ,giorgio1 this bridge is shaking under us2 let us spur our horses1 or it may fall while we are upon it4 ,but to return to the narrative interrupted above2 when the work of the ,montorio was finished1 and that much to my satisfaction1 ,i returned to ,florence to re-enter the service of ,duke ,cosimo1 which was in the year #aeed4 ,the departure of ,vasari grieved ,michelagnolo1 and likewise ,giorgio1 for the reason that ,michelagnolo's adversaries kept harassing him every day1 now in one way and now in another2 wherefore they did not fail to write to one another daily4 ,and in ,april of the same year1 ,vasari giving him the news that ,leonardo1 the nephew of ,michelagnolo1 had had a male child1 that they had accompanied him to baptism with an honourable company of most noble ladies1 and that they had revived the name of ,buonarroto1 ,michelagnolo answered in a letter to ,vasari in these words3 ,,dear ,,friend ,,giorgio1 ,i have had the greatest pleasure from your letter1 seeing that you still remember the poor old man1 and even more because you were present at the triumph which1 as you write1 you witnessed in the birth of another ,buonarroto2 for which intelligence ,i thank you with all my heart and soul4 ,but so much pomp does not please me1 for man should not be laughing when all the world is weeping4 ,it seems to me that ,leonardo should not make so much rejoicing over a new birth1 with all that gladness which should be reserved for the death of one who has lived well4 ,do not marvel if ,i delay to answer2 ,i do it so as not to appear a merchant4 ,as for the many praises that you send me in your letter1 ,i tell you that if ,i deserved a single one of them1 it would appear to me that in giving myself to you body and soul1 ,i had truly given you something1 and had discharged some infinitesimal part of the debt that ,i owe you2 whereas ,i recognize you every hour as my creditor for more than ,i can repay1 and1 since ,i am an old man1 ,i can now never hope to be able to square the account in this life1 but perhaps in the next4 ,wherefore ,i pray you have patience1 and remain wholly yours4 ,things here are much as usual4 ,already1 in the time of ,paul ,,iii1 ,duke ,cosimo had sent ,tribolo to ,rome to see if he might be able to persuade ,michelagnolo to return to ,florence1 in order to give completion to the ,sacristy of ,s4 ,lorenzo4 ,but ,michelagnolo excused himself because1 having grown old1 he could not support the burden of such fatigues1 and demonstrated to him with many reasons that he could not leave ,rome4 ,whereupon ,tribolo finally asked him about the staircase of the library of ,s4 ,lorenzo1 for which ,michelagnolo had caused many stones to be prepared1 but there was no model of it nor any certainty as to the exact form1 and1 although there were some marks on a pavement and some other sketches in clay1 the true and final design could not be found4 ,however1 no matter how much ,tribolo might beseech him and invoke the name of the ,duke1 ,michelagnolo would never answer a word save that he remembered nothing of it4 ,orders were given to ,vasari by ,duke ,cosimo that he should write to ,michelagnolo1 requesting him to write saying what final form that staircase was to have2 in the hope that through the friendship and love that he bore to ,vasari1 he would say something that might lead to some solution and to the completion of the work4 ,vasari wrote to ,michelagnolo the mind of the ,duke1 saying that the execution of all that was to be done would fall to him2 which he would do with that fidelity and care with which1 as ,michelagnolo knew1 he was wont to treat such of his works as he had in charge4 ,wherefore ,michelagnolo sent the directions for making the above-named staircase in a letter by his own hand on the #bhth of ,september1 #aeee4 ,illustration3 ,,biblioteca ,,laurenziana 7,after ,michelagnolo4 ,florence7 ,alinari ,,messer ,,giorgio1 ,,dear ,,friend1 ,concerning the staircase for the library1 of which so much has been said to me1 you may believe that if ,i could remember how ,i had designed it1 ,i would not need to be entreated4 ,there does1 indeed1 come back to my mind1 like a dream1 a certain staircase2 but ,i do not believe that it is exactly the one which ,i conceived at that time1 because it comes out so stupid4 ,however1 ,i will describe it here4 ,take a quantity of oval boxes1 each one palm in depth1 but not of equal length and breadth4 ,the first and largest place on the pavement at such a distance from the wall of the door as may make the staircase easy or steep1 according to your pleasure4 ,upon this place another1 which must be so much smaller in every direction as to leave on the first one below as much space as the foot requires in ascending2 diminishing and drawing back the steps one after another towards the door1 in accord with the ascent4 ,and the diminution of the last step must reduce it to the proportion of the space of the door4 ,the said part of the staircase with the oval steps must have two wings1 one on one side and one on the other1 with corresponding steps but not oval4 ,of these the central flight shall serve as the principal staircase1 and from the centre of the staircase to the top the curves of the said wings shall meet the wall2 but from the centre down to the pavement they shall stand1 together with the whole staircase1 at a distance of about three palms from the wall1 in such a manner that the basement of the vestibule shall not be obstructed in any part1 and every face shall be left free4 ,i am writing nonsense2 but ,i know well that you will find something to your purpose4 ,michelagnolo also wrote to ,vasari in those days that ,julius ,,iii being dead1 and ,marcellus elected1 the faction that was against him1 in consequence of the election of the new ,pontiff1 had again begun to harass him4 ,which hearing1 and not liking these ways1 the ,duke caused ,giorgio to write and tell him that he should leave ,rome and come to live in ,florence1 where the ,duke did not desire more than his advice and designs at times for his buildings1 and that he would receive from that lord all that he might desire1 without doing anything with his own hand4 ,again1 there were carried to him by ,m4 ,leonardo ,marinozzi1 the private ,chamberlain of ,duke ,cosimo1 letters written by his ,excellency2 and so also by ,vasari4 ,but then1 ,marcellus being dead1 and ,paul ,,iv having been elected1 by whom once again numerous offers had been made to him from the very beginning1 when he went to kiss his feet1 the desire to finish the fabric of ,s4 ,pietro1 and the obligation by which he thought himself bound to that task1 kept him back2 and1 employing certain excuses1 he wrote to the ,duke that for the time being he was not able to serve him1 and to ,vasari a letter in these very words3 ,,messer ,,giorgio1 ,,my ,,dear ,,friend1 ,i call ,god to witness how it was against my will and under the strongest compulsion that ,i was set to the building of ,s4 ,pietro in ,rome by ,pope ,paul ,,iii1 ten years ago4 ,had they continued to work at that fabric up to the present day1 as they were doing then1 ,i would now have reached such a point in the undertaking that ,i might be thinking of returning home2 but for want of money it has been much retarded1 and is still being retarded at the time when it has reached the most laborious and difficult stage1 insomuch that to abandon it now would be nothing short of the greatest possible disgrace and sin1 losing the reward of the labours that ,i have endured in those ten years for the love of ,god4 ,i have made you this discourse in answer to your letter1 and also because ,i have a letter from the ,duke that has made me marvel much that his ,excellency should have deigned to write so graciously2 for which ,i thank ,god and his ,excellency to the best of my power and knowledge4 ,i wander from the subject1 because ,i have lost my memory and my wits1 and writing is a great affliction to me1 for it is not my art4 ,the conclusion is this3 to make you understand what would be the result if ,i were to abandon the fabric and depart from ,rome2 firstly1 ,i would please a number of thieves1 and secondly1 ,i would be the cause of its ruin1 and perhaps1 also1 of its being suspended for ever4 ,continuing to write to ,giorgio1 ,michelagnolo said to him1 to excuse himself with the ,duke1 that he had a house and many convenient things at his disposal in ,rome1 which were worth thousands of crowns1 in addition to being in danger of his life from disease of the kidneys1 colic1 and the stone1 as happens to every old person1 and as could be proved by ,maestro ,realdo1 his physician1 from whom he congratulated himself on having his life1 after ,god2 that for these reasons he was not able to leave ,rome1 and1 finally1 that he had no heart for anything but death4 ,he besought ,vasari1 as he did in several other letters that ,giorgio has by his hand1 that he should recommend him to the ,duke for pardon1 in addition to what he wrote to the ,duke1 as ,i have said1 to excuse himself4 ,if ,michelagnolo had been able to ride1 he would have gone straightway to ,florence1 whence1 ,i believe1 he would never have consented to depart in order to return to ,rome1 so much was he influenced by the tenderness and love that he felt for the ,duke2 but meanwhile he gave his attention to working at many parts of the above-named fabric1 in order so to fix the form that it might never again be changed4 ,during this time certain persons had informed him that ,pope ,paul ,,iv was minded to make him alter the faade of the chapel where the ,last ,judgment is1 because1 he said1 those figures showed their nakedness too shamelessly4 ,when1 therefore1 the mind of the ,pope was made known to ,michelagnolo1 he answered3 ,tell the ,pope that it is no great affair1 and that it can be altered with ease4 ,let him put the world right1 and every picture will be put right in a moment4 ,the office of the ,chancellery of ,rimini was taken away from ,michelagnolo1 but he would never speak of this to the ,pope1 who did not know it2 and it was taken away from him by the ,pope's ,cup-bearer1 who sought to have a hundred crowns a month given to him in respect of the fabric of ,s4 ,pietro1 and caused a month's payment to be taken to his house1 but ,michelagnolo would not accept it4 ,in the same year took place the death of ,urbino1 his servant1 or rather1 as he may be called1 and as he had been1 his companion4 ,this man came to live with ,michelagnolo in ,florence in the year #aecj1 after the siege was finished1 when his disciple ,antonio ,mini went to ,france2 and he rendered very faithful service to ,michelagnolo1 insomuch that in twenty-six years that faithful and intimate service brought it about that ,michelagnolo made him rich and so loved him1 that in this1 ,urbino's last illness1 old as he was1 he nursed him and slept in his clothes at night to watch over him4 ,wherefore1 after he was dead1 ,vasari wrote to ,michelagnolo to console him1 and he answered in these words3 ,,my ,,dear ,,messer ,,giorgio1 ,i am scarce able to write1 but1 in reply to your letter1 ,i shall say something4 ,you know how ,urbino died1 wherein ,god has shown me very great grace1 although it is also a grave loss and an infinite grief to me4 ,this grace is that whereas when living he kept me alive1 dying he has taught me to die not with regret1 but with a desire for death4 ,i have had him twenty-six years1 and have found him a very rare and faithful servant2 and now1 when ,i had made him rich and was looking to him as the staff and repose of my old age1 he has flown from me1 nor is any hope left to me but to see him again in ,paradise4 ,and of this ,god has granted a sign in the happy death that he died1 in that dying grieved him much less than leaving me in this traitorous world with so many afflictions2 although the greater part of me is gone with him1 and nothing is left me but infinite misery4 ,i commend myself to you4 ,michelagnolo was employed in the time of ,pope ,paul ,,iv on many parts of the fortifications of ,rome1 and also by ,salustio ,peruzzi1 to whom that ,pope1 as has been related elsewhere1 had given the charge of executing the great portal of the ,castello di ,s4 ,angelo1 which is now half ruined2 and he occupied himself in distributing the statues of that work1 examining the models of the sculptors1 and correcting them4 ,at that time the ,french army approached near to ,rome1 and ,michelagnolo thought that he was like to come to an evil end together with that city2 whereupon he resolved to fly from ,rome with ,antonio ,franzese of ,castel ,durante1 whom ,urbino at his death had left in his house as his servant1 and went secretly to the mountains of ,spoleto1 where he visited certain seats of hermits4 ,meanwhile ,vasari wrote to him1 sending him a little work that ,carlo ,lenzoni1 a citizen of ,florence1 had left at his death to ,messer ,cosimo ,bartoli1 who was to have it printed and dedicated to ,michelagnolo2 which1 when it was finished1 ,vasari sent in those days to ,michelagnolo1 and he1 having received it1 answered thus3 ,september #ah1 #aeef4 ,,messer ,,giorgio1 ,,dear ,,friend1 ,i have received ,messer ,cosimo's little book1 which you send to me1 and this shall be a letter of thanks4 ,i pray you to give them to him1 and send him my compliments4 ,i have had in these days great discomfort and expense1 but also great pleasure1 in visiting the hermits in the mountains of ,spoleto1 insomuch that less than half of me has returned to ,rome1 seeing that in truth there is no peace to be found save in the woods4 ,i have nothing more to tell you4 ,i am glad that you are well and happy1 and ,i commend myself to you4 ,michelagnolo used to work almost every day1 as a pastime1 at that block with the four figures of which we have already spoken2 which block he broke into pieces at this time for these reasons1 either because it was hard and full of emery1 and the chisel often struck sparks from it1 or it may have been that the judgment of the man was so great that he was never content with anything that he did4 ,a proof that this is true is that there are few finished statues to be seen out of all that he executed in the prime of his manhood1 and that those completely finished were executed by him in his youth1 such as the ,bacchus1 the ,piet in ,s4 ,maria della ,febbre1 the ,giant of ,florence1 and the ,christ of the ,minerva1 which it would not be possible to increase or diminish by as little as a grain of millet without spoiling them2 and the others1 with the exception of the ,dukes ,giuliano and ,lorenzo1 ,night1 ,dawn1 and ,moses1 with the other two1 the whole number of these statues not amounting in all to eleven1 the others1 ,i say1 were all left unfinished1 and1 moreover1 they are many1 ,michelagnolo having been wont to say that if he had had to satisfy himself in what he did1 he would have sent out few1 nay1 not one4 ,for he had gone so far with his art and judgment1 that1 when he had laid bare a figure and had perceived in it the slightest degree of error1 he would set it aside and run to lay his hand on another block of marble1 trusting that the same would not happen to the new block2 and he often said that this was the reason that he gave for having executed so few statues and pictures4 ,this ,piet1 when it was broken1 he presented to ,francesco ,bandini4 ,now at this time ,tiberio ,calcagni1 a ,florentine sculptor1 had become much the friend of ,michelagnolo by means of ,francesco ,bandini and ,messer ,donato ,giannotti2 and being one day in ,michelagnolo's house1 where there was the ,piet1 all broken1 after a long conversation he asked him for what reason he had broken it up and destroyed labours so marvellous1 and he answered that the reason was the importunity of his servant ,urbino1 who kept urging him every day to finish it1 besides which1 among other things1 a piece of one of the elbows of the ,madonna had been broken off1 and even before that he had taken an aversion to it1 and had had many misfortunes with it by reason of a flaw that was in the marble1 so that he lost his patience and began to break it up2 and he would have broken it altogether into pieces if his servant ,antonio had not besought him that he should present it to him as it was4 ,whereupon ,tiberio1 having heard this1 spoke to ,bandini1 who desired to have something by the hand of ,michelagnolo1 and ,bandini contrived that ,tiberio should promise to ,antonio two hundred crowns of gold1 and prayed ,michelagnolo to consent that ,tiberio should finish it for ,bandini with the assistance of models by his hand1 urging that thus his labour would not be thrown away4 ,michelagnolo was satisfied1 and then made them a present of it4 ,the work was carried away immediately1 and then put together again and reconstructed with ,i know not what new pieces by ,tiberio2 but it was left unfinished by reason of the death of ,bandini1 ,michelagnolo1 and ,tiberio4 ,at the present day it is in the possession of ,pier ,antonio ,bandini1 the son of ,francesco1 at his villa on ,monte ,cavallo4 ,but to return to ,michelagnolo2 it became necessary to find some work in marble on which he might be able to pass some time every day with the chisel1 and another piece of marble was put before him1 from which another ,piet had been already blocked out1 different from the first and much smaller4 ,illustration3 ,,piet 7,after ,michelagnolo4 ,rome3 ,palazzo ,rondanini7 ,alinari ,there had entered into the service of ,paul ,,iv1 and also into the charge of the fabric of ,s4 ,pietro1 the architect ,pirro ,ligorio1 and he was now once more harassing ,michelagnolo1 going about saying that he had sunk into his second childhood4 ,wherefore1 angered by such treatment1 he would willingly have returned to ,florence1 and1 having delayed to return1 he was again urged in letters by ,giorgio1 but he knew that he was too old1 having now reached the age of eighty-one4 ,writing at that time to ,vasari by his courier1 and sending him various spiritual sonnets1 he said that he was come to the end of his life1 that he must be careful where he directed his thoughts1 that by reading he would see that he was at his last hour1 and that there arose in his mind no thought upon which was not graved the image of death2 and in one letter he said3 ,it is ,god's will1 ,vasari1 that ,i should continue to live in misery for some years4 ,i know that you will tell me that ,i am an old fool to wish to write sonnets1 but since many say that ,i am in my second childhood1 ,i have sought to act accordingly4 ,by your letter ,i see the love that you bear me1 and you may take it as certain that ,i would be glad to lay these feeble bones of mine beside those of my father1 as you beg me to do2 but by departing from here ,i would be the cause of the utter ruin of the fabric of ,s4 ,pietro1 which would be a great disgrace and a very grievous sin4 ,however1 when it is so firmly established that it can never be changed1 ,i hope to do all that you ask me1 if it be not a sin to keep in anxious expectation certain gluttons that await my immediate departure4 ,with this letter was the following sonnet1 also written in his own hand3 ,giunto gi 'l corso della vita mia ,con tempestoso mar' per fragil barca ,al comun porto1 ov'a render' si varca ,conto e ragion' d'ogni opra trista e pia4 ,onde l'affetuosa fantasia1 ,che l'arte mi fece idolo e monarca1 ,conosco or' ben' quant'era d'error' carca1 ,e quel ch'a mal suo grado ognun' desia4 ,gli amorosi pensier' gi vani e lieti ,che sien'or'1 s'a due morti mi avvicino8 ,d'una so certo1 e l'altra mi minaccia4 ,n pinger' n scolpir' sia pi che quieti ,l'anima volta a quello ,amor ,divino ,ch'aperse a prender' noi in ,croce le braccia4 ,whereby it was evident that he was drawing towards ,god1 abandoning the cares of art on account of the persecution of his malignant fellow-craftsmen1 and also through the fault of certain overseers of the fabric1 who would have liked1 as he used to say1 to dip their hands in the chest4 ,by order of ,duke ,cosimo1 a reply was written to ,michelagnolo by ,vasari in a letter of few words1 exhorting him to repatriate himself1 with a sonnet corresponding in the rhymes4 ,michelagnolo would willingly have left ,rome1 but he was so weary and aged1 that although1 as will be told below1 he was determined to go back1 while the spirit was willing the flesh was weak1 and that kept him in ,rome4 ,it happened in ,june of the year #aeeg1 he having made a model for the vault that was to cover the apse1 which was being built of travertine in the ,chapel of the ,king1 that1 from his not being able to go there as he had been wont1 an error arose1 in that the capomaestro took the measurements over the whole body of the vault with one single centre1 whereas there should have been a great number2 and ,michelagnolo1 as the friend and confidant of ,vasari1 sent him designs by his own hand1 with these words written at the foot of two of them3 ,the centre marked with red was used by the capomaestro over the body of the whole vault2 then1 when he began to pass to the half-circle1 which is at the summit of the vault1 he became aware of the error which that centre was producing1 as may be seen here in the design1 marked in black4 ,with this error the vault has gone so far forward1 that we have to displace a great number of stones1 for in that vault there is being placed no brick-work1 but all travertine1 and the diameter of the circle1 without the cornice that borders it1 is twenty-two palms4 ,this error1 after ,i had made an exact model1 as ,i do of everything1 has been caused by my not being able1 on account of my old age1 to go there often2 so that1 whereas ,i believed that the vault was now finished1 it will not be finished all this winter1 and1 if it were possible to die of shame and grief1 ,i should not be alive now4 ,i pray you account to the ,duke for my not being at this moment in ,florence4 ,illustration3 ,s4 ,,peter',s 7,after ,michelagnolo4 ,rome7 ,alinari ,and continuing in the other design1 where he had drawn the plan1 he said this3 ,,messer ,,giorgio1 ,to the end that it may be easier to understand the difficulty of the vault by observing its rise from the level of the ground1 let me explain that ,i have been forced to divide it into three vaults1 corresponding to the windows below divided by pilasters2 and you see that they go pyramidally into the centre of the summit of the vault1 as also do the base and sides of the same4 ,it was necessary to regulate them with an infinite number of centres1 and there are in them so many changes in various directions1 from point to point1 that no fixed rule can be maintained4 ,and the circles and squares that come in the middle of their deepest parts have to diminish and increase in so many directions1 and to go to so many points1 that it is a difficult thing to find the true method4 ,nevertheless1 having the model1 such as ,i make for everything1 they should never have committed so great an error as to seek to regulate with one single centre all those three shells2 whence it has come about that we have been obliged with shame and loss to pull down1 as we are still doing1 a great number of stones4 ,the vault1 with its sections and hewn stone-work1 is all of travertine1 like all the rest below2 a thing not customary in ,rome4 ,michelagnolo was excused by ,duke ,cosimo1 hearing of these misfortunes1 from coming to ,florence2 the ,duke saying to him that his contentment and the continuation of ,s4 ,pietro were more dear to him than anything in the world1 and that he should rest in peace4 ,whereupon ,michelagnolo wrote to ,vasari1 on the same sheet in which he thanked the ,duke to the best of his power and knowledge for such kindness1 saying1 ,god give me grace that ,i may be able to serve him with this my poor person1 for my memory and my brain are gone to await him elsewhere4 ,the date of this letter was ,august in the year #aeeg4 ,thus1 then1 ,michelagnolo learned that the ,duke esteemed his life and his honour more than he did himself1 who so revered him4 ,all these things1 and many more that it is not necessary to mention1 we have in our possession1 written in his hand4 ,michelagnolo by this time was reduced to a feeble condition1 and it was evident that little was being done in ,s4 ,pietro1 now that he had carried on a great part of the frieze of the windows within1 and of the double columns without1 which curve above the great round cornice#d where the cupola is to be placed1 as will be related2 and he was exhorted and urged by his greatest friends1 such as the ,cardinal of ,carpi1 ,messer ,donato ,giannotti1 ,francesco ,bandini1 ,tommaso de' ,cavalieri1 and ,lottino that1 since he saw the delay in the raising of the cupola1 he should at least make a model of it4 ,he stayed many months without making up his mind to this1 but in the end he made a beginning1 and then little by little constructed a small model in clay1 from which1 as an exemplar1 and from the plans and profiles that he had drawn1 it might be possible afterwards to make a larger one of wood4 ,this1 having made a beginning with it1 he caused to be constructed in little more than a year by ,maestro ,giovanni ,franzese1 with much study and pains2 and he made it on such a scale that the smaller proportions of the model1 measured by the old ,roman palm1 corresponded with complete exactness to those of the large work1 he having fashioned with diligence in that model all the members of columns1 bases1 capitals1 doors1 windows1 cornices1 projections1 and likewise every least thing1 knowing that in such a work no less should be done1 for in all ,christendom1 nay1 in all the world1 there is not to be found or seen any fabric more ornate or more grand4 ,and ,i cannot but think that1 if we have given up time to noting smaller things1 it is even more useful1 and also our duty1 to describe this manner of design for building the structure of this tribune with the form1 order1 and method that ,michelagnolo thought to give it2 wherefore with such brevity as we may we will give a simple description of it1 to the end that1 if it should ever be the fate of this work1 which ,god forbid1 to be disturbed by the envy and malice of presumptuous persons after the death of ,michelagnolo1 even as we have seen it disturbed up to the present during his lifetime1 these my writings1 such as they may be1 may be able to assist the faithful who are to be the executors of the mind of that rare man1 and also to restrain the malignant desires of those who may seek to alter it1 and so at one and the same time assist1 delight1 and open the minds of those beautiful intellects that are the friends of this profession and regard it as their joy4 ,footnote #d3 ,drum4 ,illustration3 ,s4 ,,peter',s 7,after ,michelagnolo4 ,rome7 ,anderson ,i must begin by saying that according to this model1 made under the direction of ,michelagnolo1 ,i find that in the great work the whole space within the tribune will be one hundred and eighty-six palms1 speaking of its width from wall to wall above the great cornice of travertine that curves in a round in the interior1 resting on the four great double piers that rise from the ground with their capitals carved in the ,corinthian ,order1 accompanied by their architrave1 frieze1 and cornice1 likewise of travertine2 which great cornice1 curving right round over the great niches1 rests supported upon the four great arches of the three niches and of the entrance1 which form the cross of the building4 ,then there begins to spring the first part of the tribune1 the rise of which commences in a basement of travertine with a platform six palms broad1 where one can walk2 and this basement curves in a round in the manner of a well1 and its thickness is thirty-three palms and eleven inches1 the height to the cornice eleven palms and ten inches1 the cornice over it about eight palms1 and its projection six and a half palms4 ,into this basement you enter1 in order to ascend the tribune1 by four entrances that are over the arches of the niches1 and the thickness of the basement is divided into three parts2 that on the inner side is fifteen palms1 that on the outer side is eleven palms1 and that in the centre is seven palms and eleven inches1 which make up the thickness of thirty-three palms and eleven inches4 ,the space in the centre is hollow and serves as a passage1 which is two squares in height and curves in a continuous round1 with a barrel-shaped vault2 and in line with the four entrances are eight doors1 each of which rises in four steps1 one of them leading to the level platform of the cornice of the first basement1 six palms and a half in breadth1 and another leading to the inner cornice that curves round the tribune1 eight palms and three-quarters broad1 on which platforms1 by each door1 you can walk conveniently both within and without the edifice1 and from one entrance to another in a curve of two hundred and one palms1 so that1 the sections being four1 the whole circuit comes to be eight hundred and four palms4 ,we now have to ascend from the level of this basement1 upon which rest the columns and pilasters1 and which forms the frieze of the windows within all the way round1 being fourteen palms and one inch in height1 and around it1 on the outer side1 there is at the foot a short order of cornice-work1 and so also at the top1 which does not project more than ten inches1 and all of travertine2 and so in the thickness of the third part1 above that on the inner side1 which we have described as fifteen palms thick1 there is made in every quarter-section a staircase1 one half of which ascends in one direction and the second half in another1 the width being four palms and a quarter2 and this staircase leads to the level of the columns4 ,above this level there begin to rise1 in line with the solid parts of the basement1 eighteen large piers all of travertine1 each adorned with two columns on the outer side and pilasters on the inner1 as will be described below1 and between the piers are left the spaces where there are to be all the windows that are to give light to the tribune4 ,these piers1 on the sides pointing towards the central point of the tribune1 are thirty-six palms in extent1 and on the front sides nineteen and a half4 ,each of them1 on the outer side1 has two columns1 the lowest dado of which is eight palms and three-quarters broad and one palm and a half high1 the base five palms and eight inches broad and 444 palms and eleven inches high1 the shaft of the column forty-three and a half palms high1 five palms and six inches thick at the foot and four palms and nine inches at the top1 the ,corinthian capital six palms and a half high1 with the crown of mouldings nine palms4 ,of these columns three quarters are to be seen1 and the other quarter is merged into the corner1 with the accompaniment of the half of a pilaster that makes a salient angle on the inner side1 and this is accompanied in the central inner space by the opening of an arched door1 five palms wide and thirteen palms and five inches high1 from the summit of which to the capitals of the pilasters and columns there is a filling of solid masonry1 serving as a connection with two other pilasters that are similar to those that form a salient angle beside the columns4 ,these two pilasters correspond to the others1 and adorn the sides of sixteen windows that go right round the tribune1 each with a light twelve palms and a half wide and about twenty-two palms high4 ,these windows are to be adorned on the outer side with varied architraves two palms and three-quarters high1 and on the inner side they are to be adorned with orders likewise varied1 with pediments and quarter-rounds2 and they are wide without and more narrow within1 and so1 also1 they are sloped away at the foot of the inner side1 so that they may give light over the frieze and cornice4 ,each of them is bordered by two flat pilasters that correspond in height to the columns without1 so that there come to be thirty-six columns without and thirty-six pilasters within2 over which pilasters is the architrave1 which is four palms and three-quarters in height1 the frieze four and a half1 and the cornice four and two-thirds1 with a projection of five palms2 and above this is to go a range of balusters1 so that one may be able to walk all the way round there with safety4 ,and in order that it may be possible to climb conveniently from the level where the columns begin1 another staircase ascends in the same line within the thickness of the part that is fifteen palms wide1 in the same manner and of the same width1 with two branches or ascents1 all the way up to the summit of the columns1 with their capitals1 architraves1 friezes1 and cornices2 insomuch that1 without obstructing the light of the windows1 these stairs pass at the top into a spiral staircase of the same breadth1 which finally reaches the level where the turning of the tribune is to begin4 ,all this order1 distribution1 and ornamentation is so well varied1 commodious1 rich1 durable1 and strong1 and serves so well to support the two vaults of the cupola that is to be turned upon it1 that it is a very ingenious thing1 and it is all so well considered and then executed in masonry1 that there is nothing to be seen by the eyes of one who has knowledge and understanding that is more pleasing1 more beautiful1 or wrought with greater mastery1 both on account of the binding together and mortising of the stones and because it has in it in every part strength and eternal life1 and also because of the great judgment wherewith he contrived to carry away the rain-water by many hidden channels1 and1 finally1 because he brought it to such perfection1 that all other fabrics that have been built and seen up to the present day appear as nothing in comparison with the grandeur of this one4 ,and it has been a very great loss that those whose duty it was did not put all their power into the undertaking1 for the reason that1 before death took away from us that rare man1 we should have seen that beautiful and terrible structure already raised4 ,up to this point has ,michelagnolo carried the masonry of the work2 and it only remains to make a beginning with the vaulting of the tribune1 of which1 since the model has come down to us1 we shall proceed to describe the design that he has left to the end that it may be carried out4 ,he turned the curve of this vault on three points that make a triangle1 in this manner3 ,a ,b ,c ,the point ,c1 which is the lowest1 is the principal one1 wherewith he turned the first half-circle of the tribune1 with which he gave the form1 height and breadth of this vault1 which he ordered to be built entirely of bricks well baked and fired1 laid herring-bone fashion4 ,this shell he makes four palms and a half thick1 and as thick at the top as at the foot1 and leaving beside it1 in the centre1 a space four palms and a half wide at the foot1 which is to serve for the ascent of the stairs that are to lead to the lantern1 rising from the platform of the cornice where there are balusters4 ,the arch of the interior of the other shell1 which is to be wider at the foot and narrower at the top1 is turned on the point marked ,b1 and the thickness of the shell at the foot is four palms and a half4 ,and the last arch1 which is to be turned in order to make the exterior of the cupola1 wider at the foot and narrowing towards the top1 is to be raised on the point marked ,a1 which arch turned1 there remains at the top all the hollow space of the interior for the ascent of the stairs1 which are eight palms high1 so that one may climb them upright2 and the thickness of that shell comes to diminish little by little1 insomuch that1 being as before four palms and a half at the foot1 it decreases at the top to three palms and a half4 ,and the outer shell comes to be so well bound to the inner shell with bonds and with the stairs1 that the one supports the other2 while of the eight parts into which the fabric is divided at the base1 the four over the arches are left hollow1 in order to put less weight upon the arches1 and the other four are bound and chained together with bonds upon the piers1 so that the structure may have everlasting life4 ,the stairs in the centre between one shell and the other are constructed in this form2 from the level where the springing of the vault begins they rise in each of the four sections1 and each ascends from two entrances1 the stairs intersecting one another in the form of an ,x1 until they have covered the half of the arch marked ,c1 on the upper side of the shell1 when1 having ascended straight up the half of that arch1 the remaining space is then easily climbed circle after circle and step after step in a direct line1 until finally one arrives at the eye of the cupola1 where the rise of the lantern begins1 around which1 in accord with the diminution of the compartments that spring above the piers1 there is a smaller range of double pilasters and windows similar to those that are constructed in the interior1 as will be described below4 ,over the first great cornice within the tribune there begin at the foot the compartments for the recesses that are in the vault of the tribune1 which are formed by sixteen projecting ribs4 ,these at the foot are as broad as the breadth of the two pilasters which at the lower end border each window below the vault of the tribune1 and they rise1 diminishing pyramidally1 as far as the eye of the lantern2 at the foot they rest on pedestals of the same breadth and twelve palms high1 and these pedestals rest on the level platform of the cornice which goes in a circle right round the tribune4 ,above this1 in the recessed spaces between the ribs1 there are eight large ovals1 each twenty-nine palms high1 and over them a number of straight-sided compartments that are wider at the foot and narrower at the top1 and twenty-four palms high1 and then1 the ribs drawing together1 there comes above each straight-sided compartment a round fourteen palms high2 so that there come to be eight ovals1 eight straight-sided compartments1 and eight rounds1 each range forming recesses that grow more shallow in succession4 ,the ground of all these displays extraordinary richness1 for ,michelagnolo intended to make the ribs and the ornaments of the said ovals1 straight-sided compartments1 and rounds1 all corniced in travertine4 ,it remains for us to make mention of the surface and adornment of the arch on that side of the vault where the roofing is to go1 which begins to rise from a base twenty-five palms and a half high1 which has at the foot a basement that has a projection of two palms1 as have the crowning mouldings at the top4 ,the covering or roofing with which he proposed to cover it is of lead1 such as covers the roof of the old ,s4 ,pietro at the present day1 and is divided into sixteen sections from one solid base to another1 each base beginning where the two columns end1 which are one on either side of it4 ,in each of these sections1 in the centre1 he made two windows to give light to the inner space where the ascent of the stairs is1 between the two shells1 so that in all they are thirty-two4 ,these1 by means of brackets that support a quarter-round1 he made projecting from the roof in such a manner as to protect the lofty and novel view-point from the rain4 ,in a line with the centre of the solid base between each two columns1 above which was the crowning cornice1 sprang a rib1 one to each1 wider at the foot and narrowing at the top2 in all sixteen ribs1 five palms broad1 in the centre of each of which was a quadrangular channel one palm and a half wide1 within which is formed an ascent of steps about one palm high1 by which to ascend or descend between the platform at the foot and the summit where the lantern begins4 ,these are to be built of travertine and constructed with mortisings1 to the end that the joins may be protected against water and ice during times of rain4 ,the design for the lantern is reduced in the same proportion as all the rest of the work1 so that1 taking lines round the circumference1 everything comes to diminish in exact accord1 and with proportionate measurements it rises as a simple temple with round columns two by two1 like those on the solid bases below4 ,these have pilasters to correspond to them1 and one can walk all the way round and see from the central spaces between the pilasters1 where the windows are1 the interior of the tribune and the church4 ,above this1 architrave1 frieze1 and cornice curve in a round1 projecting over each pair of columns2 and over these columns1 in a line with them1 spring some caulicoles1 which1 together with some niches that divide them1 rise to find the end of the lantern1 which1 beginning to draw together1 grows gradually narrower for a third of its height1 in the manner of a round pyramid1 until it reaches the ball1 upon which1 as the final crown of the structure1 goes the cross4 ,many particulars and minute details ,i might have mentioned1 such as air-holes for protection against earthquakes1 water-conduits1 the various lights1 and other conveniences1 but ,i omit them because the work is not yet come to completion1 being content to have touched on the principal parts as well as ,i have been able4 ,for1 since every part is in existence and can be seen1 it is enough to have made this brief sketch1 which is a great light to him who has no knowledge of the structure4 ,the completion of this model caused the greatest satisfaction not only to all his friends1 but to all ,rome1 the form of the fabric having been thus settled and established4 ,it then came to pass that ,paul ,,iv died1 and after him was elected ,pius ,,iv1 who1 while causing the building of the little palace in the wood of the ,belvedere to be continued by ,pirro ,ligorio1 who remained architect to the ,palace1 made many gracious offers and advances to ,michelagnolo4 ,the ,motu-proprio originally received by ,michelagnolo from ,paul ,,iii1 and then from ,julius ,,iii and ,paul ,,iv1 in respect of the fabric of ,s4 ,pietro1 he confirmed in his favour1 and he restored to him a part of the revenues and allowances taken away by ,paul ,,iv1 employing him in many of his works of building2 and in his time he caused the fabric of ,s4 ,pietro to be carried on vigorously4 ,he made use of ,michelagnolo1 in particular1 in preparing a design for the tomb of the ,marchese ,marignano1 his brother1 which1 destined to be erected in the ,duomo of ,milan1 was allotted by his ,holiness to the ,chevalier ,leone ,lioni of ,arezzo1 a most excellent sculptor and much the friend of ,michelagnolo2 the form of which tomb will be described in the proper place4 ,at this time the ,chevalier ,leone made a very lively portrait of ,michelagnolo in a medal1 and to please him he fashioned on the reverse a blind man led by a dog1 with these letters around3 ,,docebo ,,iniquos ,,vias ,,tuas1 ,,et ,,impii ,,ad ,,te ,,convertentur4 ,and ,michelagnolo1 since it pleased him much1 presented him a model in wax of ,hercules crushing ,antus1 by his own hand1 with certain of his designs4 ,of ,michelagnolo we have no other portraits but two in painting1 one by the hand of ,bugiardini and the other by ,jacopo del ,conte1 one in bronze executed in full-relief by ,daniello ,ricciarelli1 and this one by the ,chevalier ,leone2 from which portraits so many copies have been made1 that ,i have seen a good number in many places in ,italy and in foreign parts4 ,the same year ,cardinal ,giovanni de' ,medici1 the son of ,duke ,cosimo1 went to ,rome to receive the hat from ,pius ,,iv1 and it fell to ,vasari1 as his servant and familiar friend1 to go with him2 which ,vasari went there willingly and stayed about a month1 in order to enjoy ,michelagnolo1 who received him with great affection and was always with him4 ,vasari had taken with him1 by order of his ,excellency1 a model in wood of the whole ,ducal ,palace of ,florence1 together with designs of the new apartments that had been built and painted by him2 which ,michelagnolo desired to see both in the model and in the designs1 since1 being old1 he was not able to see the works themselves4 ,these works1 which were abundant and well varied1 with different inventions and fancies1 began with the ,castration of ,uranus and continued in stories of ,saturn1 ,ops1 ,ceres1 ,jove1 ,juno1 and ,hercules1 each room having one of these names1 with the stories in various compartments2 even as the other chambers and halls1 which were beneath these1 had the names of the heroes of the ,house of ,medici1 beginning with the elder ,cosimo1 and continuing with ,lorenzo1 ,leo ,x1 ,clement ,,vii1 ,signor ,giovanni1 ,duke ,alessandro1 and ,duke ,cosimo1 in each of which were not only the stories of their actions1 but also portraits of them1 of their children1 and of all the ancients renowned in statesmanship1 in arms1 and in letters1 taken from the life4 ,of these ,vasari had written a ,dialogue in which he explained all the stories1 the end of the whole invention1 and how the fables above harmonized with the stories below2 which was read to ,michelagnolo by ,annibale ,caro1 and he took the greatest pleasure in it4 ,this ,dialogue1 when ,vasari shall have more time1 will be published4 ,the result of all this was as follows4 ,vasari was desirous of setting his hand to the ,great ,hall1 and since1 as has been said elsewhere1 the ceiling was low1 making it stunted and wanting in lights1 he had a desire to raise that ceiling4 ,now the ,duke would not make up his mind to give him leave that it should be raised2 not that the ,duke feared the cost1 as was seen afterwards1 but rather the danger of raising the beams of the roof thirteen braccia4 ,however1 like a man of judgment1 his ,excellency consented that the advice of ,michelagnolo should be taken1 and ,michelagnolo1 having seen in that model the ,hall as it then was1 and afterwards1 all the beams having been removed and replaced by other beams with a new invention in the ceiling and walls1 the same ,hall as it has since been made1 with the invention of the stories likewise designed therein1 liked it and straightway became not a judge but a supporter1 and the rather as he saw the facile method of raising the beams and the roof1 and the plan for executing the whole work in a short time4 ,wherefore1 on ,vasari's return1 he wrote to the ,duke that he should carry out that undertaking1 since it was worthy of his greatness4 ,illustration3 ,,porta ,,pia 7,after ,michelagnolo4 ,rome7 ,alinari ,the same year ,duke ,cosimo went to ,rome with the ,lady ,duchess ,leonora1 his consort1 and ,michelagnolo1 after the ,duke's arrival1 went straightway to see him4 ,the ,duke1 after receiving him with many endearments1 caused him1 out of respect for his great genius1 to sit by his side1 and with much familiarity talked to him of all that he had caused to be done in painting and sculpture at ,florence1 and also of all that he was minded to have done1 and in particular of the ,hall2 and ,michelagnolo again encouraged and reassured him in that matter1 lamenting1 since he loved that ,lord1 that he was not young enough to be able to serve him4 ,his ,excellency said that he had discovered the way to work porphyry1 a thing which ,michelagnolo could not believe1 and the ,duke therefore sent him1 as has been related in the first chapter of the ,treatise on ,theory1 the head of ,christ wrought by the sculptor ,francesco del ,tadda1 at which he was astonished2 and he visited the ,duke several times the while that he stayed in ,rome1 to his vast satisfaction4 ,he did the same a short time afterwards when the most ,illustrious ,don ,francesco de' ,medici1 the ,duke's son1 went there1 in whom ,michelagnolo took much delight from the marks of regard and affection shown to him by his most ,illustrious ,excellency1 who spoke with him always cap in hand1 having infinite reverence for so rare a man2 and ,michelagnolo wrote to ,vasari that it vexed him to be old and infirm1 for he would have liked to do something for that ,lord1 but he was going about trying to buy some beautiful antique to send to him in ,florence4 ,being requested at this time by the ,pope for a design for the ,porta ,pia1 ,michelagnolo made three1 all fantastic and most beautiful1 of which the ,pope chose the least costly for putting into execution2 and it is now to be seen erected there1 with much credit to him4 ,perceiving the inclination of the ,pope1 and hoping that he would restore the other gates of ,rome1 he made many other designs for him2 and he did the like1 at the request of the same ,pontiff1 in the matter of the new ,church of ,s4 ,maria degli ,angeli in the ,baths of ,diocletian1 in order to convert them into a temple for the use of ,christians4 ,a design by his hand prevailed over many others made by excellent architects1 being executed with such beautiful considerations for the convenience of the ,carthusian ,friars1 who have now carried it almost to completion1 that it caused his ,holiness and all the prelates and lords of the ,court to marvel at the judgment of the lovely conceptions that he had drawn1 availing himself of all the skeleton of those baths1 out of which was seen formed a most beautiful temple1 with an entrance surpassing the expectations of all the architects2 from which he acquired infinite praise and honour4 ,for that place1 also1 he designed for his ,holiness a ,ciborium of the ,sacrament in bronze1 cast for the most part by ,maestro ,jacopo ,ciciliano1 an excellent bronze-caster1 who makes his works come out very delicate and fine1 without any roughness1 so that they can be polished with little labour2 in which field he is a rare master1 and gave much satisfaction to ,michelagnolo4 ,illustration3 ,s4 ,,maria ,,degli ,,angeli 7,after ,michelagnolo4 ,rome7 ,alinari ,the ,florentine colony had often talked among themselves of giving a good beginning to the ,church of ,s4 ,giovanni in the ,strada ,giulia4 ,finally1 all the heads of the richest houses having assembled together1 they each promised to contribute in due proportion according to their means towards that fabric1 insomuch that they contrived to collect a good sum of money2 and then it was discussed among them whether it were better to follow the old lines or to have something new and finer4 ,it was determined that something new should be erected upon the old foundations1 and finally they elected three men to have the charge of the fabric1 who were ,francesco ,bandini1 ,uberto ,ubaldini1 and ,tommaso de' ,bardi2 and these requested ,michelagnolo for a design1 recommending themselves to him on the ground that it was a disgrace to their colony to have thrown away so much money without any kind of profit1 and that1 if his genius did not avail to finish the work1 they had no other resource4 ,he promised them to do it1 with as much lovingness as he had ever shown in any work in the past1 because in this his old age he readily gave his attention to sacred things1 such as might redound to the honour of ,god1 and also from affection for his fellow-,florentines1 whom he loved always4 ,michelagnolo had with him at this conference the ,florentine sculptor ,tiberio ,calcagni1 a young man very ardent to learn art1 who1 after going to ,rome1 had turned his mind to the study of architecture4 ,loving him1 ,michelagnolo had given him to finish1 as has been related1 the ,piet in marble that he had broken1 and1 in addition1 a head of ,brutus in marble with the breast1 considerably larger than life1 to the end that he might finish it4 ,of this the head alone was carved1 with certain most minute gradines1 and he had taken it from a portrait of ,brutus cut in a very ancient cornelian that was in the possession of ,signor ,giuliano ,cesarino2 which ,michelagnolo was doing for ,cardinal ,ridolfi at the entreaty of ,messer ,donato ,giannotti1 his very dear friend1 and it is a rare work4 ,michelagnolo1 then1 in matters of architecture1 not being able by reason of old age to draw any more or to make accurate lines1 was making use of ,tiberio1 because he was very gentle and discreet2 and thus1 desiring to avail himself of him in such an undertaking1 he laid on him the charge of tracing the plan of the site of the above-named church4 ,that plan having been traced and carried straightway to ,michelagnolo1 at a time when it was not thought that he was doing anything1 he gave them to understand through ,tiberio that he had carried out their wishes1 and finally showed them five most beautiful ground-plans of temples2 which having seen1 they marvelled4 ,he said to them that they should choose one that pleased them1 and they1 not wishing to do it1 left the matter to his judgment1 but he insisted that they should decide of their own free will2 wherefore they all with one accord chose the richest4 ,this having been adopted1 ,michelagnolo said to them that if they carried such a design to completion1 neither the ,greeks nor the ,romans ever in their times executed such a work2 words that neither before nor afterwards ever issued from the mouth of ,michelagnolo1 for he was very modest4 ,finally it was agreed that the direction should be left entirely to ,michelagnolo1 and that the labour of executing that work should fall to ,tiberio2 with all which they were content1 ,buonarroti promising them that ,tiberio would serve them excellently well4 ,and so1 having given the ground-plan to ,tiberio to be drawn accurately and with correct measurements1 he drew for him the profiles both within and without1 and bade him make a model of clay1 teaching him the way to execute it so that it might stand firm4 ,in ten days ,tiberio executed a model of eight palms1 which much pleased the whole ,florentine colony1 so that afterwards they caused to be made from it a model of wood1 which is now in the residence of the ,consuls of that colony2 a thing as rare in its beauty1 richness1 and great variety1 as any temple that has ever been seen4 ,a beginning was made with the building1 and five thousand crowns were spent2 but the funds for the fabric failed1 and so it was abandoned1 at which ,michelagnolo felt very great displeasure4 ,he obtained for ,tiberio the commission to finish under his direction1 at ,s4 ,maria ,maggiore1 a chapel begun for ,cardinal ,santa ,fiore2 but it was left unfinished1 on account of the death of the ,cardinal1 of ,michelagnolo1 and of ,tiberio himself1 the death of which young man was a very great loss4 ,illustration3 ,,brutus 7,after ,michelagnolo4 ,florence3 ,museo ,nazionale7 ,brogi ,michelagnolo had been seventeen years in the fabric of ,s4 ,pietro1 and several times the deputies had tried to remove him from that position1 but they had not succeeded1 and they were seeking to oppose him in every matter now with one vexatious pretext and now with another1 hoping that out of weariness1 being now so old that he could do no more1 he would retire before them4 ,it happened in those days that ,cesare da ,castel ,durante1 who had been the overseer1 died1 and ,michelagnolo1 to the end that the fabric might not suffer1 sent there ,luigi ,gaeta1 who was too young but very competent1 until he should find a man after his desire4 ,the deputies 7some of whom had many times made efforts to place there ,nanni di ,baccio ,bigio1 who was always urging them and promising great things71 in order to be able to disturb the affairs of the fabric at their pleasure1 sent ,luigi ,gaeta away1 which having heard1 ,michelagnolo1 as in anger1 would no longer show himself at the fabric2 whereupon they began to give out that he could do no more1 that it was necessary to give him a substitute1 and that he himself had said that he did not wish to be embroiled any longer with ,s4 ,pietro4 ,all this came to the ears of ,michelagnolo1 who sent ,daniello ,ricciarelli of ,volterra to ,bishop ,ferratino1 one of the superintendents1 who had said to the ,cardinal of ,carpi that ,michelagnolo had told one of his servants that he did not wish to be mixed up with the fabric any longer2 and ,daniello said that this was by no means ,michelagnolo's desire4 ,ferratino complained that ,michelagnolo would not make his conception known1 adding that it would be well for him to provide a substitute1 and that he would have gladly accepted ,daniello2 and with this ,michelagnolo appeared to be content4 ,thereupon ,ferratino1 having had the deputies informed in the name of ,michelagnolo that they now had a substitute1 presented not ,daniello1 but in his place ,nanni di ,baccio ,bigio1 who came in and was accepted by the superintendents4 ,before very long he gave orders to make a scaffolding of wood from the side of the ,pope's stables1 where the hill is1 to rise above the great recess that is turned towards that side1 and caused some stout beams of fir to be cut1 saying that too many ropes were consumed in drawing up the materials1 and that it was better to raise them by his method4 ,which having heard1 ,michelagnolo went straight to the ,pope1 who was on the ,piazza di ,campidoglio1 and made so much noise that his ,holiness made him go at once into a room1 where he said3 ,holy ,father1 there has been appointed as my substitute by the deputies a man of whom ,i know nothing2 but if they are convinced1 and also your ,holiness1 that ,i am no longer the proper man1 ,i will return to rest in ,florence1 where ,i will enjoy the favours of that great ,duke who has so long desired me1 and will finish my life in my own house2 ,i therefore beg your gracious leave4 ,the ,pope was vexed at this1 and1 consoling him with kind words1 ordained that he should come to speak with him on the following day at the ,araceli4 ,there1 having caused the deputies of the fabric to be assembled together1 he desired to be informed of the reasons of what had happened3 whereupon their answer was that the fabric was going to ruin1 and that errors were being made in it4 ,which having heard not to be the truth1 the ,pope commanded ,signor ,gabrio ,scerbellone that he should go to see the fabric for himself1 and that ,nanni1 who was making these assertions1 should show it to him4 ,this was carried out1 and ,signor ,gabrio found that the whole story was a malicious slander1 and not the truth2 wherefore ,nanni was dismissed from that fabric with no very flattering words in the presence of many lords1 being also reproached that by his fault the bridge of ,santa ,maria fell into ruin1 and that at ,ancona1 seeking to do great things at little cost in the matter of cleaning out the harbour1 he filled it up more in one day than the sea had done in ten years4 ,such was the end of ,nanni in the fabric of ,s4 ,pietro4 ,for that work ,michelagnolo for seventeen years attended constantly to nothing but to establishing it securely with directions1 doubting on account of those envious persecutions lest it might come to be changed after his death2 so that at the present day it is strong enough to allow the vaulting to be raised with perfect security4 ,thus it has been seen that ,god1 who is the protector of the good1 defended him as long as he lived1 and worked for the benefit of the fabric and for the defence of the master until his death4 ,moreover1 ,pius ,,iv1 living after him1 commanded the superintendents of the fabric that nothing of what ,michelagnolo had directed should be changed2 and with even greater authority his successor1 ,pius ,v1 caused it to be carried out1 who1 lest disorder should arise1 insisted that the designs made by ,michelagnolo should be carried into execution with the utmost fidelity1 so that1 when the architects ,pirro ,ligorio and ,jacopo ,vignuola were in charge of it1 and ,pirro wished presumptuously to disturb and alter those directions1 he was removed with little honour from that fabric1 and only ,vignuola remained4 ,finally1 that ,pontiff being full of zeal no less for the honour of the fabric of ,s4 ,pietro than for the ,christian religion1 in the year #aefe1 when ,vasari went to kiss the feet of his ,holiness1 and in the year #aeff1 when he was again summoned1 nothing was discussed save the means to ensure the observing of the designs left by ,michelagnolo2 and his ,holiness1 in order to obviate all chance of disorder1 commanded ,vasari that he should go with ,messer ,guglielmo ,sangalletti1 the private treasurer of his ,holiness1 to seek out ,bishop ,ferratino1 the head of the superintendents of ,s4 ,pietro1 with orders from the ,pontiff that he should listen to all the suggestions and records of importance that ,vasari might impart to him1 to the end that no words of any malignant and presumptuous person might ever cause to be disturbed any line or order left by the excellent genius of ,michelagnolo of happy memory2 and at that interview was present ,messer ,giovan ,battista ,altoviti1 who was much the friend of ,vasari and of these arts4 ,and ,ferratino1 having heard a discourse that ,vasari made to him1 readily accepted every record1 and promised to observe and to cause to be observed with the utmost fidelity in that fabric every order and design that ,michelagnolo had left for that purpose1 and1 in addition1 to be the protector1 defender1 and preserver of the labours of that great man4 ,but to return to ,michelagnolo3 ,i must relate that about a year before his death1 ,vasari secretly prevailed upon ,duke ,cosimo de' ,medici to persuade the ,pope by means of ,messer ,averardo ,serristori1 his ,ambassador1 that1 since ,michelagnolo was much reduced1 a diligent watch should be kept on those who were about him to take care of him1 or who visited him at his house1 and that1 in the event of some sudden accident happening to him1 such as might well happen to an old man1 he should make arrangements for his property1 designs1 cartoons1 models1 money1 and all his other possessions at the time of his death1 to be set down in an inventory and placed in security1 for the sake of the fabric of ,s4 ,pietro1 so that1 if there were things pertaining to that fabric1 and also to the sacristy1 library1 and faade of ,s4 ,lorenzo1 they might not be taken away1 as is often wont to happen2 and in the end1 all this being duly carried out1 such diligence had its reward4 ,leonardo1 the nephew of ,michelagnolo1 was desirous to go during the coming ,lent to ,rome1 as one who guessed that he was now come to the end of his life2 and at this ,michelagnolo was content4 ,when1 therefore1 he fell sick of a slow fever1 he straightway caused ,daniello to write to ,leonardo that he should come2 but the illness grew worse1 although ,messer ,federigo ,donati1 his physician1 and his other attendants were about him1 and with perfect consciousness he made his will in three sentences1 leaving his soul in the hands of ,god1 his body to the earth1 and his substance to his nearest relatives1 and enjoining on his friends that1 at his passing from this life1 they should recall to him the agony of ,jesus ,christ4 ,and so at the twenty-third hour of the seventeenth day of ,february1 in the year #aefc 7after the ,florentine reckoning1 which according to the ,roman would be #aefd71 he breathed his last1 to go to a better life4 ,michelagnolo was much inclined to the labours of art1 seeing that everything1 however difficult1 succeeded with him1 he having had from nature a genius very apt and ardent in these most noble arts of design4 ,moreover1 in order to be entirely perfect1 innumerable times he made anatomical studies1 dissecting men's bodies in order to see the principles of their construction and the concatenation of the bones1 muscles1 veins1 and nerves1 the various movements and all the postures of the human body2 and not of men only1 but also of animals1 and particularly of horses1 which last he much delighted to keep4 ,of all these he desired to learn the principles and laws in so far as touched his art1 and this knowledge he so demonstrated in the works that fell to him to handle1 that those who attend to no other study than this do not know more4 ,he so executed his works1 whether with the brush or with the chisel1 that they are almost inimitable1 and he gave to his labours1 as has been said1 such art and grace1 and a loveliness of such a kind1 that 7be it said without offence to any7 he surpassed and vanquished the ancients2 having been able to wrest things out of the greatest difficulties with such facility1 that they do not appear wrought with effort1 although whoever draws his works after him finds enough in imitating them4 ,the genius of ,michelagnolo was recognized in his lifetime1 and not1 as happens to many1 after death1 for it has been seen that ,julius ,,ii1 ,leo ,x1 ,clement ,,vii1 ,paul ,,iii1 ,julius ,,iii1 ,paul ,,iv1 and ,pius ,,iv1 all supreme ,pontiffs1 always wished to have him near them1 and also1 as is known1 ,suleiman1 ,emperor of the ,turks1 ,francis of ,valois1 ,king of ,france1 the ,emperor ,charles ,v1 the ,signoria of ,venice1 and finally1 as has been related1 ,duke ,cosimo de' ,medici2 all offering him honourable salaries1 for no other reason but to avail themselves of his great genius4 ,this does not happen save to men of great worth1 such as he was2 and it is evident and well known that all these three arts were so perfected in him1 that it is not found that among persons ancient or modern1 in all the many years that the sun has been whirling round1 ,god has granted this to any other but ,michelagnolo4 ,he had imagination of such a kind1 and so perfect1 and the things conceived by him in idea were such1 that often1 through not being able to express with the hands conceptions so terrible and grand1 he abandoned his works--nay1 destroyed many of them2 and ,i know that a little before he died he burned a great number of designs1 sketches1 and cartoons made with his own hand1 to the end that no one might see the labours endured by him and his methods of trying his genius1 and that he might not appear less than perfect4 ,of such ,i have some by his hand1 found in ,florence1 and placed in my book of drawings2 from which1 although the greatness of that brain is seen in them1 it is evident that when he wished to bring forth ,minerva from the head of ,jove1 he had to use ,vulcan's hammer4 ,thus he used to make his figures in the proportion of nine1 ten1 and even twelve heads1 seeking nought else but that in putting them all together there should be a certain harmony of grace in the whole1 which nature does not present2 saying that it was necessary to have the compasses in the eyes and not in the hand1 because the hands work and the eye judges2 which method he used also in architecture4 ,no one should think it strange that ,michelagnolo delighted in solitude1 he having been one who was enamoured of his art1 which claims a man1 with all his thoughts1 for herself alone2 moreover1 it is necessary that he who wishes to attend to her studies should shun society1 and1 while attending to the considerations of art1 he is never alone or without thoughts4 ,and those who attributed it to caprice and eccentricity are wrong1 because he who wishes to work well must withdraw himself from all cares and vexations1 since art demands contemplation1 solitude1 and ease of life1 and will not suffer the mind to wander4 ,for all this1 he prized the friendship of many great persons and of learned and ingenious men1 at convenient times2 and these he maintained4 ,thus the great ,cardinal ,ippolito de' ,medici loved him greatly1 and1 having heard that a ,turkish horse that he possessed pleased ,michelagnolo because of its beauty1 it was sent as a present to him by the liberality of that lord1 with ten mules laden with fodder1 and a serving-man to attend to it2 and ,michelagnolo accepted it willingly4 ,the illustrious ,cardinal ,pole was much his friend1 ,michelagnolo being enamoured of his goodness and his talents2 also ,cardinal ,farnese1 and ,santa ,croce1 which latter afterwards became ,pope ,marcellus1 ,cardinal ,ridolfi1 ,cardinal ,maffeo1 ,monsignor ,bembo1 ,carpi1 and many other ,cardinals1 ,bishops1 and ,prelates1 whom it is not necessary to name4 ,others were ,monsignor ,claudio ,tolomei1 the ,magnificent ,messer ,ottaviano de' ,medici1 his gossip1 whose son he held at baptism1 and ,messer ,bindo ,altoviti1 to whom he presented that cartoon of the ,chapel in which ,noah1 drunk with wine1 is derided by one of his sons1 and his nakedness is covered by the two others2 ,m4 ,lorenzo ,ridolfi1 ,m4 ,annibale ,caro1 and ,m4 ,giovan ,francesco ,lottini of ,volterra4 ,but infinitely more than any of the others he loved ,m4 ,tommaso de' ,cavalieri1 a ,roman gentleman1 for whom1 being a young man and much inclined to these arts1 he made1 to the end that he might learn to draw1 many most superb drawings of divinely beautiful heads1 designed in black and red chalk2 and then he drew for him a ,ganymede rapt to ,heaven by ,jove's ,eagle1 a ,tityus with the ,vulture devouring his heart1 the ,chariot of the ,sun falling with ,phathon into the ,po1 and a ,bacchanal of children1 which are all in themselves most rare things1 and drawings the like of which have never been seen4 ,michelagnolo made a life-size portrait of ,messer ,tommaso in a cartoon1 and neither before nor afterwards did he take the portrait of anyone1 because he abhorred executing a resemblance to the living subject1 unless it were of extraordinary beauty4 ,these drawings1 on account of the great delight that ,m4 ,tommaso took in them1 were the reason that he afterwards obtained a good number1 miraculous things1 which ,michelagnolo once drew for ,fra ,sebastiano ,viniziano1 who carried them into execution2 and in truth he rightly treasures them as reliques1 and he has courteously given craftsmen access to them4 ,of a truth ,michelagnolo always placed his affections with persons noble1 deserving1 and worthy of them1 for he had true judgment and taste in all things4 ,illustration3 ,,unfinished ,,figure 7,after ,michelagnolo4 ,florence3 ,museo ,nazionale7 ,brogi ,m4 ,tommaso afterwards caused ,michelagnolo to make many designs for friends1 such as that of the picture for ,cardinal di ,cesis1 wherein is ,our ,lady receiving the ,annunciation from the ,angel1 a novel thing1 which was afterwards executed in colours by ,marcello ,mantovano and placed in the marble chapel which that ,cardinal caused to be built in the ,church of the ,pace at ,rome4 ,so1 also1 with another ,annunciation coloured likewise by the hand of ,marcello in a picture in the ,church of ,s4 ,giovanni ,laterano1 the design of which belongs to ,duke ,cosimo de' ,medici1 having been presented after ,michelagnolo's death by his nephew ,leonardo ,buonarroti to his ,excellency1 who cherishes it as a jewel1 together with a ,christ praying in the ,garden and many other designs1 sketches1 and cartoons by the hand of ,michelagnolo1 and likewise the statue of ,victory with a captive beneath1 five braccia in height1 and four captives in the rough which serve to teach us how to carve figures from the marble by a method secure from any chance of spoiling the stone2 which method is as follows4 ,you take a figure in wax or some other solid material1 and lay it horizontally in a vessel of water1 which water being by its nature flat and level at the surface1 as you raise the said figure little by little from the level1 so it comes about that the more salient parts are revealed1 while the lower parts--those1 namely1 on the under side of the figure--remain hidden1 until in the end it all comes into view4 ,in the same manner must figures be carved out of marble with the chisel1 first laying bare the more salient parts1 and then little by little the lower parts2 and this method may be seen to have been followed by ,michelagnolo in the above-mentioned captives1 which his ,excellency wishes to be used as exemplars for his ,academicians4 ,michelagnolo loved his fellow-craftsmen1 and held intercourse with them1 as with ,jacopo ,sansovino1 ,rosso1 ,pontormo1 ,daniello da ,volterra1 and ,giorgio ,vasari of ,arezzo1 to which last he showed innumerable kindnesses2 and he was the reason that ,giorgio gave his attention to architecture1 intending to make use of him some day1 and he readily conferred and discussed matters of art with him4 ,those who say that he was not willing to teach are wrong1 because he was always willing with his intimates and with anyone who asked him for counsel2 and ,i have been present on many such occasions1 but of these1 out of consideration1 ,i say nothing1 not wishing to reveal the deficiencies of others4 ,it may be urged that he had bad fortune with those who lived with him in his house1 which was because he hit upon natures little able to imitate him4 ,thus1 ,pietro ,urbano of ,pistoia1 his pupil1 was a man of parts1 but would never exert himself4 ,antonio ,mini was willing1 but had no aptitude of brain2 and when the wax is hard it does not readily take an impression4 ,ascanio dalla ,ripa ,transone took great pains1 but of this no fruits were ever seen either in designs or in finished works1 and he toiled several years over a picture for which ,michelagnolo had given him a cartoon4 ,in the end1 all the good expectation in which he was held vanished in smoke2 and ,i remember that ,michelagnolo would be seized with compassion for his toil1 and would assist him with his own hand1 but this profited him little4 ,if he had found a nature after his heart1 as he told me several times1 in spite of his age he would often have made anatomical studies1 and would have written upon them1 for the benefit of his fellow-craftsmen2 for he was disappointed by several4 ,but he did not trust himself1 through not being able to express himself in writing as he would have liked1 because he was not practised in diction1 although in the prose of his letters he explained his conceptions very well in a few words4 ,he much delighted in readings of the poets in the vulgar tongue1 and particularly of ,dante1 whom he much admired1 imitating him in his conceptions and inventions2 and so with ,petrarca1 having delighted to make madrigals and sonnets of great weight1 upon which commentaries have been written4 ,m4 ,benedetto ,varchi gave a lecture in the ,florentine ,academy upon that sonnet which begins-- ,non ha l'ottimo artista alcun concetto ,ch'un marmo solo in se non circonscriva4 ,michelagnolo sent a vast number by his own hand--receiving answers in rhyme and in prose--to the most illustrious ,marchioness of ,pescara1 of whose virtues he was enamoured1 and she likewise of his2 and she went many times to ,rome from ,viterbo to visit him1 and ,michelagnolo designed for her a ,dead ,christ in the lap of ,our ,lady1 with two little ,angels1 all most admirable1 and a ,christ fixed on the ,cross1 who1 with the head uplifted1 is recommending ,his ,spirit to the ,father1 a divine work2 and also a ,christ with the ,woman of ,samaria at the well4 ,he much delighted in the sacred ,scriptures1 like the excellent ,christian that he was2 and he held in great veneration the works written by ,fra ,girolamo ,savonarola1 because he had heard the voice of that friar in the pulpit4 ,he greatly loved human beauty for the sake of imitation in art1 being able to select from the beautiful the most beautiful1 for without this imitation no perfect work can be done2 but not with lascivious and disgraceful thoughts1 as he proved by his way of life1 which was very frugal4 ,thus1 when he was young1 all intent on his work1 he contented himself with a little bread and wine1 and this he continued when old until the time when he was painting the ,judgment in the ,chapel1 taking his refreshment in the evening when he had finished the day's work1 but always very frugally4 ,and1 although he was rich1 he lived like a poor man1 nor did any friend ever eat at his table1 or rarely2 and he would not accept presents from anyone1 because it appeared to him that if anyone gave him something1 he would be bound to him for ever4 ,this sober life kept him very active and in want of very little sleep1 and often during the night1 not being able to sleep1 he would rise to labour with the chisel2 having made a cap of thick paper1 and over the centre of his head he kept a lighted candle1 which in this way threw light over where he was working without encumbering his hands4 ,vasari1 who had seen the cap several times1 reflecting that he did not use wax1 but candles of pure goat's tallow1 which are excellent1 sent him four bundles of these1 which weighed forty libbre4 ,and his servant with all courtesy carried them to him at the second hour of the evening1 and presented them to him2 but ,michelagnolo refused them1 declaring that he did not want them2 and then the servant said3 ,they have broken my arms on the way between the bridge and here1 and ,i shall not carry them back to the house4 ,now here in front of your door there is a solid heap of mud2 they will stand in it beautifully1 and ,i will set them all alight4 ,michelagnolo said to him3 ,put them down here1 for ,i will not have you playing pranks at my door4 ,he told me that often in his youth he slept in his clothes1 being weary with labour and not caring to take them off only to have to put them on again later4 ,there are some who have taxed him with being avaricious1 but they are mistaken1 for both with works of art and with his substance he proved the contrary4 ,of works of art1 as has been seen and related1 he presented to ,m4 ,tommaso de' ,cavalieri1 to ,messer ,bindo1 and to ,fra ,sebastiano1 designs of considerable value2 and to ,antonio ,mini1 his pupil1 all his designs1 all his cartoons1 and the picture of the ,leda1 and all the models in clay and wax that he ever made1 which1 as has been related1 were all left in ,france4 ,to ,gherardo ,perini1 a ,florentine gentleman who was very much his friend1 he gave three sheets with some divine heads in black chalk1 which since ,perini's death have come into the hands of the most illustrious ,don ,francesco1 ,prince of ,florence1 who treasures them as jewels1 as indeed they are2 for ,bartolommeo ,bettini he made a cartoon1 which he presented to him1 of a ,venus with a ,cupid that is kissing her1 a divine thing1 which is now in the possession of ,bettini's heirs in ,florence1 and for the ,marchese del ,vasto he made a cartoon of a ,noli me ,tangere1 a rare thing2 and these two last were painted excellently well by ,pontormo1 as has been related4 ,he presented the two ,captives to ,signor ,ruberto ,strozzi1 and the ,piet in marble1 which he broke1 to ,antonio1 his servant1 and to ,francesco ,bandini4 ,i know not1 therefore1 how this man can be taxed with avarice1 he having given away so many things for which he could have obtained thousands of crowns4 ,what better proof can ,i give than this1 that ,i know from personal experience that he made many designs and went to see many pictures and buildings1 without demanding any payment8 ,but let us come to the money earned by him by the sweat of his brow1 not from revenues1 not from traffickings1 but from his own study and labour4 ,can he be called avaricious who succoured many poor persons1 as he did1 and secretly married off a good number of girls1 and enriched those who served him and assisted him in his works1 as with his servant ,urbino1 whom he made a very rich man8 ,this ,urbino was his man of all work1 and had served him a long time2 and ,michelagnolo said to him3 ,if ,i die1 what will you do8 ,and he answered3 ,i will serve another master4 ,you poor creature1 said ,michelagnolo1 ,i will save you from such misery2 and presented two thousand crowns to him in one sum1 an act such as is generally left to ,csars and ,pontiffs4 ,to his nephew1 moreover1 he gave three and four thousand crowns at a time1 and at the end he left him ten thousand crowns1 besides the property in ,rome4 ,michelagnolo was a man of tenacious and profound memory1 so that1 on seeing the works of others only once1 he remembered them perfectly1 and could avail himself of them in such a manner1 that scarcely anyone has ever noticed it2 nor did he ever do anything that resembled another thing by his hand1 because he remembered everything that he had done4 ,in his youth1 being once with his painter-friends1 they played for a supper for him who should make a figure most completely wanting in design and clumsy1 after the likeness of the puppet-figures which those make who know nothing1 scrawling upon walls2 and in this he availed himself of his memory1 for he remembered having seen one of those absurdities on a wall1 and drew it exactly as if he had had it before him1 and thus surpassed all those painters--a thing difficult for a man so steeped in design1 and accustomed to choice works1 to come out of with credit4 ,he was full of disdain1 and rightly1 against anyone who did him an injury1 but he was never seen to run to take revenge2 nay1 rather1 he was most patient1 modest in all his ways1 very prudent and wise in his speech1 with answers full of weight1 and at times sayings most ingenious1 amusing1 and acute4 ,he said many things that have been written down by me1 of which ,i shall include only a few1 because it would take too long to give them all4 ,a friend having spoken to him of death1 saying that it must grieve him much1 because he had lived in continual labour in matters of art1 and had never had any repose1 he answered that all that was nothing1 because1 if life is a pleasure to us1 death1 being likewise by the hand of one and the same master1 should not displease us4 ,to a citizen who found him by ,orsanmichele in ,florence1 where he had stopped to gaze at ,donato's statue of ,s4 ,mark1 and who asked him what he thought of that figure1 ,michelagnolo answered that he had never seen a figure that had more of the air of a good man than that one1 and that1 if ,s4 ,mark was like that1 one could give credence to what he had written4 ,being shown the drawing of a boy then beginning to learn to draw1 who was recommended to him1 some persons excusing him because it was not long since he had applied himself to art1 he replied3 ,that is evident4 ,he said a similar thing to a painter who had painted a ,piet1 and had not acquitted himself well3 ,it is indeed a pitiful thing to see4 ,having heard that ,sebastiano ,viniziano had to paint a friar in the chapel of ,s4 ,pietro a ,montorio1 he said that this would spoil the work for him2 and being asked why he said that1 he answered3 ,since they have spoiled the world1 which is so large1 it would not be surprising if they were to spoil such a small thing as that chapel4 ,a painter had executed a work with very great pains1 toiling over it a long time2 but when it was given to view he had made a considerable profit4 ,michelagnolo was asked what he thought of the craftsman1 and he answered3 ,as long as this man strives to be rich1 he will always remain a poor creature4 ,one of his friends who was a churchman1 and used formerly to say ,mass1 having arrived in ,rome all covered with points and silk1 saluted ,michelagnolo2 but he pretended not to see him1 so that the friend was forced to declare his name to him4 ,michelagnolo expressed marvel that he should be in that habit1 and then added1 as it were to congratulate him3 ,oh1 but you are magnificent6 ,if you were as fine within as ,i see you to be without1 it would be well with your soul4 ,the same man had recommended a friend to ,michelagnolo 7who had given him a statue to execute71 praying him that he should have something more given to him1 which ,michelagnolo graciously did2 but the envy of the friend1 who had made the request to ,michelagnolo only in the belief that he would not grant it1 brought it about that1 perceiving that the master had granted it after all1 he complained of it4 ,this matter was reported to ,michelagnolo1 and he answered that he did not like men made like sewers1 using a metaphor from architecture1 and meaning that it is difficult to have dealings with men who have two mouths4 ,being asked by a friend what he thought of one who had counterfeited in marble some of the most celebrated antique figures1 and boasted that in his imitations he had surpassed the antiques by a great measure1 ,michelagnolo replied3 ,he who goes behind others can never go in front of them1 and he who is not able to work well for himself cannot make good use of the works of others4 ,a certain painter1 ,i know not who1 had executed a work wherein was an ox1 which looked better than any other part2 and ,michelagnolo1 being asked why the painter had made the ox more lifelike than the rest1 said3 ,any painter can make a good portrait of himself4 ,passing by ,s4 ,giovanni in ,florence1 he was asked his opinion of those doors1 and he answered3 ,they are so beautiful that they would do well at the gates of ,paradise4 ,while serving a ,prince who kept changing plans every day1 and would never stand firm1 ,michelagnolo said to a friend3 ,this lord has a brain like a weather-cock1 which turns round with every wind that blows on it4 ,he went to see a work of sculpture which was about to be sent out because it was finished1 and the sculptor was taking much trouble to arrange the lights from the windows1 to the end that it might show up well2 whereupon ,michelagnolo said to him3 ,do not trouble yourself2 the important thing will be the light of the ,piazza2 meaning to infer that when works are in public places1 the people must judge whether they are good or bad4 ,there was a great ,prince in ,rome who had a notion to play the architect1 and he had caused certain niches to be built in which to place figures1 each three squares high1 with a ring at the top2 and having tried to place various statues within these niches1 which did not turn out well1 he asked ,michelagnolo what he should place in them1 and he answered3 ,hang bunches of eels from those rings4 ,there was appointed to the government of the fabric of ,s4 ,pietro a gentleman who professed to understand ,vitruvius1 and to be a critic of the work done4 ,michelagnolo was told1 ,you have obtained for the fabric one who has a great intelligence2 and he answered1 ,that is true1 but he has a bad judgment4 ,a painter had executed a scene1 and had copied many things from various other works1 both drawings and pictures1 nor was there anything in that work that was not copied4 ,it was shown to ,michelagnolo1 who1 having seen it1 was asked by a very dear friend what he thought of it1 and he replied3 ,he has done well1 but ,i know not what this scene will do on the day of ,judgment1 when all bodies shall recover their members1 for there will be nothing left of it--a warning to those who practise art1 that they should make a habit of working by themselves4 ,passing through ,modena1 he saw many beautiful figures by the hand of ,maestro ,antonio ,bigarino1#e a sculptor of ,modena1 made of terra-cotta and coloured in imitation of marble1 which appeared to him to be excellent works2 and1 since that sculptor did not know how to work marble1 ,michelagnolo said3 ,if this clay were to become marble1 woe to the ancient statues4 ,michelagnolo was told that he should show resentment against ,nanni di ,baccio ,bigio1 who was seeking every day to compete with him2 but he answered3 ,he who contends with men of no account never gains a victory4 ,a priest1 his friend1 said to him3 ,it is a pity that you have not taken a wife1 so that you might have had many children and left them all your honourable labours4 ,and ,michelagnolo replied3 ,i have only too much of a wife in this art of mine1 who has always kept me in tribulation1 and my children shall be the works that ,i may leave1 which1 even if they are naught1 will live a while4 ,woe to ,lorenzo di ,bartoluccio ,ghiberti1 if he had not made the gates of ,s4 ,giovanni1 for his children and grandchildren sold or squandered all that he left1 but the gates are still standing4 ,vasari1 sent by ,julius ,,iii to ,michelagnolo's house for a design at the first hour of the night1 found him working at the ,piet in marble that he broke4 ,michelagnolo1 recognizing him by the knock at the door1 left his work and took a lamp with his hand by the handle2 ,vasari explained what he wanted1 whereupon ,michelagnolo sent ,urbino upstairs for the design1 and then they entered into another conversation4 ,meanwhile ,vasari turned his eyes to examine a leg of the ,christ at which he was working1 seeking to change it2 and1 in order to prevent ,vasari from seeing it1 he let the lamp fall from his hand1 and they were left in darkness4 ,he called to ,urbino to bring a light1 and meanwhile came forth from the enclosure where the work was1 and said3 ,i am so old that death often pulls me by the cloak1 that ,i may go with him1 and one day this body of mine will fall like the lamp1 and the light of my life will be spent4 ,footnote #e3 ,begarelli4 ,for all this1 he took pleasure in certain kinds of men after his taste1 such as ,menighella1 a commonplace and clownish painter of ,valdarno1 who was a most diverting person4 ,he would come at times to ,michelagnolo1 that he might make for him a design of ,s4 ,rocco or ,s4 ,anthony1 to be painted for peasants2 and ,michelagnolo1 who was with difficulty persuaded to work for ,kings1 would deign to set aside all his other work and make him simple designs suited to his manner and his wishes1 as ,menighella himself used to say4 ,among other things1 ,menighella persuaded him to make a model of a ,crucifix1 which was very beautiful2 of this he made a mould1 from which he formed copies in pasteboard and other materials1 and these he went about selling throughout the countryside4 ,michelagnolo would burst out laughing at him1 particularly because he used to meet with fine adventures1 as with a countryman who commissioned him to paint a ,s4 ,francis1 and was displeased because ,menighella had made the vestment grey1 whereas he would have liked it of a finer colour2 whereupon ,menighella painted over the ,saint's shoulders a pluvial of brocade1 and so contented him4 ,he loved1 likewise1 the stone-cutter ,topolino1 who had a notion of being an able sculptor1 but was in truth very feeble4 ,this man spent many years in the mountains of ,carrara1 sending marble to ,michelagnolo2 nor would he ever send a boatload without adding to it three or four little figures blocked out with his own hand1 at which ,michelagnolo would die of laughing4 ,finally ,topolino returned1 and1 having blocked out a ,mercury from a piece of marble1 he set himself to finish it2 and one day1 when there was little left to do1 he desired that ,michelagnolo should see it1 and straitly besought him that he should tell him his opinion4 ,you are a madman to try to make figures1 ,topolino1 said ,michelagnolo4 ,do you not see that your ,mercury is more than a third of a braccio too short between the knees and the feet1 and that you have made him a dwarf and all misshapen8 ,oh1 that is nothing6 ,if there is nothing else wrong1 ,i will put it right2 leave it to me4 ,michelagnolo laughed once more at his simplicity2 and when he was gone1 ,topolino took a piece of marble1 and1 having cut the ,mercury a quarter of a braccio below the knees1 he let it into the new piece of marble and joined it neatly together1 making a pair of buskins for the ,mercury1 the tops of which were above the joins2 and so he added the length required4 ,then he invited ,michelagnolo to come1 and showed him his work once again2 and the master laughed1 marvelling that such simpletons1 when driven by necessity1 form resolutions of which able men are not capable4 ,while ,michelagnolo was having the tomb of ,julius ,,ii finished1 he caused a marble-hewer to execute a terminal figure for placing in the tomb in ,s4 ,pietro in ,vincola1 saying to him1 ,cut away this to-day1 ,level that1 ,polish here2 insomuch that1 without the other noticing it1 he enabled him to make a figure4 ,wherefore1 when it was finished1 the man gazed at it marvelling2 and ,michelagnolo said3 ,what do you think of it8 ,i think it fine1 he answered1 and ,i am much obliged to you4 ,why so8 asked ,michelagnolo4 ,because by your means ,i have discovered a talent that ,i did not know ,i possessed4 ,now1 to be brief1 ,i must record that the master's constitution was very sound1 for he was lean and well knit together with nerves1 and although as a boy he was delicate1 and as a man he had two serious illnesses1 he could always endure any fatigue and had no infirmity1 save that in his old age he suffered from dysuria and from gravel1 which in the end developed into the stone2 wherefore for many years he was syringed by the hand of ,maestro ,realdo ,colombo1 his very dear friend1 who treated him with great diligence4 ,he was of middle stature1 broad in the shoulders1 but well proportioned in all the rest of the body4 ,in his latter years he wore buskins of dogskin on the legs1 next to the skin1 constantly for whole months together1 so that afterwards1 when he sought to take them off1 on drawing them off the skin often came away with them4 ,over the stockings he wore boots of cordwain fastened on the inside1 as a protection against damp4 ,his face was round1 the brow square and spacious1 with seven straight lines1 and the temples projected considerably beyond the ears2 which ears were somewhat on the large side1 and stood out from the cheeks4 ,the body was in proportion to the face1 or rather on the large side2 the nose somewhat flattened1 as was said in the ,life of ,torrigiano1 who broke it for him with his fist2 the eyes rather on the small side1 of the colour of horn1 spotted with blueish and yellowish gleams2 the eyebrows with few hairs1 the lips thin1 with the lower lip rather thicker and projecting a little1 the chin well shaped and in proportion with the rest1 the hair black1 but mingled with white hairs1 like the beard1 which was not very long1 forked1 and not very thick4 ,truly his coming was to the world1 as ,i said at the beginning1 an exemplar sent by ,god to the men of our arts1 to the end that they might learn from his life the nature of noble character1 and from his works what true and excellent craftsmen ought to be4 ,and ,i1 who have to praise ,god for infinite blessings1 as is seldom wont to happen with men of our profession1 count it among the greatest blessings that ,i was born at the time when ,michelagnolo was alive1 that ,i was thought worthy to have him as my master1 and that he was so much my friend and intimate1 as everyone knows1 and as the letters written by him to me1 now in my possession1 bear witness2 and out of love for truth1 and also from the obligation that ,i feel to his loving kindness1 ,i have contrived to write many things of him1 and all true1 which many others have not been able to do4 ,another blessing he used to point out to me himself3 ,you should thank ,god1 ,giorgio1 who has caused you to serve ,duke ,cosimo1 who1 in his contentment that you should build and paint and carry into execution his conceptions and designs1 has grudged no expense2 and you will remember1 if you consider it1 that the others whose ,lives you have written did not have such advantages4 ,with most honourable obsequies1 and with a concourse of all the craftsmen1 all his friends1 and all the ,florentine colony1 ,michelagnolo was given burial in a sepulchre at ,s4 ,apostolo1 in the sight of all ,rome2 his ,holiness having intended to make him some particular memorial and tomb in ,s4 ,pietro at ,rome4 ,leonardo1 his nephew1 arrived when all was over1 although he travelled post4 ,when ,duke ,cosimo was informed of the event1 he confirmed his resolve that since he had not been able to have him and honour him alive1 he would have him brought to ,florence and not hesitate to honour him with all manner of pomp after death2 and the body was sent secretly in a bale1 under the title of merchandise1 which method was adopted lest there might be a tumult in ,rome1 and lest perchance the body of ,michelagnolo might be detained and prevented from leaving ,rome for ,florence4 ,but before the body arrived1 the news of the death having been heard1 the principal painters1 sculptors1 and architects were assembled together at the summons of the ,lieutenant of their ,academy1 and they were reminded by that ,lieutenant1 who at that time was the ,reverend ,don ,vincenzio ,borghini1 that they were obliged by virtue of their statutes to pay due honour to the death of any of their brethren1 and that1 they having done this so lovingly and with such universal satisfaction in the obsequies of ,fra ,giovanni ,agnolo ,montorsoli1 who had been the first to die after the creation of the ,academy1 they should look well to what it might be proper for them to do in honour of ,buonarroti1 who had been elected by an unanimous vote of the whole body of the ,company as the first ,academician and the head of them all4 ,to which proposal they all replied1 as men most deeply indebted and affected to the genius of so great a man1 that at all costs pains should be taken to do him honour in the best and finest ways available to them4 ,this done1 in order not to have to assemble so many persons together every day1 to their great inconvenience1 and to the end that matters might proceed more quietly1 four men were elected as heads of the obsequies and the funeral pomp that were to be held2 the painters ,agnolo ,bronzino and ,giorgio ,vasari1 and the sculptors ,benvenuto ,cellini and ,bartolommeo ,ammanati1 all men of illustrious name and eminent ability in their arts2 to the end1 ,i say1 that they might consult and determine between themselves and the ,lieutenant what was to be done in each particular1 and in what way1 with authority and power to dispose of the whole body of the ,company and ,academy4 ,this charge they accepted all the more willingly because all the members1 young and old1 each in his own profession1 offered their services for the execution of such pictures and statues as had to be done for that funeral pomp4 ,they then ordained that the ,lieutenant1 in pursuance of his office1 and the ,consuls1 in the name of the ,company and ,academy1 should lay the whole matter before the ,lord ,duke1 and beseech him for all the aids and favours that might be necessary1 and especially for permission to have those obsequies held in ,s4 ,lorenzo1 the church of the most illustrious ,house of ,medici2 wherein are the greater part of the works by the hand of ,michelagnolo that there are to be seen in ,florence2 and1 in addition1 that his ,excellency should allow ,messer ,benedetto ,varchi to compose and deliver the funeral oration1 to the end that the excellent genius of ,michelagnolo might be extolled by the rare eloquence of a man so great as was ,varchi1 who1 being in the particular service of his ,excellency1 would not have undertaken such a charge without a word from him1 although they were very certain that1 as one most loving by nature and deeply affected to the memory of ,michelagnolo1 of himself he would never have refused4 ,this done1 and the ,academicians dismissed1 the above-named ,lieutenant wrote to the ,lord ,duke a letter of this precise tenor3 ,the ,academy and ,company of ,painters and ,sculptors having resolved among themselves1 if it should please your most illustrious ,excellency1 to do honour in some sort to the memory of ,michelagnolo ,buonarroti1 both from the general obligation due from their profession to the extraordinary genius of one who was perhaps the greatest craftsman who has ever lived1 and from their particular obligation through their belonging to a common country1 and also because of the great advantage that these professions have received from the perfection of his works and inventions1 insomuch that they hold themselves obliged to prove their affection to his genius in whatever way they are able1 they have laid this their desire before your illustrious ,excellency in a letter1 and have besought you1 as their peculiar refuge1 for a certain measure of assistance4 ,i1 entreated by them1 and being1 as ,i think1 obliged because your most illustrious ,excellency has been content that ,i should be again this year in their ,company with the title of your ,lieutenant1 with the added reason that the proposal is a generous one and worthy of virtuous and grateful minds1 and1 above all1 knowing how your most illustrious ,excellency is the patron of talent1 and as it were a haven and unique protector for ingenious persons in this age1 even surpassing in this respect your forefathers1 who bestowed extraordinary favours on those excellent in these professions1 as1 by order of the ,magnificent ,lorenzo1 ,giotto1 already so long dead1 received a statue in the principal church1 and ,fra ,filippo a most beautiful tomb of marble at his expense1 while many others obtained the greatest benefits and honours on various occasions2 moved1 ,i say1 by all these reasons1 ,i have taken it upon myself to recommend to your most illustrious ,excellency the petition of this ,academy1 that they may be able to do honour to the genius of ,michelagnolo1 the particular nursling and pupil of the school of the ,magnificent ,lorenzo1 which will be an extraordinary pleasure to them1 a vast satisfaction to men in general1 no small incitement to the professors of these arts1 and to all ,italy a proof of the lofty mind and overflowing goodness of your most illustrious ,excellency1 whom may ,god long preserve in happiness for the benefit of your people and the support of every talent4 ,to which letter the above-named ,lord ,duke answered thus3 ,,reverend ,,and ,,well-,,beloved ,,friend1 ,the zeal that this ,academy has displayed1 and continues to display1 to honour the memory of ,michelagnolo ,buonarroti1 who has passed from this to a better life1 has given us much consolation for the loss of a man so extraordinary2 and we wish not only to satisfy them in all that they have demanded in their memorial1 but also to have his remains brought to ,florence1 which1 according as we are informed1 was his own desire4 ,all this we are writing to the aforesaid ,academy1 to encourage them to celebrate by every possible means the genius of that great man4 ,may ,god content you in your desire4 ,of the letter1 or rather1 memorial1 of which mention has been made above1 addressed by the ,academy to the ,lord ,duke1 the tenor was as follows3 ,,most ,,illustrious1 ,,etc4 ,the ,academy and the ,men of the ,company of ,design1 created by the grace and favour of your most illustrious ,excellency1 knowing with what solicitude and affection you caused the body of ,michelagnolo ,buonarroti to be brought to ,florence by means of your representative in ,rome1 have assembled together and have unanimously determined that they shall celebrate his obsequies in the best manner in their power and knowledge4 ,wherefore they1 knowing that your most illustrious ,excellency was revered by him as much as you yourself loved him1 beseech you that you should deign in your infinite goodness and liberality to grant to them1 first1 that they may be allowed to celebrate the said obsequies in the ,church of ,s4 ,lorenzo1 a church built by your ancestors1 in which are so many beautiful works wrought by his hand1 both in architecture and in sculpture1 and near which you are minded to have erected a place that shall be as it were a nest and an abiding school of architecture1 sculpture1 and painting1 for the above-named ,academy and ,company of ,design4 ,secondly1 they pray you that you should consent to grant a commission to ,messer ,benedetto ,varchi that he shall not only compose the funeral oration1 but also deliver it with his own mouth1 as he has promised most freely that he would do1 when besought by us1 in the event of your most illustrious ,excellency consenting4 ,in the third place1 they entreat and pray you that you should deign1 in the same goodness and liberality of your heart1 to supply them with all that may be necessary for them in celebrating the above-mentioned obsequies1 over and above their own resources1 which are very small4 ,all these matters1 and each singly1 have been discussed and determined in the presence and with the consent of the most ,magnificent and ,reverend ,monsignor1 ,messer ,vincenzio ,borghini1 ,prior of the ,innocenti and ,lieutenant of your most illustrious ,excellency in the aforesaid ,academy and ,company of ,design1 which1 etc4 ,to which letter of the ,academy the ,duke made this reply3 ,,well-,,beloved ,,academicians1 ,we are well content to give full satisfaction to your petitions1 so great is the affection that we have always borne to the rare genius of ,michelagnolo ,buonarroti1 and that we still bear to all your profession2 do not hesitate1 therefore1 to carry out all that you have proposed to do in his obsequies1 for we will not fail to supply whatever you need4 ,meanwhile1 we have written to ,messer ,benedetto ,varchi in the matter of the oration1 and to the ,director of the ,hospital with regard to anything more that may be necessary in this undertaking4 ,fare you well4 ,,pisa4 ,the letter to ,varchi was as follows3 ,,messer ,,benedetto1 ,,our ,,well-,,beloved1 ,the affection that we bear to the rare genius of ,michelagnolo ,buonarroti makes us desire that his memory should be honoured and celebrated in every possible way4 ,it will be pleasing to us1 therefore1 that you for love of us shall undertake the charge of composing the oration that is to be delivered at his obsequies1 according to the arrangements made by the deputies of the ,academy2 and still more pleasing that it should be delivered by your own lips4 ,fare you well4 ,messer ,bernardino ,grazzini1 also1 wrote to the above-named deputies that they could not have expected in the ,duke any desire in that matter more ardent than that which he had shown1 and that they might be assured of every aid and favour from his most illustrious ,excellency4 ,while these matters were being discussed in ,florence1 ,leonardo ,buonarroti1 ,michelagnolo's nephew 7who1 when informed of his uncle's illness1 had made his way to ,rome by post1 but had not found him alive71 having heard from ,daniello da ,volterra1 who had been the very familiar friend of ,michelagnolo1 and also from others who had been about the person of that saintly old man1 that he had requested and prayed that his body should be carried to ,florence1 that most noble city of his birth1 of which he was always a most tender lover2 ,leonardo1 ,i say1 with prompt and therefore good resolution1 removed the body cautiously from ,rome and sent it off to ,florence in a bale1 as if it had been a piece of merchandise4 ,and here ,i must not omit to say that this final resolution of ,michelagnolo's proved a thing against the opinion of certain persons1 but nevertheless very true1 namely1 that his absence for so many years from ,florence had been caused by no other thing but the nature of the air1 for the reason that experience had taught him that the air of ,florence1 being sharp and subtle1 was very injurious to his constitution1 while that of ,rome1 softer and more temperate1 had kept him in perfect health up to his ninetieth year1 with all the senses as lively and sound as they had ever been1 and with such strength1 for his age1 that up to the last day he had never ceased to work at something4 ,since1 then1 the coming of the bale was so sudden and so unexpected that for the time being it was not possible to do what was done afterwards1 the body of ,michelagnolo1 on arriving in ,florence1 was placed with the coffin1 at the desire of the deputies1 on the same day that it arrived in the city 7namely1 on the #aath of ,march1 which was a ,saturday71 in the ,company of the ,assumption1 which is under the high-altar of ,s4 ,pietro ,maggiore1 beneath the steps at the back2 but it was not touched in any way whatever4 ,the next day1 which was ,sunday of the second week in ,lent1 all the painters1 sculptors1 and architects assembled as quietly as possible round ,s4 ,pietro1 whither they had brought nothing but a pall of velvet1 all bordered and embroidered in gold1 which covered the coffin and the whole bier2 upon which coffin was an image of ,christ ,crucified4 ,then1 about the middle hour of the night1 all having gathered around the body1 all at once the oldest and most eminent craftsmen laid their hands on a great quantity of torches that had been carried there1 and the younger men took up the bier with such eagerness1 that blessed was he who could approach it and place his shoulders under it1 believing as it were that in the time to come they would be able to claim the glory of having borne the remains of the greatest man that there had ever been in their arts4 ,the sight of a certain number of persons assembled about ,s4 ,pietro had caused1 as always happens in such cases1 many others to stop there1 and the rather as it had been trumpeted abroad that the body of ,michelagnolo had arrived1 and was to be carried to ,s4 ,croce4 ,and although1 as ,i have said1 every precaution had been taken that the matter should not become known1 lest the report might spread through the city1 and there might flock thither such a multitude that it would not be possible to avoid a certain degree of tumult and confusion1 and also because they desired that the little which they wished to do at that time should be done with more quiet than pomp1 reserving the rest for a more convenient time with greater leisure2 nevertheless1 both the one thing and the other took a contrary course1 for with regard to the multitude1 the news1 as has been related1 passing from lip to lip1 in the twinkling of an eye the church was so filled1 that in the end it was with the greatest difficulty that the body was carried from the church to the sacristy1 in order to take it out of the bale and then place it in the sepulchre4 ,with regard to the question of honour1 although it cannot be denied that to see in funeral pomps a great show of priests1 a large quantity of wax tapers1 and a great number of mourners dressed in black1 is a thing of grand and magnificent appearance1 it does not follow that it was not also a great thing to see thus assembled in a small company1 without preparation1 all those eminent men who are now in such repute1 and who will be even more in the future1 honouring that body with such loving and affectionate offices4 ,and1 in truth1 the number of such craftsmen in ,florence--and they were all there--has always been very great1 for the reason that these arts have always flourished in ,florence in such a manner1 that ,i believe that it may be said without prejudice to other cities that their principal and true nest and domicile is ,florence1 not otherwise than ,athens once was of the sciences4 ,in addition to that number of craftsmen1 there were so many citizens following them1 and so many at the sides of the streets where the procession passed1 that there was no place for any more2 and1 what is an even greater thing1 there was nothing heard but praises in every man's mouth of the merits of ,michelagnolo1 all saying that true genius has such force that1 after all expectation of such honour and profit as can be obtained from a gifted man has failed1 nevertheless1 by its own nature and peculiar merits1 it remains honoured and beloved4 ,for these reasons that demonstration was more vivid in effect and more precious than any pomp of gold and trappings that could have been contrived4 ,the body having been carried with so beautiful a train into ,s4 ,croce1 after the friars had finished the ceremonies that were customary for the dead1 it was borne--not without very great difficulty1 as has been related1 by reason of the concourse of people--into the sacristy1 where the above-named ,lieutenant1 who had been present in virtue of his office1 thinking to do a thing pleasing to many1 and also 7as he afterwards confessed7 desiring to see in death one whom he had not seen in life1 or had seen at such an early age that he had lost all memory of him1 then resolved to have the coffin opened4 ,this done1 when he and all the rest of us present thought to find the body already marred and putrefied1 because ,michelagnolo had been dead twenty-five days and twenty-two in the coffin1 we found it so perfect in every part1 and so free from any noisome odour1 that we were ready to believe that it was rather at rest in a sweet and most peaceful sleep2 and1 besides that the features of the face were exactly as in life 7except that there was something of the colour of death71 it had no member that was marred or revealed any corruption1 and the head and cheeks were not otherwise to the touch than as if he had passed away but a few hours before4 ,when the tumult of the people had abated1 arrangements were made to place the body in a sepulchre in the church1 beside the altar of the ,cavalcanti1 by the door that leads into the cloister of the chapter-house4 ,meanwhile the news had spread through the city1 and such a multitude of young people flocked thither to see the corpse1 that there was great difficulty in contriving to close the tomb2 and if it had been day1 instead of night1 we would have been forced to leave it open many hours in order to satisfy the public4 ,the following morning1 while the painters and sculptors were commencing to make arrangements for the memorial of honour1 many choice spirits1 such as have always abounded in ,florence1 began to attach above the aforesaid sepulchre verses both ,latin and in the vulgar tongue1 and so it was continued for some time2 but those compositions that were printed at that time were but a small part with respect to the many that were written4 ,now to come to the obsequies1 which were not held the day after the day of ,s4 ,john1 as had been intended1 but were postponed until the #adth of ,july4 ,the three deputies 7for ,benvenuto ,cellini1 having felt somewhat indisposed from the beginning1 had never taken any part in the matter71 having appointed the sculptor ,zanobi ,lastricati as their proveditor1 resolved that they would do something ingenious and worthy of their arts rather than costly and full of pomp4 ,and1 in truth1 since honour was to be paid 7said those deputies and their proveditor7 to such a man as ,michelagnolo1 and by men of the profession that he had practised1 men rich rather in talents than in excess of means1 that must be done not with regal pomp or superfluous vanities1 but with inventions and works abounding in spirit and loveliness1 such as issue from the knowledge and readiness of hand of our craftsmen2 thus honouring art with art4 ,for although1 they said1 we may expect from his ,excellency the ,lord ,duke any sum of money that may be necessary1 and we have already received such amounts as we have demanded1 nevertheless we must hold it as certain that from us there is expected something ingenious and pleasing in invention and art1 rather than rich through vast expense or grand by reason of superb appurtenances4 ,but1 notwithstanding this1 it was seen in the end that the work was equal in magnificence to any that ever issued from the hands of those ,academicians1 and that this memorial of honour was no less truly magnificent than it was ingenious and full of fanciful and praiseworthy inventions4 ,finally1 then1 it was arranged that in the central nave of ,s4 ,lorenzo1 between the two lateral doors1 of which one leads out of the church and the other into the cloister1 there should be erected1 as was done1 a catafalque of a rectangular form1 twenty-eight braccia high1 eleven braccia long1 and nine broad1 with a figure of ,fame on the summit4 ,on the base of the catafalque1 which rose two braccia from the ground1 on the part looking towards the principal door of the church1 there were placed two most beautiful recumbent figures of ,rivers1 one representing the ,arno and the other the ,tiber4 ,arno had a horn of plenty1 full of flowers and fruits1 signifying thereby the fruits that have come to these professions from the city of ,florence1 which have been of such a kind and so many that they have filled the world1 and particularly ,rome1 with extraordinary beauty4 ,this was demonstrated excellently well by the other ,river1 representing1 as has been said1 the ,tiber1 in that1 extending one arm1 it had the hands full of flowers and fruits received from the horn of plenty of the ,arno1 which lay beside it1 face to face2 and it served also to demonstrate1 by enjoying the fruits of ,arno1 that ,michelagnolo had lived a great part of his life in ,rome1 and had executed there those marvels that cause amazement to the world4 ,arno had for a sign the ,lion1 and ,tiber the ,she-,wolf1 with the infants ,romulus and ,remus2 and they were both colossal figures of extraordinary grandeur and beauty1 in the likeness of marble4 ,one1 the ,tiber1 was by the hand of ,giovanni di ,benedetto of ,castello1 a pupil of ,bandinelli1 and the other by ,battista di ,benedetto1 a pupil of ,ammanati2 both excellent young men of the highest promise4 ,from this level rose faades of five braccia and a half1 with the proper cornices above and below1 and also at the corners1 leaving space for four pictures1 one in the centre of each4 ,in the first of these1 which was on the faade where the two ,rivers were1 there was painted in chiaroscuro 7as were also all the other pictures of this structure7 the ,magnificent ,lorenzo de' ,medici1 the ,elder1 receiving ,michelagnolo as a boy in his garden1 of which there has been an account in another place1 after he had seen certain specimens of his handiwork1 which foreshadowed1 as early flowers1 the fruits that afterwards issued in abundance from the living force and grandeur of his genius4 ,such1 then1 was the story contained in that picture1 which was painted by ,mirabello and ,girolamo del ,crocifissaio1 so called1 who1 as very dear friends and companions1 undertook to do the work together4 ,in it were animated and lively attitudes1 and there could be seen the above-named ,magnificent ,lorenzo1 portrayed from nature1 graciously receiving ,michelagnolo1 a boy all full of reverence1 into his garden1 and1 after an examination1 handing him over to some masters who should teach him4 ,in the second scene1 which came1 continuing the same order1 to face towards the lateral door that leads out of the church1 was figured ,pope ,clement1 who1 contrary to the expectation of the public1 which thought that his ,holiness felt disdain against ,michelagnolo on account of his actions in the siege of ,florence1 not only assures his safety and shows himself lovingly disposed towards him1 but sets him to work on the new sacristy and the library of ,s4 ,lorenzo1 in which places how divinely well he worked has been already told4 ,in this picture1 then1 there was painted by the hand of ,federigo ,fiammingo1 called ,del ,padovano1 with much dexterity and great sweetness of manner1 ,michelagnolo showing to the ,pope the ground-plan of that sacristy1 and behind him were borne1 partly by little ,angels and partly by other figures1 the models of the library and sacristy and of the statues that are there1 finished1 at the present day2 which was all very well composed and executed with diligence4 ,in the third picture1 which stood on the first level1 like the others described above1 and looked towards the high-altar1 was a great ,latin epitaph composed by the most learned ,m4 ,pier ,vettori1 the sense of which was in the ,florentine speech as follows3 ,the ,academy of ,painters1 ,sculptors1 and ,architects1 with the favour and assistance of ,duke ,cosimo de' ,medici1 their head and the supreme protector of these arts1 admiring the extraordinary genius of ,michelagnolo ,buonarroti1 and seeking to acknowledge in part the benefits received from his divine works1 has dedicated this memorial1 born from their own hands and from all the affection of their hearts1 to the excellence and genius of the greatest painter1 sculptor1 and architect that there has ever been4 ,the ,latin words were these3 ,,collegium ,,pictorum1 ,,statuariorum1 ,,architectorum1 ,,auspicio ,,opeque ,,sibi ,,prompta ,,cosimi ,,ducis ,,auctoris ,,suorum ,,commodorum1 ,,suspiciens ,,singularem ,,virtutem ,,michaelis ,,angeli ,,bonarrot1 ,,intelligensque ,,quanto ,,sibi ,,auxilio ,,semper ,,fuerint ,,pr,,clara ,,ipsius ,,opera1 ,,studuit ,,se ,,gratum ,,erga ,,illum ,,ostendere1 ,,summum ,,omnium ,,qui ,,unquam ,,fuerint ,p4,s4,a41 ,,ideoque ,,monumentum ,,hoc ,,suis ,,manibus ,,extructum ,,magno ,,animi ,,ardore ,,ipsius ,,memori ,,dedicavit4 ,this epitaph was supported by two little ,angels1 who1 with weeping faces1 and extinguishing each a torch1 appeared to be lamenting that a genius so great and so rare was now spent4 ,next1 in the picture which came to face towards the door that leads into the cloister1 was ,michelagnolo making1 on account of the siege of ,florence1 the fortifications of the hill of ,san ,miniato1 which were held to be impregnable and a marvellous work4 ,this was by the hand of ,lorenzo ,sciorini1 a pupil of ,bronzino and a young man of excellent promise4 ,this lowest part1 or1 so to speak1 the base of the whole structure1 had at every corner a pedestal that projected1 and upon every pedestal was a statue larger than life1 which had beneath it another1 as it were subjugated and vanquished1 of similar size1 but each constrained in a different and extravagant attitude4 ,the first1 on the right hand going towards the high-altar1 was a young man1 slender and the very presentment of pure spirit1 and of a most lively beauty1 representing ,genius1 with two little wings over the temples1 in the guise wherein at times ,mercury is painted2 and beneath this young man1 wrought with incredible diligence1 was a marvellous figure with asses' ears1 representing ,ignorance1 the mortal enemy of ,genius4 ,these two statues were by the hand of ,vincenzio ,danti of ,perugia1 of whom and of his works1 which are renowned among the young modern sculptors1 we shall speak at greater length in another place4 ,upon the next pedestal1 which1 being on the right hand of the approach towards the high-altar1 looked towards the new sacristy1 was a woman representing ,christian ,piety1 which1 being composed of religion and every other excellence1 is nothing less than an aggregate of all those virtues that we have called the ,theological1 and of those that were named by the ,gentiles the ,moral2 wherefore it was right that1 since the genius of a ,christian1 adorned by most saintly character1 was being celebrated by ,christians1 a seemly and honourable place should be given to this ,piety1 which is concerned with the law of ,god and the salvation of souls1 seeing that all other ornaments of body and mind1 where she is lacking1 are to be held in little estimation1 or rather1 none4 ,this figure1 who had beneath her1 prostrate and trampled under foot by her1 ,vice1 or rather1 ,impiety1 was by the hand of ,valerio ,cioli1 who is a young man of ability and fine spirit1 and deserves the name of a very judicious and diligent sculptor4 ,opposite to this1 on the side towards the old sacristy1 was another similar figure made with much judgment to represent ,minerva1 or rather1 ,art2 for the reason that it may be said with truth that after excellence of character and life1 which must always hold the first place among the good1 it was ,art that gave to this man not only honour and profit1 but also so much glory1 that he may be said to have enjoyed in his lifetime such fruits as able and illustrious men have great difficulty in wresting even after death from the grasp of ,fame1 by means of their finest works2 and1 what is more1 that he so vanquished envy1 that by common consent1 without any contradiction1 he has obtained the rank and fame of the best and highest excellence4 ,and for this reason this figure had beneath her feet ,envy1 who was an old woman lean and withered1 with the eyes of a viper2 in short1 with features that all breathed out venom and poison1 besides which she was girt with serpents1 and had a viper in her hand4 ,these two statues were by the hand of a boy of very tender years1 called ,lazzaro ,calamech of ,carrara1 who at the present day1 although still a mere lad1 has given in some works of painting and sculpture convincing proofs of a beautiful and most lively genius4 ,by the hand of ,andrea ,calamech1 the uncle of the above-mentioned ,lazzaro1 and pupil of ,ammanati1 were the two statues placed upon the fourth pedestal1 which was opposite to the organ and looked towards the principal doors of the church4 ,the first of these was made to represent ,study1 for the reason that those who exert themselves little and sluggishly can never acquire repute1 as ,michelagnolo did1 who from his early boyhood1 from fifteen to ninety years of age1 as has been seen above1 never ceased to labour4 ,this statue of ,study1 which was well in keeping with that great man1 was a bold and vigorous youth1 who had at the end of the arms1 just above the joint of the hands1 two little wings signifying rapidity and frequency of working2 and he had prostrate beneath him1 as a prisoner1 ,idleness or ,indolence1 who was a sluggish and weary woman1 heavy and somnolent in her whole attitude4 ,these four figures1 disposed in the manner that has been described1 made a very handsome and magnificent composition1 and had all the appearance of marble1 because a coat of white had been laid over the clay1 which resulted in a very beautiful effect4 ,from this level1 upon which the above-named figures rested1 there rose another base1 likewise rectangular and about four braccia high1 but smaller in length and breadth than that below by the extent of the projection and cornice-work upon which those figures rested2 and on every side this had a painted compartment six braccia and a half in length and three in height4 ,above this rose a platform in the same manner as that below1 but smaller2 and upon every corner1 on the projection of a socle1 sat a figure of the size of life1 or rather more4 ,these were four women1 who1 from the instruments that they had1 were easily recognized as ,painting1 ,sculpture1 ,architecture1 and ,poetry2 placed there for reasons that have been perceived in the narration of ,michelagnolo's ,life4 ,now1 going from the principal door of the church towards the high-altar1 in the first picture of the second range of the catafalque--namely1 above the scene in which1 as has been related1 ,lorenzo de' ,medici is receiving ,michelagnolo into his garden--there was painted in a most beautiful manner1 to suggest ,architecture1 ,michelagnolo in the presence of ,pope ,pius ,,iv1 with a model in his hand of the stupendous pile of the ,cupola of ,s4 ,pietro in ,rome4 ,this scene1 which was much extolled1 was painted by ,piero ,francia1 a ,florentine painter1 with beautiful manner and invention2 and the statue1 or rather1 image of ,architecture1 which was on the left hand of this scene1 was by the hand of ,giovanni di ,benedetto of ,castello1 who with so much credit to himself1 as has been related1 executed also the ,tiber1 one of the two ,rivers that were on the front part of the catafalque4 ,in the second picture1 continuing to go forward on the right hand towards the lateral door that leads out of the church1 was seen 7to suggest ,painting7 ,michelagnolo painting that so much but never sufficiently extolled ,judgment3 that ,judgment1 ,i mean1 which is an exemplar in foreshortenings and all the other difficulties of art4 ,this picture1 which was executed by ,michele di ,ridolfo's young men with much diligence and grace1 had likewise1 on the left hand 7namely1 at the corner looking towards the new sacristy71 its appropriate image1 a statue of ,painting1 wrought by ,battista del ,cavaliere1 a young man no less excellent in sculpture than remarkable for his goodness1 modesty1 and character4 ,in the third picture1 facing towards the high-altar 7in that1 namely1 which was above the epitaph already mentioned71 there was to be seen1 to suggest ,sculpture1 ,michelagnolo speaking with a woman1 who by many signs could be recognized as ,sculpture2 and it appeared that he was taking counsel with her4 ,michelagnolo had about him some of the most excellent works that he executed in sculpture2 and the woman held a little tablet with these words of ,boethius3 ,,simili ,,sub ,,imagine ,,formans4 ,beside that picture1 which was the work of ,andrea del ,minga1 and executed by him with beautiful invention and manner1 there was on the left hand the statue of ,sculpture1 wrought very well by the sculptor ,antonio di ,gino ,lorenzi4 ,in the fourth of those four scenes1 which faced towards the organ1 there could be seen1 to suggest ,poetry1 ,michelagnolo all intent on writing some composition1 and about him the ,nine ,muses1 marvellous in their grace and beauty and with their distinctive garments1 according as they are described by the poets1 and before them ,apollo with the lyre in his hand1 his crown of laurel on his head1 and another crown in the hand1 which he made as if to place on the head of ,michelagnolo4 ,near the gladsome and beautiful composition of this scene1 painted in a very lovely manner1 with most vivacious and spirited attitudes1 by ,giovan ,maria ,butteri1 there was on the left hand the statue of ,poetry1 the work of ,domenico ,poggini1 a man much practised not only in sculpture and in striking impressions of coins and medals with great beauty1 but also in working in bronze and likewise in poetry4 ,of such a kind1 then1 was the ornamentation of the catafalque1 which so diminished from course to course that it was possible to walk round each1 and it was much after the likeness of the ,mausoleum of ,augustus in ,rome2 although perchance1 from being rectangular1 it rather resembled the ,septizonium of ,severus1 not that near the ,campidoglio1 which is commonly so called in error1 but the true one1 which is to be seen in stamp in the ,nuove ,rome1 near the ,baths of ,antoninus4 ,up to this point the catafalque had three levels2 where the ,rivers lay was the first1 the second where the pairs of figures rested1 and the third where the single figures had their feet4 ,from this last level rose a base1 or rather1 socle1 one braccio high1 and much less in length and breadth than that last level2 upon the projections of that base sat the above-named single figures1 and around it could be read these words3 ,,sic ,,ars ,,extollitur ,,arte4 ,upon this base stood a pyramid nine braccia high1 on two sides of which 7namely1 that which looked towards the principal door1 and that which faced towards the high-altar71 at the foot1 were two ovals with the head of ,michelagnolo portrayed from nature in relief and executed very well by ,santi ,buglioni4 ,at the summit of the pyramid was a ball in due proportion with the pyramid1 such as might have contained the ashes of him who was being honoured1 and upon the ball was a figure of ,fame1 larger than life and in the likeness of marble1 and in the act1 as it were1 of taking flight1 and at the same time of causing the praises and glory of that great craftsman to resound throughout the world through a trumpet which branched into three mouths4 ,that ,fame was by the hand of ,zanobi ,lastricati1 who1 besides the labours that he had as proveditor for the whole work1 desired also not to fail to show1 with much honour to himself1 the virtue of his hand and brain4 ,in all1 from the level of the ground to the head of the ,fame1 the height1 as has been related1 was twenty-eight braccia4 ,besides the catafalque described above1 the whole church was draped with black baize and serge1 hung not on the columns in the centre1 as is usual1 but on the chapels that are all around2 and there was no space between the pilasters that enclose those chapels and correspond to the columns1 that had not some adornment in painting1 which1 making an ingenious1 pleasing1 and beautiful display1 caused marvel and at the same time the greatest delight4 ,now1 to begin with one end3 in the space of the first chapel that is beside the high-altar1 as you go towards the old sacristy1 was a picture six braccia in height and eight in length1 in which1 with novel and as it were poetical invention1 was ,michelagnolo in the centre1 already come to the ,elysian fields1 where1 on his right hand1 were figures considerably larger than life of the most famous and most highly celebrated sculptors and painters of antiquity4 ,each of these could be recognized by some notable sign2 ,praxiteles by the ,satyr that is in the ,vigna of ,pope ,julius ,,iii1 ,apelles by the portrait of ,alexander the ,great1 ,zeuxis by a little panel on which were figured the grapes that deceived the birds1 and ,parrhasius with the covering counterfeited in painting over his picture2 and1 even as these1 so the others were known by other signs4 ,on the left hand were those who have been illustrious in these arts in our own centuries1 from ,cimabue to the present day4 ,thus ,giotto could be recognized there by a little panel on which was seen the portrait of ,dante as a young man1 in the manner in which he may be seen in ,s4 ,croce1 painted by ,giotto himself2 ,masaccio by his portrait from life1 ,donatello likewise by his portrait1 and also by his ,zuccone from the ,campanile1 which was by his side1 and ,filippo ,brunelleschi by the representation of his ,cupola of ,s4 ,maria del ,fiore2 and there were portrayed from life1 without other signs1 ,fra ,filippo1 ,taddeo ,gaddi1 ,paolo ,uccello1 ,fra ,giovanni ,agnolo1 ,jacopo da ,pontormo1 ,francesco ,salviati1 and others4 ,all these were about him with the same expressions of welcome as the ancients1 full of love and admiration1 in the same manner as ,virgil was received by the other poets on his return1 according to the fable of the divine poet ,dante1 from whom1 in addition to the invention1 there was taken also the verse that could be read in a scroll both above and in the hand of the ,river ,arno1 which lay at the feet of ,michelagnolo1 most beautiful in features and in attitude3 ,,tutti ,l',,ammiran1 ,,tutti ,,onor ,,gli ,,fanno4 ,this picture1 by the hand of ,alessandro ,allori1 the pupil of ,bronzino1 an excellent painter and a not unworthy disciple and pupil of so great a master1 was consummately extolled by all those who saw it4 ,in the space of the ,chapel of the most holy ,sacrament1 at the head of the transept1 there was in a picture1 five braccia in length and four in breadth1 ,michelagnolo with all the school of the arts about him1 little children1 boys1 and young men of every age up to twenty-four1 who were offering to him1 as to a being sacred and divine1 the firstfruits of their labours1 such as pictures1 sculptures1 and models2 and he was receiving them courteously1 and was instructing them in the matters of art1 while they were listening most intently and gazing upon him with expressions and attitudes truly full of beauty and grace4 ,and1 to tell the truth1 the whole composition of this picture could not have been1 in a certain sense1 better done1 nor could anything more beautiful have been desired in any of the figures1 wherefore ,battista1 the pupil of ,pontormo1 who had done the work1 received infinite praise for it2 and the verses that were to be read at the foot of the scene1 ran thus3 ,,tu ,,pater1 ,,tu ,,rerum ,,inventor1 ,,tu ,,patria ,,nobis ,,suppeditas ,,pr,,cepta ,,tuis ,,ex1 ,,inclyte1 ,,chartis4 ,going1 then1 from the place where was the picture described above1 towards the principal doors of the church1 almost at the corner and just before arriving at the organ1 in a picture six braccia long and four high that was in the space of a chapel1 there was depicted the extraordinary and unexampled favour that was paid to the rare genius of ,michelagnolo by ,pope ,julius ,,iii1 who1 wishing to avail himself in certain buildings of the judgment of that great man1 had him summoned to his presence at his villa1 where1 having invited him to sit by his side1 they talked a good time together1 while ,cardinals1 ,bishops1 and other personages of the ,court1 whom they had about them1 remained constantly standing4 ,this event1 ,i say1 was seen to have been depicted with such fine composition and so much relief1 and with such liveliness and spirit in the figures1 that perchance it might not have turned out better from the hands of an eminent1 aged1 and well-practised master2 wherefore ,jacopo ,zucchi1 a young man1 the pupil of ,giorgio ,vasari1 who executed the work in a beautiful manner1 proved that a most honourable result could be expected from him4 ,not far from this1 on the same side 7namely1 a little below the organ71 ,giovanni ,strada1 an able ,flemish painter1 had depicted in a picture six braccia long and four high the story of ,michelagnolo's going to ,venice at the time of the siege of ,florence2 where1 living in that quarter of that most noble city which is called the ,giudecca1 the ,doge ,andrea ,gritti and the ,signoria sent some gentlemen and others to visit him and make him very great offers4 ,in representing that event the above-named painter showed great judgment and much knowledge1 which did him great honour1 both in the whole composition and in every part of it1 for in the attitudes1 the lively expressions of the faces1 and the movements of every figure1 were seen invention1 design1 and excellent grace4 ,now1 returning to the high-altar1 and facing towards the new sacristy3 in the first picture found there1 which came in the space of the first chapel1 there was depicted by the hand of ,santi ,titi1 a young man of most beautiful judgment and much practised in painting both in ,florence and in ,rome1 another signal favour paid to the genius of ,michelagnolo1 as ,i believe ,i mentioned above1 by the most illustrious ,lord1 ,don ,francesco de' ,medici1 ,prince of ,florence1 who1 happening to be in ,rome about three years before ,michelagnolo died1 and receiving a visit from him1 the moment that ,buonarroti entered the ,prince rose to his feet1 and then1 in order to do honour to that great man and to his truly venerable age1 with the greatest courtesy that ever young ,prince showed1 insisted--although ,michelagnolo1 who was very modest1 protested against it--that he should sit in his own chair1 from which he had risen1 standing afterwards on his feet to hear him with the attention and reverence that children are wont to pay to a well-beloved father4 ,at the feet of the ,prince was a boy1 executed with great diligence1 who had in his hands a mazzocchio1#f or ,ducal cap1 and around them were some soldiers dressed in ancient fashion1 and painted with much spirit and a beautiful manner2 but beyond all the rest1 most beautifully wrought1 most lifelike and most natural were the ,prince and ,michelagnolo1 insomuch that it appeared as if the old man were in truth speaking1 and the young man most intently listening to his words4 ,footnote #f3 ,see note on p4 #acb1 vol4 ii4 ,in another picture1 nine braccia in height and twelve in length1 which was opposite to the ,chapel of the ,sacrament1 ,bernardo ,timante ,buontalenti1 a painter much beloved and favoured by the most illustrious ,prince1 had figured with most beautiful invention the ,rivers of the three principal parts of the world1 come1 as it were1 all grieving and sorrowful1 to lament with ,arno on their common loss and to console him2 and these ,rivers were the ,nile1 the ,ganges1 and the ,po4 ,the ,nile had as a symbol a crocodile1 and1 to signify the fertility of his country1 a garland of ears of corn2 the ,ganges1 a gryphon-bird and a chaplet of gems2 the ,po1 a swan and a crown of black amber4 ,these ,rivers1 having been conducted into ,tuscany by the ,fame1 who was to be seen on high1 as it were in flight1 were standing round ,arno1 who was crowned with cypress and held his vase1 drained empty1 uplifted with one hand1 and in the other a branch of cypress1 and beneath him was a lion4 ,and1 to signify that the soul of ,michelagnolo had flown to the highest felicity in ,heaven1 the judicious painter had depicted in the air a ,splendour representing the celestial light1 towards which the blessed soul1 in the form of a little ,angel1 was winging its way2 with this lyric verse3 ,,vivens ,,orbe ,,peto ,,laudibus ,,thera4 ,at the sides1 upon two bases1 were two figures in the act of holding open a curtain within which1 so it appeared1 were the above-named ,rivers1 the soul of ,michelagnolo1 and the ,fame2 and each of those two figures had another beneath it4 ,that which was on the right hand of the ,rivers1 representing ,vulcan1 had a torch in the hand2 and the figure representing ,hatred1 which had the neck under ,vulcan's feet in an attitude of great constraint1 and as it were struggling to writhe free1 had as symbol a vulture1 with this verse3 ,,surgere ,,quid ,,properas ,,odium ,,crudele8 ,,jaceto4 ,and that because things superhuman1 and almost divine1 should in no way be regarded with envy or hatred4 ,the other1 representing ,aglaia1 one of the ,three ,graces and wife of ,vulcan1 to signify ,proportion1 had in her hand a lily1 both because flowers are dedicated to the ,graces1 and also because the lily is held to be not inappropriate to the rites of death4 ,the figure which was lying beneath ,aglaia1 and which was painted to represent ,disproportion1 had as symbol a monkey1 or rather1 ape1 and above her this verse3 ,,vivus ,,et ,,extinctus ,,docuit ,,sic ,,sternere ,,turpe4 ,and under the ,rivers were these two other verses3 ,,venimus1 ,,arne1 ,,tuo ,,confixa ,,in ,,vulnere ,,moesta ,,flumina1 ,,ut ,,ereptum ,,mundo ,,ploremus ,,honorem4 ,this picture was held to be very beautiful in the invention1 in the composition of the whole scene and the loveliness of the figures1 and in the beauty of the verses1 and because the painter honoured ,michelagnolo with this his labour1 not by commission1 but spontaneously and with such assistance as his own merit enabled him to obtain from his courteous and honourable friends2 and for this reason he deserved to be even more highly commended4 ,in another picture1 six braccia in length and four in height1 near the lateral door that leads out of the church1 ,tommaso da ,san ,friano1 a young painter of much ability1 had painted ,michelagnolo as ,ambassador of his country at the ,court of ,pope ,julius ,,ii2 as we have related that he went1 and for what reasons1 sent by ,soderini4 ,not far distant from the above-named picture 7namely1 a little below that lateral door which leads out of the church71 in another picture of the same size1 ,stefano ,pieri1 a pupil of ,bronzino and a young man of great diligence and industry1 had painted a scene that had in truth happened several times in ,rome not long before--namely1 ,michelagnolo seated in a room by the side of the most illustrious ,lord ,duke ,cosimo1 who stood conversing with him2 of all which enough has been said above4 ,over the said black draperies with which1 as has been told1 the whole church was hung all round1 wherever there were no painted scenes or pictures1 there were in each of the spaces of the chapels images of death1 devices1 and other suchlike things1 all different from those that are generally made1 and very fanciful and beautiful4 ,some of these1 as it were lamenting that they had been forced to deprive the world of such a man1 had these words in a scroll3 ,,coegit ,,dura ,,necessitas4 ,and near them was a globe of the world1 from which had sprung a lily1 which had three flowers and was broken in the middle1 executed with most beautiful fantasy and invention by the above-named ,alessandro ,allori4 ,there were other ,deaths1 also1 depicted with other inventions1 but that one was most extolled upon whose neck1 as she lay prostrate on the ground1 ,eternity1 with a palm in the hand1 had planted one of her feet1 and1 regarding her with a look of disdain1 appeared to be saying to her3 ,be it necessity or thy will1 thou hast done nothing1 for in spite of thee1 come what may1 ,michelagnolo shall live4 ,the motto ran thus3 ,,vicit ,,inclyta ,,virtus4 ,and all this was the invention of ,vasari4 ,i will not omit to say that each of these ,deaths had on either side the device of ,michelagnolo1 which was three crowns1 or rather1 three circlets1 intertwined together in such a manner1 that the circumference of one passed through the centre of the two others1 and so with each2 which sign ,michelagnolo used either to suggest that the three professions of sculpture1 painting1 and architecture are interwoven one with another and so bound together1 that each of them receives benefit and adornment from the others1 and they neither can nor should be separated2 or1 indeed1 being a man of lofty genius1 he may have had a more subtle meaning4 ,but the ,academicians1 considering him to have been perfect in all these three professions1 and that each of these had assisted and embellished the other1 changed his three circlets into three crowns intertwined together1 with the motto3 ,,tergeminis ,,tollit ,,honoribus4 ,which was intended to signify that in those three professions the crown of human perfection was justly due to him4 ,on the pulpit from which ,varchi delivered the funeral oration1 which was afterwards printed1 there was no ornamentation1 because1 that work having been executed in bronze1 with scenes in half-relief and low-relief1 by the excellent ,donatello1 any adornment that might have been added to it would have been by a great measure less beautiful4 ,but on the other1 which is opposite to the first1 although it had not yet been raised on the columns1 there was a picture1 four braccia in height and little more than two in width1 wherein there was painted with beautiful invention and excellent design1 to represent ,fame1 or rather1 ,honour1 a young man in a most beautiful attitude1 with a trumpet in the right hand1 and with the feet planted on ,time and ,death1 in order to show that fame and honour1 in spite of death and time1 preserve alive to all eternity those who have laboured valiantly in this life4 ,this picture was by the hand of ,vincenzio ,danti1 the sculptor of ,perugia1 of whom we have spoken1 and will speak again elsewhere4 ,the church having been embellished in such a manner1 adorned with lights1 and filled with a countless multitude1 for everyone had left every other care and flocked together to such an honourable spectacle1 there entered behind the above-named ,lieutenant of the ,academy1 accompanied by the ,captain and ,halberdiers of the ,duke's ,guard1 the ,consuls and the ,academicians1 and1 in short1 all the painters1 sculptors1 and architects of ,florence4 ,after all these had sat down between the catafalque and the high-altar1 where they had been awaited for a good while by an infinite number of lords and gentlemen1 who had been accommodated with seats according to the rank of each1 there was begun a most solemn ,mass for the dead1 with music and ceremonies of every kind4 ,which finished1 ,varchi mounted the above-mentioned pulpit1 who had never performed such an office since he did it for the most illustrious ,lady ,duchess of ,ferrara1 the daughter of ,duke ,cosimo2 and there1 with that elegance1 those modes of utterance1 and that voice which were the peculiar attributes of that great man in oratory1 he recounted the praises and merits1 life and works of the divine ,michelagnolo ,buonarroti4 ,of a truth1 what great good fortune it was for ,michelagnolo that he did not die before our ,academy was created1 whereby his funeral rites were celebrated with so much honour and such magnificent and honourable pomp6 ,so1 also1 it must be considered most fortunate for him that it happened that he passed from this to an eternal and most blessed life before ,varchi1 seeing that he could not have been extolled by any more eloquent and learned man4 ,that funeral oration by ,m4 ,benedetto ,varchi was printed a short time afterwards1 as was also1 not long after that1 another equally beautiful oration1 likewise in praise of ,michelagnolo and of painting1 composed by the most noble and most learned ,m4 ,leonardo ,salviati1 at that time a young man of about twenty-two years of age1 and of a rare and happy genius in all manner of compositions1 both ,latin and ,tuscan1 as is known even now1 and will be better known in the future1 to all the world4 ,and what shall ,i say1 what can ,i say1 that would not be too little1 of the capacity1 goodness1 and wisdom of the very reverend ,lord ,lieutenant1 the above-named ,don ,vincenzio ,borghini8 ,save that it was with him as their chief1 their guide1 and their counsellor1 that the eminent men of the ,academy and ,company of ,design celebrated those obsequies2 for the reason that1 although each of them was competent to do much more in his art than he did1 nevertheless no enterprise is ever carried to a perfect and praiseworthy end save when one single man1 in the manner of an experienced pilot and captain1 has authority and power over all others4 ,and since it was not possible that the whole city should see that funeral pomp in one day1 by order of the ,duke it was all left standing many weeks1 for the satisfaction of his people and of the strangers who came from neighbouring places to see it4 ,we shall not give in this place the great multitude of epitaphs and verses1 both ,latin and ,tuscan1 composed by many able men in honour of ,michelagnolo2 both because they would require a work to themselves1 and because they have been written down and published by other writers elsewhere4 ,but ,i will not omit to say in this last part1 that after all the honours described above the ,duke ordained that an honourable place should be given to ,michelagnolo for his tomb in ,s4 ,croce1 in which church he had purposed in his lifetime to be buried1 because the sepulchre of his ancestors was there4 ,and to ,leonardo1 the nephew of ,michelagnolo1 his ,excellency gave all the marbles1 both white and variegated1 for that tomb1 which was allotted to ,battista ,lorenzi1 an able sculptor1 to execute after the design of ,giorgio ,vasari1 together with the head of ,michelagnolo4 ,and since there are to be three statues there1 ,painting1 ,sculpture1 and ,architecture1 one of these was allotted to the above-named ,battista1 one to ,giovanni dell',opera1 and the last to ,valerio ,cioli1 ,florentine sculptors2 which statues are in process of being fashioned together with the tomb1 and soon they will be seen finished and set in their places4 ,the cost1 over and above the marbles received from the ,duke1 has been borne by the same ,leonardo ,buonarroti4 ,but his ,excellency1 in order not to fail in any respect in doing honour to that great man1 will cause to be placed in the ,duomo1 as he has previously thought to do1 a memorial with his name1 besides the head1 even as there are to be seen there the names and images of the other eminent ,florentines4 ,,francesco ,,primaticcio ,,description ,,of ,,the ,,works ,,of ,,francesco ,,primaticcio ,,painter ,,and ,,architect ,,of ,,bologna1 ,,and ,,abbot ,,of ,s4 ,,martin ,having treated hitherto of such of our craftsmen as are no longer alive among us--of those1 namely1 who have lived from #abjj until this year of #aefg--;and having set ,michelagnolo ,buonarroti in the last place for many reasons1 although two or three have died later than he1 ,i have thought that it cannot be otherwise than a praiseworthy labour to make mention likewise in this our work of many noble craftsmen who are alive1 and1 for their merits1 most worthy to be highly extolled and to be numbered among these last masters4 ,this ,i do all the more willingly because they are all very much my friends and brothers1 and the three most eminent are already so far advanced in years1 that1 having come to the furthest limit of old age1 little more can be expected from them1 although they still continue by a sort of habit to occupy themselves with some work4 ,after these ,i will also make brief mention of those who under their discipline have become such1 that they hold the first places among the craftsmen of our own day2 and of others who in like manner are advancing towards perfection in our arts4 ,beginning1 then1 with ,francesco ,primaticcio1 to go on afterwards to ,tiziano ,vecelli and ,jacopo ,sansovino3 ,i have to record that the said ,francesco1 born in ,bologna of the noble family of the ,primaticci1 much celebrated by ,fra ,leandro ,alberti and by ,pontano1 was apprenticed in his early boyhood to commerce4 ,but1 that calling pleasing him little1 not long afterwards1 being exalted in mind and spirit1 he set himself to practise design1 to which he felt himself inclined by nature2 and so1 giving his attention to drawing1 and at times to painting1 no long time passed before he gave proof that he was likely to achieve an excellent result4 ,going afterwards to ,mantua1 where at that time ,giulio ,romano was working at the ,palace of the ,te for ,duke ,federigo1 he employed such interest that he was set1 in company with many other young men who were with ,giulio1 to labour at that work4 ,there1 attending to the studies of art with much industry and diligence for a period of six years1 he learned very well to handle colours and to work in stucco2 wherefore1 among all the other young men who were labouring in the work of that ,palace1 ,francesco came to be held one of the most excellent1 and the best of all at drawing and colouring4 ,this may be seen in a great chamber1 round which he made two friezes of stucco1 one above the other1 with a great abundance of figures that represent the ancient ,roman soldiery2 and in the same ,palace1 likewise1 he executed many works in painting that are to be seen there1 after the designs of the above-named ,giulio4 ,through these works ,primaticcio came into such favour with that ,duke1 that1 when ,king ,francis of ,france heard with what quantity of ornaments he had caused the work of the ,palace to be executed1 and wrote to him that at all costs he should send him a young man able to work in painting and stucco1 the ,duke sent him ,francesco ,primaticcio1 in the year #aeca4 ,and although the year before that the ,florentine painter ,rosso had gone into the service of the same ,king1 as has been related1 and had executed many works there1 and in particular the pictures of ,bacchus and ,venus1 ,psyche and ,cupid1 nevertheless the first works in stucco that were done in ,france1 and the first labours in fresco of any account1 had their origin1 it is said1 from ,primaticcio1 who decorated in this manner many chambers1 halls1 and loggie for that ,king4 ,illustration3 ,,decorative ,,panels 7,after ,primaticcio4 ,fontainebleau3 ,galerie ,henry ,,ii7 ,x4 ,photo ,liking the manner of this painter1 and his procedure in every matter1 the ,king sent him in the year #aedj to ,rome1 to contrive to obtain certain antique marbles2 in which ,primaticcio served him with such diligence1 that in a short time1 what with heads1 torsi1 and figures1 he bought one hundred and twenty-five pieces4 ,and at that same time he caused to be moulded by ,jacopo ,barozzi of ,vignuola1 and by others1 the bronze horse that is on the ,campidoglio1 a great part of the scenes on the ,column1 the statue of ,commodus1 the ,venus1 the ,laocoon1 the ,tiber1 the ,nile1 and the statue of ,cleopatra1 which are in the ,belvedere2 to the end that they might all be cast in bronze4 ,rosso having meanwhile died in ,france1 and a long gallery therefore remaining unfinished which had been begun after his designs and in great part adorned with stucco-work and pictures1 ,primaticcio was recalled from ,rome2 whereupon he took ship with the above-mentioned marbles and moulds of antique figures1 and returned to ,france4 ,there1 before any other thing1 he cast according to those moulds and forms a great part of those antique figures1 which came out so well1 that they might be the originals2 as may be seen in the ,queen's garden at ,fontainebleau1 where they were placed1 to the vast satisfaction of that ,king1 who made in that place1 one might say1 another ,rome4 ,i will not omit to say that ,primaticcio1 in executing those statues1 employed masters so excellent in the art of casting1 that those works came out not only light1 but with a surface so smooth1 that it was hardly necessary to polish them4 ,this work done1 ,primaticcio was commissioned to give completion to the gallery that ,rosso had left unfinished2 whereupon he set his hand to it1 and in a short time delivered it finished with as many works in stucco and painting as have ever been executed in any place4 ,wherefore the ,king1 finding that he had been well served in the period of eight years that this master had worked for him1 had him placed among the number of his chamberlains2 and a short time afterwards1 which was in the year #aedd1 he made him ,abbot of ,s4 ,martin1 considering that ,francesco deserved no less4 ,but for all this ,francesco has never ceased to have many works in stucco and in painting executed in the service of his ,king and of the others who have governed that kingdom after ,francis ,i4 ,among others who have assisted him in this1 he has been served1 to say nothing of many of his fellow-,bolognese1 by ,giovan ,battista1 the son of ,bartolommeo ,bagnacavallo1 who has proved not less able than his father in many scenes and other works of ,primaticcio's that he has carried into execution4 ,another who has served him for a considerable time is one ,ruggieri da ,bologna1 who is still with him4 ,in like manner1 ,prospero ,fontana1 a painter of ,bologna1 was summoned to ,france not long since by ,primaticcio1 who intended to make use of him2 but1 having fallen ill to the danger of his life immediately after his arrival1 he returned to ,bologna4 ,to tell the truth1 these two1 ,bagnacavallo and ,fontana1 are able men1 and ,i1 who have made considerable use both of the one and of the other1 of the first at ,rome1 and of the second at ,rimini and ,florence1 can declare this with certainty4 ,but of all those who have assisted the ,abbot ,primaticcio1 none has done him more honour than ,niccol da ,modena1 of whom mention has been made on another occasion1 for by the excellence of his art this master has surpassed all the others4 ,thus he executed with his own hand1 after the designs of the ,abbot1 a hall called the ,ball-room1 with such a vast number of figures1 that it appears scarcely possible that they could be counted1 and all as large as life and coloured in so bright a manner1 that in the harmony of the fresco-colours they appear like work in oils4 ,after this work he painted in the ,great ,gallery1 likewise from the designs of the ,abbot1 sixty stories of the life and actions of ,ulysses1 but with a colouring much darker than the pictures in the ,ball-room4 ,this came about because he used no other colours but the earths in the pure state in which they are produced by ,nature1 without mixing with them1 it may be said1 any white1 and so heavily loaded with darks in the deep parts1 that these have extraordinary relief and force2 besides which1 he executed the whole work with such harmony1 that it appears almost as if painted in one and the same day4 ,wherefore he merits extraordinary praise1 particularly because he executed it in fresco1 without ever retouching it a secco1 as many at the present day are accustomed to do4 ,the vaulting of this gallery1 likewise1 is all wrought in stucco and painting1 executed with much diligence by the men mentioned above and other young painters1 but still after the designs of the ,abbot2 as is also the old ,hall1 and likewise a lower gallery that is over the pond1 which is most beautiful and better adorned with lovely works than any other part of that place2 but to attempt to speak of it at any length would make too long a story4 ,illustration3 ,,decorative ,,panel 7,after the painting by ,primaticcio4 ,fontainebleau3 ,escalier du ,roi7 ,mansell ,at ,meudon the same ,abbot ,primaticcio has made innumerable decorations for the ,cardinal of ,lorraine in a vast palace belonging to him1 called the ,grotto1 a place so extraordinary in size1 that1 after the likeness of similar edifices of the ancients1 it might be called the ,therm1 by reason of the vast number and grandeur of the loggie1 staircases1 and apartments1 both public and private1 that are there2 and1 to say nothing of other particulars1 most beautiful is a room called the ,pavilion1 for it is all adorned with compartments and mouldings of stucco that are wrought with a view to being seen from below1 and filled with a number of figures foreshortened in the same manner1 which are very beautiful4 ,beneath this1 then1 is a large room with some fountains wrought in stucco1 and full of figures in the round and compartments formed of shells and other products of the sea and natural objects1 which are marvellous things and beautiful beyond measure2 and the vaulting1 likewise1 is all most excellently wrought in stucco by the hand of ,domenico del ,barbiere1 a ,florentine painter1 who is excellent not only in this kind of relief1 but also in design1 so that in some works that he has coloured he has given proofs of the rarest ability4 ,in the same place1 also1 many figures of stucco in the round have been executed by a sculptor likewise of our country1 called ,ponzio1 who has acquitted himself very well4 ,but1 since the works that have been executed in those places in the service of those lords are innumerable in their variety1 ,i must touch only on the principal works of the ,abbot1 in order to show how rare he is in painting1 in design1 and in matters of architecture2 although1 in truth1 it would not appear to me an excessive labour to enlarge on the particular works1 if ,i had some true and clear information about them1 as ,i have about works here4 ,with regard to design1 ,primaticcio has been and still is most excellent1 as may be seen from a drawing by his hand painted with the signs of the heavens1 which is in our book1 sent to me by ,francesco himself2 and ,i1 both for love of him and because it is a thing of absolute perfection1 hold it very dear4 ,king ,francis being dead1 the ,abbot remained in the same place and rank with ,king ,henry1 and served him as long as he lived2 and afterwards he was created by ,king ,francis ,,ii ,commissary-,general over all the buildings of the whole kingdom1 in which office1 one of great honour and much repute1 there had previously acted the father of ,cardinal della ,bordagiera and ,monseigneur de ,villeroy4 ,since the death of ,francis ,,ii1 he has continued in the same office1 serving the present ,king1 by whose order and that of the ,queen-,mother ,primaticcio has made a beginning with the tomb of the above-named ,king ,henry1 making in the centre of a six-sided chapel the sepulchre of the ,king himself1 and at four sides the sepulchres of his four children2 while at one of the other two sides of the chapel is the altar1 and at the other the door4 ,and since there are going into this work innumerable statues in marble and bronzes and a number of scenes in low-relief1 it will prove worthy of all these great ,kings and of the excellence and genius of so rare a craftsman as is this ,abbot of ,s4 ,martin1 who in his best years has been most excellent and versatile in all things that pertain to our arts1 seeing that he has occupied himself in the service of his lords not only in buildings1 paintings1 and stucco-work1 but also in the preparations for many festivals and masquerades1 with most beautiful and fantastic inventions4 ,he has been very liberal and most loving towards his friends and relatives1 and likewise towards the craftsmen who have served him4 ,in ,bologna he has conferred many benefits on his relatives1 and has bought honourable dwellings for them and made them commodious and very ornate1 as is that wherein there now lives ,m4 ,antonio ,anselmi1 who has for wife one of the nieces of our ,abbot ,primaticcio1 who has also given in marriage another niece1 the sister of the first-named1 with honour and a good dowry4 ,primaticcio has always lived not like a painter and craftsman1 but like a nobleman1 and1 as ,i have said1 he has been very loving towards our craftsmen4 ,when1 as has been related1 he sent for ,prospero ,fontana1 he despatched to him a good sum of money1 to the end that he might be able to make his way to ,france4 ,this sum1 having fallen ill1 ,prospero was not able to pay back or return by means of his works and labours2 wherefore ,i1 passing in the year #aefc through ,bologna1 recommended ,prospero to him in this matter1 and such was the courtesy of ,primaticcio1 that before ,i departed from ,bologna ,i saw a writing by the hand of the ,abbot in which he made a free gift to ,prospero of all that sum of money which he had in hand for that purpose4 ,for which reasons the affection that he has won among craftsmen is such1 that they address and honour him as a father4 ,now1 to say something more of ,prospero1 ,i must record that he was once employed with much credit to himself in ,rome1 by ,pope ,julius ,,iii1 at his ,palace1 at the ,vigna ,giulia1 and at the ,palace of the ,campo ,marzio1 which at that time belonged to ,signor ,balduino ,monti1 and now belongs to the ,lord ,cardinal ,ernando de' ,medici1 the son of ,duke ,cosimo4 ,in ,bologna the same master has executed many works in oils and in fresco1 and in particular an altar-piece in oils in the ,madonna del ,baracane1 of a ,s4 ,catherine who is disputing with philosophers and doctors in the presence of the ,tyrant1 which is held to be a very beautiful work4 ,and the same ,prospero has painted many pictures in fresco in the principal chapel of the ,palace where the ,governor lives4 ,much the friend of ,primaticcio1 likewise1 is ,lorenzo ,sabatini1 an excellent painter2 and if he had not been burdened with a wife and many children1 the ,abbot would have taken him to ,france1 knowing that he has a very good manner and great mastery in all kinds of work1 as may be seen from many things that he has done in ,bologna4 ,and in the year #aeff ,vasari made use of him in the festive preparations that were carried out in ,florence for the above-mentioned nuptials of the ,prince and her serene ,highness ,queen ,joanna of ,austria1 causing him to execute1 in the vestibule that is between the ,sala dei ,dugento and the ,great ,hall1 six figures in fresco that are very beautiful and truly worthy to be praised4 ,but since this able painter is constantly making progress1 ,i shall say nothing more about him1 save that1 attending as he does to the studies of art1 a most honourable result is expected from him4 ,now1 in connection with the ,abbot and the other ,bolognese of whom mention has been made hitherto1 ,i shall say something of ,pellegrino ,bolognese1 a painter of the highest promise and most beautiful genius4 ,this ,pellegrino1 after having attended in his early years to drawing the works by ,vasari that are in the refectory of ,s4 ,michele in ,bosco at ,bologna1 and those by other painters of good name1 went in the year #aedg to ,rome1 where he occupied himself until the year #aeej in drawing the most noteworthy works2 executing during that time and also afterwards1 in the ,castello di ,s4 ,angelo1 some things in connection with the works that ,perino del ,vaga carried out4 ,in the centre of the vaulting of the ,chapel of ,s4 ,dionigi1 in the ,church of ,s4 ,luigi de' ,franzesi1 he painted a battle-scene in fresco1 in which he acquitted himself in such a manner1 that1 although ,jacopo del ,conte1 a ,florentine painter1 and ,girolamo ,siciolante of ,sermoneta had executed many works in the same chapel1 ,pellegrino proved to be in no way inferior to them2 nay1 it appears to many that he acquitted himself better than they did in the boldness1 grace1 colouring1 and design of those his pictures4 ,by reason of this ,monsignor ,poggio afterwards availed himself much of ,pellegrino1 for he had erected a palace on the ,esquiline ,hill1 where he had a vineyard1 without the ,porta del ,popolo1 and he desired that ,pellegrino should execute some figures for him on the faade1 and then that he should paint the interior of a loggia that faces towards the ,tiber1 which he executed with such diligence1 that it is held to be a work of much beauty and grace4 ,in the house of ,francesco ,formento1 between the ,strada del ,pellegrino and the ,parione1 he painted in a courtyard a faade and two figures besides4 ,by order of the ministers of ,pope ,julius ,,iii1 he executed a large escutcheon1 with two figures1 in the ,belvedere2 and without the ,porta del ,popolo1 in the ,church of ,s4 ,andrea1 which that ,pontiff had caused to be built1 he painted a ,s4 ,peter and a ,s4 ,andrew1 which two figures were much extolled1 and the design of the ,s4 ,peter is in our book1 together with other sheets drawn with much diligence by the same hand4 ,illustration3 ,,the ,,adoration ,,of ,,the ,,shepherds 7,after the painting by ,pellegrino ,tibaldi4 ,vienna3 ,prince ,liechtenstein7 ,hanfstaengl ,being then sent to ,bologna by ,monsignor ,poggio1 he painted for him in his palace there many scenes in fresco1 among which is one that is most beautiful1 wherein from the many figures1 both nude and clothed1 and the lovely composition of the scene1 it is evident that he surpassed himself1 insomuch that he has never done any work since better than this4 ,in ,s4 ,jacopo1 in the same city1 he began to paint a chapel likewise for ,cardinal ,poggio1 which was afterwards finished by the above-mentioned ,prospero ,fontana4 ,being then taken by the ,cardinal of ,augsburg to the ,madonna of ,loreto1 ,pellegrino decorated for him a chapel most beautifully with stucco-work and pictures4 ,on the vaulting1 within a rich pattern of compartments in stucco1 are the ,nativity of ,christ and ,his ,presentation in the arms of ,simeon at the ,temple2 and in the centre1 in particular1 is the ,transfiguration of the ,saviour on ,mount ,tabor1 and with ,him ,moses1 ,elias1 and the ,disciples4 ,in the altar-piece that is above the altar1 he painted ,s4 ,john the ,baptist baptizing ,christ2 and in this he made a portrait of the above-named ,cardinal1 kneeling4 ,on one of the faades at the sides he painted ,s4 ,john preaching to the multitude1 and on the other the ,beheading of the same ,saint4 ,in the forecourt below the church he painted stories of the ,judgment1 and some figures in chiaroscuro in the place where the ,theatines now have their ,confessional4 ,being summoned not long afterwards to ,ancona by ,giorgio ,morato1 he painted for the ,church of ,s4 ,agostino a large altar-piece in oils of ,christ baptized by ,s4 ,john1 with ,s4 ,paul and other ,saints on one side1 and in the predella a good number of little figures1 which are full of grace4 ,for the same man he made in the ,church of ,s4 ,ciriaco sul ,monte a very beautiful ornament in stucco for the altar-piece of the high-altar1 and within it a ,christ of five braccia in full-relief1 which was much extolled4 ,in like manner1 he has made in the same city a very large and very beautiful ornament of stucco for the high-altar of ,s4 ,domenico1 and he would also have painted the altar-picture1 but he had a difference with the patron of that work1 and it was given to ,tiziano ,vecelli to execute1 as will be related in the proper place4 ,finally1 having undertaken to decorate in the same city of ,ancona the ,loggia de' ,mercanti1 which faces on one side over the sea-shore and on the other towards the principal street of the city1 ,pellegrino has adorned the vaulting1 which is a new structure1 with pictures and many large figures in stucco2 in which work since he has exerted all the effort and study possible to him1 it has turned out in truth full of beauty and grace1 for the reason that1 besides that all the figures are beautiful and well executed1 there are some most lovely foreshortenings of nudes1 in which it is evident that he has imitated with much diligence the works of ,buonarroti that are in the ,chapel in ,rome4 ,now1 since there are not in those parts any architects or engineers of account1 or any who know more than he does1 ,pellegrino has taken it upon himself to give his attention to architecture and to the fortifying of places in that province2 and1 as one who has recognized that painting is more difficult and perhaps less advantageous than architecture1 setting his painting somewhat on one side1 he has executed many works for the fortification of ,ancona and for many other places in the ,states of the ,church1 and particularly at ,ravenna4 ,finally1 he has made a beginning with a palace for the ,sapienza1 at ,pavia1 for ,cardinal ,borromeo4 ,and at the present day1 since he has not wholly abandoned painting1 he is executing a scene in fresco1 which will be very beautiful1 in the refectory of ,s4 ,giorgio at ,ferrara1 for the ,monks of ,monte ,oliveto2 and of this ,pellegrino himself not long ago showed me the design1 which is very fine4 ,but1 seeing that he is a young man of thirty-five1 and is constantly making more and more progress and advancing towards perfection1 this much about him must suffice for the present4 ,in like manner1 ,i shall be brief in speaking of ,orazio ,fumaccini1#g a painter likewise from ,bologna1 who has executed in ,rome1 as has been related1 above one of the doors of the ,hall of ,kings1 a scene that is very fine1 and in ,bologna many much-extolled pictures2 for he also is young1 and he is acquitting himself in such a manner1 that he will not be inferior to his elders1 of whom we have made mention in these our ,lives4 ,footnote #g3 ,sammacchini4 ,the men of ,romagna1 also1 spurred by the example of the ,bolognese1 their neighbours1 have executed many noble works in our arts2 for1 besides ,jacopone da ,faenza1 who1 as has been related1 painted the tribune of ,s4 ,vitale in ,ravenna1 there have been and still are many others after him who are excellent4 ,maestro ,luca de' ,longhi of ,ravenna1 a man of good1 quiet1 and studious nature1 has painted in his native city of ,ravenna and in the surrounding country many very beautiful panel-pictures in oils and portraits from nature2 and of much charm1 among others1 are two little altar-pieces that he was commissioned not long since to paint for the ,church of the ,monks of ,classi by the ,reverend ,don ,antonio da ,pisa1 then ,abbot of that ,monastery2 to say nothing of an infinite number of other works that this painter has executed4 ,and1 to tell the truth1 if ,maestro ,luca had gone forth from ,ravenna1 where he has always lived and still lives with his family1 being assiduous and very diligent1 and of fine judgment1 he would have become a very rare painter1 because he has executed his works1 as he still does1 with patience and study2 and to this ,i can bear witness1 who know how much proficience he made during my sojourn of two months in ,ravenna1 both practising and discussing the matters of art2 nor must ,i omit to say that a daughter of his1 still but a little girl1 called ,barbara1 draws very well1 and has begun to do some work in colour with no little grace and excellence of manner4 ,a rival of ,luca1 for a time1 was ,livio ,agresti of ,forl1 who1 after he had executed for ,abbot de' ,grassi in the ,church of the ,spirito ,santo some scenes in fresco and certain other works1 departed from ,ravenna and made his way to ,rome4 ,there1 attending with much study to design1 he became a well-practised master1 as may be seen from some faades and other works in fresco that he executed at that time2 and his first works1 which are in ,narni1 have in them not a little of the good4 ,in a chapel of the ,church of the ,santo ,spirito1 in ,rome1 he has painted a number of figures and scenes in fresco1 which are executed with much industry and study1 so that they are rightly extolled by everyone4 ,that work was the reason1 as has been related1 that there was allotted to him one of the smaller scenes that are over the doors in the ,hall of ,kings in the ,palace of the ,vatican1 in which he acquitted himself so well1 that it can bear comparison with the others4 ,the same master has executed for the ,cardinal of ,augsburg seven pieces with scenes painted on cloth of silver1 which have been held to be very beautiful in ,spain1 where they have been sent by that same ,cardinal as presents to ,king ,philip1 to be used as hangings in a chamber4 ,another picture on cloth of silver he has painted in the same manner1 which is now to be seen in the ,church of the ,theatines at ,forl4 ,finally1 having become a good and bold draughtsman1 a well-practised colourist1 fertile in the composition of scenes1 and universal in his manner1 he has been invited by the above-named ,cardinal with a good salary to ,augsburg1 where he is constantly executing works worthy of much praise4 ,but most rare among the other men of ,romagna1 in certain respects1 is ,marco da ,faenza 7for only so1 and not otherwise1 is he called71 for the reason that he has no ordinary mastery in the work of fresco1 being bold1 resolute1 and of a terrible force1 and particularly in the manner and practice of making grotesques1 in which he has no equal at the present day1 nor one who even approaches his perfection4 ,his works may be found throughout all ,rome2 and in ,florence there is by his hand the greater part of the ornaments of twenty different rooms that are in the ,ducal ,palace1 and the friezes of the ceiling in the ,great ,hall of that ,palace1 which was painted by ,giorgio ,vasari1 as will be fully described in the proper place2 not to mention that the decorations of the principal court of the same ,palace1 made in a short time for the coming of ,queen ,joanna1 were executed in great part by the same man4 ,and this must be enough of ,marco1 he being still alive and in the flower of his growth and activity4 ,in ,parma there is at the present day in the service of the ,lord ,duke ,ottavio ,farnese1 a painter called ,miruolo1 a native1 ,i believe1 of ,romagna1 who1 besides some works executed in ,rome1 has painted many scenes in fresco in a little palace that the same ,lord ,duke has caused to be built in the ,castle of ,parma4 ,there1 also1 are some fountains constructed with fine grace by ,giovanni ,boscoli1 a sculptor of ,montepulciano1 who1 having worked in stucco for many years under ,vasari in the ,palace of the above-named ,lord ,duke ,cosimo of ,florence1 has finally entered the service of the above-mentioned ,lord ,duke of ,parma1 with a good salary1 and has executed1 as he continues constantly to do1 works worthy of his rare and most beautiful genius4 ,in the same cities and provinces1 also1 are many other excellent and noble craftsmen2 but1 since they are still young1 we shall defer to a more convenient time the making of that honourable mention of them that their talents and their works may have merited4 ,and this is the end of the works of ,abbot ,primaticcio4 ,i will add that1 he having had himself portrayed in a pen-drawing by the ,bolognese painter ,bartolommeo ,passerotto1 who was very much his friend1 that portrait has come into our hands1 and we have it in our book of drawings by the hands of various excellent painters4 ,,tiziano ,,da ,,cadore ,illustration3 ,,tiziano3 ,,the ,,madonna ,,of ,,the ,,cherries 7,vienna3 ,imperial ,gallery1 #ahj4 ,panel7 ,,description ,,of ,,the ,,works ,,of ,,tiziano ,,da ,,cadore ,,painter ,tiziano was born at ,cadore1 a little township situated on the ,piave and five miles distant from the pass of the ,alps1 in the year #adhj1 from the family of the ,vecelli1 one of the most noble in that place4 ,at the age of ten1 having a fine spirit and a lively intelligence1 he was sent to ,venice to the house of an uncle1 an honoured citizen1 who1 perceiving the boy to be much inclined to painting1 placed him with ,gian ,bellini1 an excellent painter very famous at that time1 as has been related4 ,under his discipline1 attending to design1 he soon showed that he was endowed by nature with all the gifts of intellect and judgment that are necessary for the art of painting2 and since at that time ,gian ,bellini and the other painters of that country1 from not being able to study ancient works1 were much--nay1 altogether--given to copying from the life whatever work they did1 and that with a dry1 crude1 and laboured manner1 ,tiziano also for a time learned that method4 ,but having come to about the year #aejg1 ,giorgione da ,castelfranco1 not altogether liking that mode of working1 began to give to his pictures more softness and greater relief1 with a beautiful manner2 nevertheless he used to set himself before living and natural objects and counterfeit them as well as he was able with colours1 and paint them broadly with tints crude or soft according as the life demanded1 without doing any drawing1 holding it as certain that to paint with colours only1 without the study of drawing on paper1 was the true and best method of working1 and the true design4 ,for he did not perceive that for him who wishes to distribute his compositions and accommodate his inventions well1 it is necessary that he should first put them down on paper in several different ways1 in order to see how the whole goes together1 for the reason that the idea is not able to see or imagine the inventions perfectly within herself1 if she does not reveal and demonstrate her conception to the eyes of the body1 that these may assist her to form a good judgment4 ,besides which1 it is necessary to give much study to the nude1 if you wish to comprehend it well1 which you will never do1 nor is it possible1 without having recourse to paper2 and to keep always before you1 while you paint1 persons naked or draped1 is no small restraint1 whereas1 when you have formed your hand by drawing on paper1 you then come little by little with greater ease to carry your conceptions into execution1 designing and painting together4 ,and so1 gaining practice in art1 you make both manner and judgment perfect1 doing away with the labour and effort wherewith those pictures were executed of which we have spoken above1 not to mention that by drawing on paper1 you come to fill the mind with beautiful conceptions1 and learn to counterfeit all the objects of nature by memory1 without having to keep them always before you or being obliged to conceal beneath the glamour of colouring the painful fruits of your ignorance of design1 in the manner that was followed for many years by the ,venetian painters1 ,giorgione1 ,palma1 ,pordenone1 and others1 who never saw ,rome or any other works of absolute perfection4 ,illustration3 ,,ariosto 7,after the painting by ,tiziano4 ,london3 ,national ,gallery1 ,no4 #aidd7 ,mansell ,tiziano1 then1 having seen the method and manner of ,giorgione1 abandoned the manner of ,gian ,bellini1 although he had been accustomed to it for a long time1 and attached himself to that of ,giorgione2 coming in a short time to imitate his works so well1 that his pictures at times were mistaken for works by ,giorgione1 as will be related below4 ,then1 having grown in age1 practice1 and judgment1 ,tiziano executed many works in fresco1 which cannot be enumerated in order1 being dispersed over various places2 let it suffice that they were such1 that the opinion was formed by many experienced judges that he would become1 as he afterwards did1 a most excellent painter4 ,at the time when he first began to follow the manner of ,giorgione1 not being more than eighteen years of age1 he made the portrait of a gentleman of the ,barberigo family1 his friend1 which was held to be very beautiful1 the likeness of the flesh-colouring being true and natural1 and all the hairs so well distinguished one from another1 that they might have been counted1 as also might have been the stitches in a doublet of silvered satin that he painted in that work4 ,in short1 it was held to be so well done1 and with such diligence1 that if ,tiziano had not written his name on a dark ground1 it would have been taken for the work of ,giorgione4 ,meanwhile ,giorgione himself had executed the principal faade of the ,fondaco de' ,tedeschi1 and by means of ,barberigo there were allotted to ,tiziano certain scenes on the same building1 above the ,merceria4 ,after which work he painted a large picture with figures of the size of life1 which is now in the hall of ,m4 ,andrea ,loredano1 who dwells near ,s4 ,marcuola4 ,in that picture is painted ,our ,lady going into ,egypt1 in the midst of a great forest and certain landscapes that are very well done1 because ,tiziano had given his attention for many months to such things1 and had kept in his house for that purpose some ,germans who were excellent painters of landscapes and verdure4 ,in the wood in that picture1 likewise1 he painted many animals1 which he portrayed from the life2 and they are truly natural1 and almost alive4 ,next1 in the house of ,m4 ,giovanni ,d',anna1 a ,flemish gentleman and merchant1 his gossip1 he made his portrait1 which has all the appearance of life1 and also an ,ecce ,homo with many figures1 which is held by ,tiziano himself and by others to be a very beautiful work4 ,the same master painted a picture of ,our ,lady with other figures the size of life1 of men and children1 all portrayed from the life and from persons of that house4 ,then in the year #aejg1 while the ,emperor ,maximilian was making war on the ,venetians1 ,tiziano1 according to his own account1 painted an ,angel ,raphael with ,tobias and a dog in the ,church of ,s4 ,marziliano1 with a distant landscape1 where1 in a little wood1 ,s4 ,john the ,baptist is praying on his knees to ,heaven1 whence comes a radiance that illumines him2 and this work it is thought that he executed before he made a beginning with the faade of the ,fondaco de' ,tedeschi4 ,concerning which faade1 many gentlemen1 not knowing that ,giorgione was not working there any more and that ,tiziano was doing it1 who had uncovered one part1 meeting with ,giorgione1 congratulated him in friendly fashion1 saying that he was acquitting himself better in the faade towards the ,merceria than he had done in that which is over the ,grand ,canal4 ,at which circumstance ,giorgione felt such disdain1 that until ,tiziano had completely finished the work and it had become well known that the same had done that part1 he would scarcely let himself be seen2 and from that time onward he would never allow ,tiziano to associate with him or be his friend4 ,illustration3 ,,bacchanal 7,after the painting by ,tiziano4 ,madrid3 ,the ,prado7 ,anderson ,in the year after1 #aejh1 ,tiziano published in wood-engraving the ,triumph of ,faith1 with an infinity of figures2 our first ,parents1 the ,patriarchs1 the ,prophets1 the ,sibyls1 the ,innocents1 the ,martyrs1 the ,apostles1 and ,jesus ,christ borne in ,triumph by the four ,evangelists and the ,four ,doctors1 with the ,holy ,confessors behind4 ,in that work ,tiziano displayed boldness1 a beautiful manner1 and the power to work with facility of hand2 and ,i remember that ,fra ,sebastiano del ,piombo1 conversing of this1 said to me that if ,tiziano had been in ,rome at that time1 and had seen the works of ,michelagnolo1 those of ,raffaello1 and the ancient statues1 and had studied design1 he would have done things absolutely stupendous1 considering the beautiful mastery that he had in colouring1 and that he deserved to be celebrated as the finest and greatest imitator of ,nature in the matter of colour in our times1 and with the foundation of the grand method of design he might have equalled the ,urbinate and ,buonarroti4 ,afterwards1 having gone to ,vicenza1 ,tiziano painted the ,judgment of ,solomon in fresco1 which was a beautiful work1 under the little loggia where justice is administered in public audience4 ,he then returned to ,venice1 and painted the faade of the ,grimani4 ,at ,padua1 in the ,church of ,s4 ,antonio1 he executed likewise in fresco some stories of the actions of that ,saint1 and for that of ,s4 ,spirito he painted a little altar-piece with a ,s4 ,mark seated in the midst of certain ,saints1 in whose faces are some portraits from life done in oils with the greatest diligence2 which picture many have believed to be by the hand of ,giorgione4 ,then1 a scene having been left unfinished in the ,hall of the ,great ,council through the death of ,giovanni ,bellini1 wherein ,frederick ,barbarossa is kneeling at the door of the ,church of ,s4 ,marco before ,pope ,alexander ,,iv1 who places his foot on ,barbarossa's neck1 ,tiziano finished it1 changing many things1 and making there many portraits from life of his friends and others2 for which he was rewarded by receiving from the ,senate an office in the ,fondaco de' ,tedeschi1 called the ,senseria1 which yields three hundred crowns a year4 ,that office those ,signori are accustomed to give to the most excellent painter of their city1 on the condition that he shall be obliged from time to time to paint the portrait of their ,prince or ,doge1 at his election1 for the price of only eight crowns1 which the ,prince himself pays to him2 which portrait is afterwards kept1 in memory of him1 in a public place in the ,palace of ,s4 ,marco4 ,illustration3 ,,madonna ,,with ,,saints ,,and ,,donor 7,after the panel by ,tiziano da ,cadore4 ,ancona3 ,s4 ,domenico7 ,anderson ,in the year #aead ,duke ,alfonso of ,ferrara had caused a little chamber to be decorated1 and had commissioned ,dosso1 the painter of ,ferrara1 to execute in certain compartments stories of neas1 ,mars1 and ,venus1 and in a grotto ,vulcan with two smiths at the forge2 and he desired that there should also be there pictures by the hand of ,gian ,bellini4 ,bellini painted on another wall a vat of red wine with some ,bacchanals around it1 and ,satyrs1 musicians1 and other men and women1 all drunk with wine1 and near them a nude and very beautiful ,silenus1 riding on his ass1 with figures about him that have the hands full of fruits and grapes2 which work was in truth executed and coloured with great diligence1 insomuch that it is one of the most beautiful pictures that ,gian ,bellini ever painted1 although in the manner of the draperies there is a certain sharpness after the ,german manner 7nothing1 indeed1 of any account71 because he imitated a picture by the ,fleming ,albrecht ,drer1 which had been brought in those days to ,venice and placed in the ,church of ,s4 ,bartolommeo1 a rare work and full of most beautiful figures painted in oils4 ,on that vat ,gian ,bellini wrote these words3 ,,joannes ,,bellinus ,,venetus1 ,p4 #aead4 ,that work he was not able to finish completely1 because he was old1 and ,tiziano1 as the most excellent of all the others1 was sent for to the end that he might finish it2 wherefore1 being desirous to acquire excellence and to make himself known1 he executed with much diligence two scenes that were wanting in that little chamber4 ,in the first is a river of red wine1 about which are singers and musicians1 both men and women1 as it were drunk1 and a naked woman who is sleeping1 so beautiful that she might be alive1 together with other figures2 and on this picture ,tiziano wrote his name4 ,in the other1 which is next to it and seen first on entering1 he painted many little boys and ,loves in various attitudes1 which much pleased that lord1 as also did the other picture2 but most beautiful of all is one of those boys who is making water into a river and is reflected in the water1 while the others are around a pedestal that has the form of an altar1 upon which is a statue of ,venus with a sea-conch in the right hand1 and ,grace and ,beauty about her1 which are very lovely figures and executed with incredible diligence4 ,on the door of a press1 likewise1 ,tiziano painted an image of ,christ from the waist upwards1 marvellous1 nay1 stupendous1 to whom a base ,hebrew is showing the coin of ,csar2 which image1 and also other pictures in that little chamber1 our best craftsmen declare to be the finest and best executed that ,tiziano has ever done1 and indeed they are most rare4 ,wherefore he well deserved to be most liberally recompensed and rewarded by that lord1 whom he portrayed excellently well with one arm resting on a great piece of artillery2 and he also made a portrait of ,signora ,laura1 who afterwards became the wife of the ,duke1 which is a stupendous work4 ,and1 in truth1 gifts have great potency with those who labour for the love of art1 when they are uplifted by the liberality of ,princes4 ,at that time ,tiziano formed a friendship with the divine ,messer ,lodovico ,ariosto1 and was recognized by him as a most excellent painter and celebrated in his ,orlando ,furioso3 444 ,e ,tizian che onora ,non men ,cador1 che quei ,vinezia e ,urbino4 ,illustration3 ,,tiziano3 ,,sacred ,,and ,,profane ,,love 7,rome3 ,borghese ,gallery1 #adg4 ,canvas7 ,having then returned to ,venice1 ,tiziano painted on a canvas in oils1 for the father-in-law of ,giovanni da ,castel ,bolognese1 a naked shepherd and a country-girl who is offering him some pipes1 that he may play them1 with a most beautiful landscape2 which picture is now at ,faenza1 in the house of the said ,giovanni4 ,he then executed for the high-altar in the ,church of the ,friars ,minors1 called the ,c ,grande1 a picture of ,our ,lady ascending into ,heaven1 and below her the twelve ,apostles1 who are gazing upon her as she ascends2 but of this work1 from its having been painted on cloth1 and perhaps not well kept1 there is little to be seen4 ,for the ,chapel of the ,pesari family1 in the same church1 he painted in an altar-piece the ,madonna with the ,child in her arms1 a ,s4 ,peter and a ,s4 ,george1 and about them the patrons of the work1 kneeling and portrayed from life2 among whom are the ,bishop of ,paphos and his brother1 then newly returned from the victory which that ,bishop won against the ,turks4 ,for the little ,church of ,s4 ,niccol1 in the same convent1 he painted in an altar-piece ,s4 ,nicholas1 ,s4 ,francis1 ,s4 ,catharine1 and also a nude ,s4 ,sebastian1 portrayed from life and without any artifice that can be seen to have been used to enhance the beauty of the limbs and trunk1 there being nothing there but what he saw in the work of nature1 insomuch that it all appears as if stamped from the life1 so fleshlike it is and natural2 but for all that it is held to be beautiful1 as is also very lovely the ,madonna with the ,child in her arms at whom all those figures are gazing4 ,the subject of that picture was drawn on wood by ,tiziano himself1 and then engraved by others and printed4 ,for the ,church of ,s4 ,rocco1 after the works described above1 he painted a picture of ,christ with the ,cross on ,his shoulder1 and about ,his neck a cord that is drawn by a ,hebrew2 and that figure1 which many have believed to be by the hand of ,giorgione1 is now the object of the greatest devotion in ,venice1 and has received in alms more crowns than ,tiziano and ,giorgione ever gained in all their lives4 ,then he was invited to ,rome by ,bembo1 whom he had already portrayed1 and who was at that time ,secretary to ,pope ,leo ,x1 to the end that he might see ,rome1 ,raffaello da ,urbino1 and others2 but ,tiziano delayed that visit so long from one day to another1 that ,leo died1 and ,raffaello in #aebj1 and after all he never went4 ,for the ,church of ,s4 ,maria ,maggiore he painted a picture with ,s4 ,john the ,baptist in the ,desert among some rocks1 an ,angel that appears as if alive1 and a little piece of distant landscape with some trees upon the bank of a river1 all full of grace4 ,he made portraits from life of the ,prince ,grimani and ,loredano1 which were held to be admirable2 and not long afterwards of ,king ,francis1 when he departed from ,italy in order to return to ,france4 ,and in the year when ,andrea ,gritti was elected ,doge1 ,tiziano painted his portrait1 which was a very rare thing1 in a picture wherein are ,our ,lady1 ,s4 ,mark1 and ,s4 ,andrew with the countenance of that ,doge2 which picture1 a most marvellous work1 is in the ,sala del ,collegio4 ,he has also painted portraits1 in addition to those of the ,doges named above 7being obliged1 as has been related1 to do it71 of others who have been ,doges in their time2 ,pietro ,lando1 ,francesco ,donato1 ,marcantonio ,trevisano1 and ,veniero4 ,but by the two ,doges and brothers ,paoli#h he has been excused recently1 because of his great age1 from that obligation4 ,before the sack of ,rome there had gone to live in ,venice ,pietro ,aretino1 a most famous poet of our times1 and he became very much the friend of ,tiziano and ,sansovino2 which brought great honour and advantage to ,tiziano1 for the reason that the poet made him known wherever his pen reached1 and especially to ,princes of importance1 as will be told in the proper place4 ,footnote #h3 ,priuli4 ,illustration3 ,,charles ,v 7,after the painting by ,tiziano4 ,madrid3 ,the ,prado7 ,anderson ,meanwhile1 to return to ,tiziano's works1 he painted the altar-piece for the altar of ,s4 ,piero ,martire in the ,church of ,,ss4 ,giovanni e ,polo1 depicting therein that holy martyr larger than life1 in a forest of very great trees1 fallen to the ground and assailed by the fury of a soldier1 who has wounded him so grievously in the head1 that as he lies but half alive there is seen in his face the horror of death1 while in another friar who runs forward in flight may be perceived the fear and terror of death4 ,in the air are two nude ,angels coming down from a flash of ,heaven's lightning1 which gives light to the landscape1 which is most beautiful1 and to the whole work besides1 which is the most finished1 the most celebrated1 the greatest1 and the best conceived and executed that ,tiziano has as yet ever done in all his life4 ,this work being seen by ,gritti1 who was always very much the friend of ,tiziano1 as also of ,sansovino1 he caused to be allotted to him a great scene of the rout of ,chiaradadda1 in the ,hall of the ,great ,council4 ,in it he painted a battle with soldiers in furious combat1 while a terrible rain falls from ,heaven2 which work1 wholly taken from life1 is held to be the best of all the scenes that are in that ,hall1 and the most beautiful4 ,and in the same ,palace1 at the foot of a staircase1 he painted a ,madonna in fresco4 ,having made not long afterwards for a gentleman of the ,contarini family a picture of a very beautiful ,christ1 who is seated at table with ,cleophas and ,luke1 it appeared to that gentleman that the work was worthy to be in a public place1 as in truth it is4 ,wherefore having made a present of it1 like a true lover of his country and of the commonwealth1 to the ,signoria1 it was kept a long time in the apartments of the ,doge2 but at the present day it is in a public place1 where it may be seen by everyone1 in the ,salotta d',oro in front of the ,hall of the ,council of ,ten1 over the door4 ,about the same time1 also1 he painted for the ,scuola of ,s4 ,maria della ,carit ,our ,lady ascending the steps of the ,temple1 with heads of every kind portrayed from nature2 and for the ,scuola of ,s4 ,fantino1 likewise1 a little altar-piece of ,s4 ,jerome in ,penitence1 which was much extolled by the craftsmen1 but was consumed by fire two years ago together with the whole church4 ,it is said that in the year #aecj1 the ,emperor ,charles ,v being in ,bologna1 ,tiziano was invited to that city by ,cardinal ,ippolito de' ,medici1 through the agency of ,pietro ,aretino4 ,there he made a most beautiful portrait of his ,majesty in full armour1 which so pleased him1 that he caused a thousand crowns to be given to ,tiziano2 but of these he was obliged afterwards to give the half to the sculptor ,alfonso ,lombardi1 who had made a model to be reproduced in marble1 as was related in his ,life4 ,having returned to ,venice1 ,tiziano found that a number of gentlemen1 who had taken ,pordenone into their favour1 praising much the works executed by him on the ceiling of the ,sala de' ,pregai and elsewhere1 had caused a little altar-piece to be allotted to him in the ,church of ,s4 ,giovanni ,elemosinario1 to the end that he might paint it in competition with ,tiziano1 who for the same place had painted a short time before the said ,s4 ,giovanni ,elemosinario in the habit of a ,bishop4 ,but1 for all the diligence that ,pordenone devoted to that altar-piece1 he was not able to equal or even by a great measure to approach to the work of ,tiziano4 ,next1 ,tiziano executed a most beautiful altar-picture of an ,annunciation for the ,church of ,s4 ,maria degli ,angeli at ,murano1 but he who had caused it to be painted not being willing to spend five hundred crowns upon it1 which ,tiziano was asking1 by the advice of ,messer ,pietro ,aretino he sent it as a gift to the above-named ,emperor ,charles ,v1 who1 liking that work vastly1 made him a present of two thousand crowns2 and where that picture was to have been placed1 there was set in its stead one by the hand of ,pordenone4 ,nor had any long time passed when ,charles ,v1 returning to ,bologna for a conference with ,pope ,clement1 at the time when he came with his army from ,hungary1 desired to be portrayed again by ,tiziano4 ,before departing from ,bologna1 ,tiziano also painted a portrait of the above-named ,cardinal ,ippolito de' ,medici in ,hungarian dress1 and in a smaller picture the same man in full armour2 both which portraits are now in the guardaroba of ,duke ,cosimo4 ,at that same time he executed a portrait of ,alfonso ,davalos1 ,marchese del ,vasto1 and one of the above-named ,pietro ,aretino1 who then contrived that he should become the friend and servant of ,federigo ,gonzaga1 ,duke of ,mantua1 with whom ,tiziano went to his ,states and there painted a portrait of him1 which is a living likeness1 and then one of the ,cardinal1 his brother4 ,these finished1 he painted1 for the adornment of a room among those of ,giulio ,romano1 twelve figures from the waist upwards of the twelve ,csars1 very beautiful1 beneath each of which the said ,giulio afterwards painted a story from their lives4 ,illustration3 ,,tiziano3 ,,the ,,duke ,,of ,,norfolk 7,florence3 ,pitti1 #ib4 ,canvas7 ,in ,cadore1 his native place1 ,tiziano has painted an altar-picture wherein are ,our ,lady1 ,s4 ,tiziano the ,bishop1 and a portrait of himself kneeling4 ,in the year when ,pope ,paul ,,iii went to ,bologna1 and from there to ,ferrara1 ,tiziano1 having gone to the ,court1 made a portrait of that ,pope1 which was a very beautiful work1 and from it another for ,cardinal ,s4 ,fiore2 and both these portraits1 for which he was very well paid by the ,pope1 are in ,rome1 one in the guardaroba of ,cardinal ,farnese1 and the other in the possession of the heirs of the above-named ,cardinal ,s4 ,fiore1 and from them have been taken many copies1 which are dispersed throughout ,italy4 ,at this same time1 also1 he made a portrait of ,francesco ,maria1 ,duke of ,urbino1 which was a marvellous work2 wherefore ,m4 ,pietro ,aretino on this account celebrated him in a sonnet that began3 ,se il chiaro ,apelle con la man dell'arte ,rassembr d',alessandro il volto e il petto4 ,there are in the guardaroba of the same ,duke1 by the hand of ,tiziano1 two most lovely heads of women1 and a young recumbent ,venus with flowers and certain light draperies about her1 very beautiful and well finished2 and1 in addition1 a figure of ,s4 ,mary ,magdalene with the hair all loose1 which is a rare work4 ,there1 likewise1 are the portraits of ,charles ,v1 ,king ,francis as a young man1 ,duke ,guidobaldo ,,ii1 ,pope ,sixtus ,,iv1 ,pope ,julius ,,ii1 ,paul ,,iii1 the old ,cardinal of ,lorraine1 and ,suleiman ,emperor of the ,turks2 which portraits1 ,i say1 are by the hand of ,tiziano1 and most beautiful4 ,in the same guardaroba1 besides many other things1 is a portrait of ,hannibal the ,carthaginian1 cut in intaglio in an antique cornelian1 and also a very beautiful head in marble by the hand of ,donato4 ,illustration3 ,,pope ,,paul ,,iii 7,after the painting by ,tiziano4 ,naples3 ,museo ,nazionale7 ,anderson ,in the year #aeda ,tiziano painted for the ,friars of ,s4 ,spirito1 in ,venice1 the altar-piece of their high-altar1 figuring in it the ,descent of the ,holy ,spirit upon the ,apostles1 with a ,god depicted as of fire1 and the ,spirit as a ,dove2 which altar-piece becoming spoiled in no long time1 after having many disputes with those friars he had to paint it again1 and it is that which is over the altar at the present day4 ,for the ,church of ,s4 ,nazzaro in ,brescia he executed the altar-piece of the high-altar in five pictures2 in the central picture is ,jesus ,christ returning to life1 with some soldiers around1 and at the sides are ,s4 ,nazzaro1 ,s4 ,sebastian1 the ,angel ,gabriel1 and the ,virgin receiving the ,annunciation4 ,in a picture for the wall at the entrance of the ,duomo of ,verona1 he painted an ,assumption of ,our ,lady into ,heaven1 with the ,apostles on the ground1 which is held to be the best of the modern works in that city4 ,in the year #aeda he made the portrait of ,don ,diego di ,mendoza1 at that time ,ambassador of ,charles ,v in ,venice1 a whole-length figure and standing1 which was very beautiful2 and from this ,tiziano began what has since come into fashion1 the making of certain portraits of full length4 ,in the same manner he painted that of the ,cardinal of ,trento1 then a young man1 and for ,francesco ,marcolini the portrait of ,messer ,pietro ,aretino1 but this last was by no means as beautiful as one of that poet1 likewise by the hand of ,tiziano1 which ,aretino himself sent as a present to ,duke ,cosimo de' ,medici1 to whom he sent also the head of ,signor ,giovanni de' ,medici1 the father of the said ,lord ,duke4 ,that head was copied from a cast taken from the face of that lord when he died at ,mantua1 which was in the possession of ,aretino2 and both these portraits are in the guardaroba of the same ,lord ,duke1 among many other most noble pictures4 ,the same year1 ,vasari having been thirteen months in ,venice to execute1 as has been related1 a ceiling for ,messer ,giovanni ,cornaro1 and some works for the ,company of the ,calza1 ,sansovino1 who was directing the fabric of ,s4 ,spirito1 had commissioned him to make designs for three large pictures in oils which were to go into the ceiling1 to the end that he might execute them in painting2 but1 ,vasari having afterwards departed1 those three pictures were allotted to ,tiziano1 who executed them most beautifully1 from his having contrived with great art to make the figures foreshortened from below upwards4 ,in one is ,abraham sacrificing ,isaac1 in another ,david severing the neck of ,goliath1 and in the third ,abel slain by his brother ,cain4 ,about the same time ,tiziano painted a portrait of himself1 in order to leave that memory of himself to his children4 ,illustration3 ,,dana 7,after the painting by ,tiziano4 ,naples3 ,museo ,nazionale7 ,anderson ,the year #aedf having come1 he went at the invitation of ,cardinal ,farnese to ,rome1 where he found ,vasari1 who1 having returned from ,naples1 was executing the ,hall of the ,cancelleria for the above-named ,cardinal2 whereupon1 ,tiziano having been recommended by that lord to ,vasari1 ,giorgio kept him company lovingly in taking him about to see the sights of ,rome4 ,and then1 after ,tiziano had rested for some days1 rooms were given to him in the ,belvedere1 to the end that he might set his hand to painting once more the portrait of ,pope ,paul1 of full length1 with one of ,farnese and one of ,duke ,ottavio1 which he executed excellently well and much to the satisfaction of those lords4 ,at their persuasion he painted1 for presenting to the ,pope1 a picture of ,christ from the waist upwards in the form of an ,ecce ,homo1 which work1 whether it was that the works of ,michelagnolo1 ,raffaello1 ,polidoro1 and others had made him lose some force1 or for some other reason1 did not appear to the painters1 although it was a good picture1 to be of the same excellence as many others by his hand1 and particularly his portraits4 ,michelagnolo and ,vasari1 going one day to visit ,tiziano in the ,belvedere1 saw in a picture that he had executed at that time a nude woman representing ,dana1 who had in her lap ,jove transformed into a rain of gold2 and they praised it much1 as one does in the painter's presence4 ,after they had left him1 discoursing of ,tiziano's method1 ,buonarroti commended it not a little1 saying that his colouring and his manner much pleased him1 but that it was a pity that in ,venice men did not learn to draw well from the beginning1 and that those painters did not pursue a better method in their studies4 ,for1 he said1 if this man had been in any way assisted by art and design1 as he is by nature1 and above all in counterfeiting the life1 no one could do more or work better1 for he has a fine spirit and a very beautiful and lively manner4 ,and in fact this is true1 for the reason that he who has not drawn much nor studied the choicest ancient and modern works1 cannot work well from memory by himself or improve the things that he copies from life1 giving them the grace and perfection wherein art goes beyond the scope of nature1 which generally produces some parts that are not beautiful4 ,tiziano1 finally departing from ,rome1 with many gifts received from those lords1 and in particular a benefice of good value for his son ,pomponio1 set himself on the road to return to ,venice1 after ,orazio1 his other son1 had made a portrait of ,messer ,battista ,ceciliano1 an excellent player on the bass-viol1 which was a very good work1 and he himself had executed some other portraits for ,duke ,guidobaldo of ,urbino4 ,arriving in ,florence1 and seeing the rare works of that city1 he was amazed by them no less than he had been by those of ,rome4 ,and besides that1 he visited ,duke ,cosimo1 who was at ,poggio a ,caiano1 offering to paint his portrait2 to which his ,excellency did not give much heed1 perchance in order not to do a wrong to the many noble craftsmen of his city and dominion4 ,then1 having arrived in ,venice1 ,tiziano finished for the ,marchese del ,vasto an ,allocution 7for so they called it7 made by that lord to his soldiers2 and after that he took the portrait of ,charles ,v1 that of the ,catholic ,king1 and many others4 ,these works finished1 he painted a little altar-piece of the ,annunciation for the ,church of ,s4 ,maria ,nuova in ,venice2 and then1 employing the assistance of his young men1 he executed a ,last ,supper in the refectory of ,,ss4 ,giovanni e ,polo1 and for the high-altar of the ,church of ,s4 ,salvadore an altar-piece in which is a ,christ ,transfigured on ,mount ,tabor1 and for another altar in the same church a ,madonna receiving the ,annunciation from the ,angel4 ,but these last works1 although there is something of the good to be seen in them1 are not much esteemed by him1 and have not the perfection that his other pictures have4 ,and since the works of ,tiziano are without number1 and particularly the portraits1 it is almost impossible to make mention of them all2 wherefore ,i shall speak only of the most remarkable1 but without order of time1 it being of little import to know which was first and which later4 ,several times1 as has been related1 he painted the portrait of ,charles ,v1 and in the end he was summoned for that purpose to the ,court1 where he portrayed him as he was in those his later years2 and the work of ,tiziano so pleased that all-conquering ,emperor1 that after he had once seen it he would not be portrayed by other painters4 ,each time that he painted him1 he received a thousand crowns of gold as a present1 and he was made by his ,majesty a ,chevalier1 with a revenue of two hundred crowns on the ,chamber of ,naples4 ,in like manner1 when he portrayed ,philip1 ,king of ,spain1 the son of ,charles1 he received from him a fixed allowance of two hundred crowns more2 insomuch that1 adding those four hundred to the three hundred that he has on the ,fondaco de' ,tedeschi from the ,signori of ,venice1 he has without exerting himself a fixed income of seven hundred crowns every year4 ,of the same ,charles ,v and ,king ,philip ,tiziano sent portraits to the ,lord ,duke ,cosimo1 who has them in his guardaroba4 ,he portrayed ,ferdinand1 ,king of the ,romans1 who afterwards became ,emperor1 and both his sons1 ,maximilian1 now ,emperor1 and his brother4 ,he also portrayed ,queen ,maria1 and1 for the ,emperor ,charles ,v1 the ,duke of ,saxony when he was a prisoner4 ,but what a waste of time is this8 ,there has been scarce a single lord of great name1 or ,prince1 or great lady1 who has not been portrayed by ,tiziano1 a painter of truly extraordinary excellence in this field of art4 ,he painted portraits of ,king ,francis ,i of ,france1 as has been related1 ,francesco ,sforza1 ,duke of ,milan1 the ,marquis of ,pescara1 ,antonio da ,leva1 ,massimiano ,stampa1 ,signor ,giovan ,battista ,castaldo1 and other lords without number4 ,illustration3 ,,perseus ,,and ,,andromeda 7,after the painting by ,tiziano4 ,london3 ,hertford ,house7 ,mansell ,in like manner1 besides the works mentioned above1 at various times he has executed many others4 ,in ,venice1 by order of ,charles ,v1 he painted in a great altar-piece the ,triune ,god enthroned1 ,our ,lady and the ,infant ,christ1 with the ,dove over ,him1 and the ground all of fire1 signifying ,love2 and the ,father is surrounded by fiery ,cherubim4 ,on one side is the same ,charles ,v1 and on the other the ,empress1 both clothed in linen garments1 with the hands clasped in the attitude of prayer1 among many ,saints2 all which was after the command of the ,emperor1 who1 at that time at the height of his victories1 began to show that he was minded to retire from the things of this world1 as he afterwards did1 in order to die like a true ,christian1 fearing ,god and desirous of his own salvation4 ,which picture the ,emperor said to ,tiziano that he wished to place in the monastery wherein afterwards he finished the course of his life2 and since it is a very rare work1 it is expected that it may soon be published in engravings4 ,the same ,tiziano executed for ,queen ,maria a ,prometheus who is bound to ,mount ,caucasus and torn by ,jove's ,eagle1 a ,sisyphus in ,hell who is toiling under his stone1 and ,tityus devoured by the ,vulture4 ,these her ,majesty received1 excepting the ,prometheus1 and with them a ,tantalus of the same size 7namely1 that of life71 on canvas and in oils4 ,he executed1 also1 a ,venus and ,adonis that are marvellous1 she having swooned1 and the boy in the act of rising to leave her1 with some dogs about him that are very natural4 ,on a panel of the same size he represented ,andromeda bound to the rock1 and ,perseus delivering her from the ,sea-,monster1 than which picture none could be more lovely2 as is also another of ,diana1 who1 bathing in a fount with her ,nymphs1 transforms ,acton into a stag4 ,he also painted ,europa passing over the sea on the back of the ,bull4 ,all these pictures are in the possession of the ,catholic ,king1 held very dear for the vivacity that ,tiziano has given to the figures with his colours1 making them natural and as if alive4 ,illustration3 ,,philip ,,ii 7,after the painting by ,tiziano4 ,naples3 ,museo ,nazionale7 ,anderson ,it is true1 however1 that the method of work which he employed in these last pictures is no little different from the method of his youth1 for the reason that the early works are executed with a certain delicacy and a diligence that are incredible1 and they can be seen both from near and from a distance1 and these last works are executed with bold strokes and dashed off with a broad and even coarse sweep of the brush1 insomuch that from near little can be seen1 but from a distance they appear perfect4 ,this method has been the reason that many1 wishing to imitate him therein and to play the practised master1 have painted clumsy pictures2 and this happens because1 although many believe that they are done without effort1 in truth it is not so1 and they deceive themselves1 for it is known that they are painted over and over again1 and that he returned to them with his colours so many times1 that the labour may be perceived4 ,and this method1 so used1 is judicious1 beautiful1 and astonishing1 because it makes pictures appear alive and painted with great art1 but conceals the labour4 ,illustration3 ,,mary ,,magdalene 7,after the painting by ,tiziano4 ,naples3 ,museo ,nazionale7 ,anderson ,tiziano painted recently in a picture three braccia high and four braccia broad1 ,jesus ,christ as an ,infant in the lap of ,our ,lady and adored by the ,magi1 with a good number of figures of one braccio each1 which is a very lovely work1 as is also another picture that he himself copied from that one and gave to the old ,cardinal of ,ferrara4 ,another picture1 in which he depicted ,christ mocked by the ,jews1 which is most beautiful1 was placed in a chapel of the ,church of ,s4 ,maria delle ,grazie1 in ,milan4 ,for the ,queen of ,portugal he painted a picture of a ,christ scourged by ,jews at the ,column1 a little less than the size of life1 which is very beautiful4 ,for the high-altar of ,s4 ,domenico1 at ,ancona1 he painted an altar-piece with ,christ on the ,cross1 and at the foot ,our ,lady1 ,s4 ,john1 and ,s4 ,dominic1 all most beautiful1 and executed in his later manner with broad strokes1 as has just been described above4 ,and by the same hand1 in the ,church of the ,crocicchieri at ,venice1 is the picture that is on the altar of ,s4 ,lorenzo1 wherein is the martyrdom of that ,saint1 with a building full of figures1 and ,s4 ,laurence lying half upon the gridiron1 in foreshortening1 with a great fire beneath him1 and about it some who are kindling it4 ,and since he counterfeited an effect of night1 there are two servants with torches in their hands1 which throw light where the glare of the fire below the gridiron does not reach1 which is piled high and very fierce4 ,besides this1 he depicted a lightning-flash1 which1 darting from ,heaven and cleaving the clouds1 overcomes the light of the fire and that of the torches1 shining over the ,saint and the other principal figures1 and1 in addition to those three lights1 the figures that he painted in the distance at the windows of the building have the light of lamps and candles that are near them2 and all1 in short1 is executed with beautiful art1 judgment1 and genius4 ,in the ,church of ,s4 ,sebastiano1 on the altar of ,s4 ,niccol1 there is by the hand of the same ,tiziano a little altar-piece of a ,s4 ,nicholas who appears as if alive1 seated in a chair painted in the likeness of stone1 with an ,angel that is holding his mitre2 which work he executed at the commission of ,messer ,niccol ,crasso1 the advocate4 ,tiziano afterwards painted1 for sending to the ,catholic ,king1 a figure of ,s4 ,mary ,magdalene from the middle of the thighs upwards1 all dishevelled2 that is1 with the hair falling over the shoulders1 about the throat1 and over the breast1 the while that1 raising the head with the eyes fixed on ,heaven1 she reveals remorse in the redness of the eyes1 and in her tears repentance for her sins4 ,wherefore the picture moves mightily all who behold it2 and1 what is more1 although she is very beautiful1 it moves not to lust but to compassion4 ,this picture1 when it was finished1 so pleased 444 ,silvio1 a ,venetian gentleman1 that in order to have it1 being one who takes supreme delight in painting1 he gave ,tiziano a hundred crowns3 wherefore ,tiziano was forced to paint another1 which was not less beautiful1 for sending to the above-named ,catholic ,king4 ,there are also to be seen portraits from life by ,tiziano of a ,venetian citizen called ,sinistri1 who was much his friend1 and of another named ,m4 ,paolo da ,ponte1 for whom he likewise portrayed a daughter that he had at that time1 a most beautiful young woman called ,signora ,giulia da ,ponte1 a dear friend of ,tiziano2 and in like manner ,signora ,irene1 a very lovely maiden1 skilled in letters and music and a student of design1 who1 dying about seven years ago1 was celebrated by the pens of almost all the writers of ,italy4 ,he portrayed ,m4 ,francesco ,filetto1 an orator of happy memory1 and in the same picture1 before him1 his son1 who seems as if alive2 which portrait is in the house of ,messer ,matteo ,giustiniani1 a lover of these arts1 who has also had a picture painted for himself by the painter ,jacopo da ,bassano1 which is very beautiful1 as also are many other works by that ,bassano which are dispersed throughout ,venice1 and held in great price1 particularly his little works and animals of every kind4 ,tiziano portrayed ,bembo another time 7namely1 after he became a ,cardinal71 ,fracastoro1 and ,cardinal ,accolti of ,ravenna1 which last portrait ,duke ,cosimo has in his guardaroba2 and our ,danese1 the sculptor1 has in his house at ,venice a portrait by the hand of ,tiziano of a gentleman of the ,delfini family4 ,there may be seen portraits by the same hand of ,m4 ,niccol ,zono1 of ,rossa1 wife of the ,grand ,turk1 at the age of sixteen1 and of ,cameria1 her daughter1 with most beautiful dresses and adornments4 ,in the house of ,m4 ,francesco ,sonica1 an advocate and a gossip of ,tiziano1 is a portrait by his hand of that ,m4 ,francesco1 and in a large picture ,our ,lady flying to ,egypt1 who is seen to have dismounted from the ass and to have seated herself upon a stone on the road1 with ,s4 ,joseph beside her1 and a little ,s4 ,john who is offering to the ,infant ,christ some flowers picked by the hand of an ,angel from the branches of a tree that is in the middle of a wood full of animals1 where in the distance the ass stands grazing4 ,that picture1 which is full of grace1 the said gentleman has placed at the present day in a palace that he has built for himself at ,padua1 near ,s4 ,giustina4 ,in the house of a gentleman of the ,pisani family1 near ,s4 ,marco1 there is by the hand of ,tiziano the portrait of a gentlewoman1 which is a marvellous thing4 ,and having made for ,monsignor ,giovanni della ,casa1 the ,florentine1 who has been illustrious in our times both for nobility of blood and as a man of letters1 a very beautiful portrait of a gentlewoman whom that lord loved while he was in ,venice1 ,tiziano was rewarded by being honoured by him with the lovely sonnet that begins-- ,ben vegg'io1 ,tiziano1 in forme nuove ,l'idolo mio1 che i begli occhi apre e gira 7with what follows74 ,finally1 this excellent painter sent to the above-named ,catholic ,king a ,last ,supper of ,christ with the ,apostles1 in a picture seven braccia long1 which was a work of extraordinary beauty4 ,illustration3 ,,tiziano3 ,,the ,,education ,,of ,,cupid 7,rome3 ,borghese ,gallery4 ,canvas7 ,in addition to the works described and many others of less merit executed by this man1 which are omitted for the sake of brevity1 he has in his house1 sketched in and begun1 the following3 the ,martyrdom of ,s4 ,laurence1 similar to that described above1 and destined by him for sending to the ,catholic ,king2 a great canvas wherein is ,christ on the ,cross1 with the ,thieves1 and at the foot the ministers of the crucifixion1 which he is painting for ,messer ,giovanni d',anna2 and a picture which was begun for the ,doge ,grimani1 father of the ,patriarch of ,aquileia4 ,and for the ,hall of the ,great ,palace of ,brescia he has made a beginning with three large pictures that are to go in the ornamentation of the ceiling1 as has been related in speaking of ,cristofano and his brother1 painters of ,brescia4 ,he also began1 many years ago1 for ,alfonso ,i1 ,duke of ,ferrara1 a picture of a nude young woman bowing before ,minerva1 with another figure at the side1 and a sea in the centre of which1 in the distance1 is ,neptune in his car2 but through the death of that lord1 after whose fancy the work was being executed1 it was not finished1 and remained with ,tiziano4 ,he has also carried well forward1 but not finished1 a picture wherein is ,christ appearing to ,mary ,magdalene in the ,garden in the form of a gardener1 with figures the size of life2 another1 also1 of equal size1 in which the ,madonna and the other ,maries being present1 the ,dead ,christ is laid in the ,sepulchre2 likewise a picture of ,our ,lady1 which is one of the best things that are in that house1 and1 as has been told1 a portrait of himself that was finished by him four years ago1 very beautiful and natural1 and finally a ,s4 ,paul who is reading1 a half-length figure1 which has all the appearance of the real ,saint filled with the ,holy ,spirit4 ,illustration3 ,,the ,,entombment 7,after the painting by ,tiziano4 ,madrid3 ,the ,prado7 ,anderson ,all these works1 ,i say1 he has executed1 with many others that ,i omit in order not to be wearisome1 up to his present age of about seventy-six years4 ,tiziano has been very sound in health1 and as fortunate as any man of his kind has ever been2 and he has not received from ,heaven anything save favours and blessings4 ,in his house at ,venice have been all the ,princes1 men of letters and persons of distinction who have gone to that city or lived there in his time1 because1 in addition to his excellence in art1 he has shown great gentleness1 beautiful breeding1 and most courteous ways and manners4 ,he has had in ,venice some competitors1 but not of much worth1 so that he has surpassed them easily with the excellence of his art and with his power of attaching himself and making himself dear to the men of quality4 ,he has earned much1 for he has been very well paid for his works2 but it would have been well for him in these his last years not to work save as a pastime1 so as not to diminish with works of less excellence the reputation gained in his best years1 when his natural powers were not declining and drawing towards imperfection4 ,when ,vasari1 the writer of this history1 was at ,venice in the year #aeff1 he went to visit ,tiziano1 as one who was much his friend1 and found him at his painting with brushes in his hand1 although he was very old2 and he had much pleasure in seeing him and discoursing with him4 ,he made known to ,vasari ,messer ,gian ,maria ,verdezotti1 a young ,venetian gentleman full of talent1 a friend of ,tiziano and passing able in drawing and painting1 as he showed in some landscapes of great beauty drawn by him4 ,this man has by the hand of ,tiziano1 whom he loves and cherishes as a father1 two figures painted in oils within two niches1 an ,apollo and a ,diana4 ,tiziano1 then1 having adorned with excellent pictures the city of ,venice1 nay1 all ,italy and other parts of the world1 deserves to be loved and revered by the craftsmen1 and in many things to be admired and imitated1 as one who has executed and is still executing works worthy of infinite praise1 which shall endure as long as the memory of illustrious men may live4 ,illustration3 ,,paris ,,bordone3 ,,the ,,venetian ,,lovers 7,milan3 ,brera1 #aje4 ,canvas7 ,now1 although many have been with ,tiziano in order to learn1 yet the number of those who can truly be called his disciples is not great1 for the reason that he has not taught much1 and each pupil has gained more or less knowledge according as he has been able to acquire it from the works executed by ,tiziano4 ,there has been with him1 among others1 one ,giovanni1 a ,fleming1 who has been a much-extolled master in figures both small and large1 and in portraits marvellous1 as may be seen in ,naples1 where he lived some time1 and finally died4 ,by his hand--and this must do him honour for all time--were the designs of the anatomical studies that the most excellent ,andrea ,vessalio caused to be engraved and published with his work4 ,but he who has imitated ,tiziano more than any other is ,paris ,bordone1 who1 born in ,treviso from a father of ,treviso and a ,venetian mother1 was taken at the age of eight to the house of some relatives in ,venice4 ,there1 having learned his grammar and become an excellent musician1 he went to be with ,tiziano1 but he did not spend many years with him1 for he perceived that man to be not very ready to teach his young men1 although besought by them most earnestly and invited by their patience to do his duty by them2 and he resolved to leave him4 ,he was much grieved that ,giorgione should have died in those days1 whose manner pleased him vastly1 and even more his reputation for having taught well and willingly1 and with lovingness1 all that he knew2 but1 since there was nothing else to be done1 ,paris resolved in his mind that he would follow the manner of ,giorgione4 ,and so1 setting himself to labour and to counterfeit the work of that master1 he became such that he acquired very good credit2 wherefore at the age of eighteen there was allotted to him an altar-piece that was to be painted for the ,church of ,s4 ,niccol1 of the ,friars ,minors4 ,which having heard1 ,tiziano so went to work with various means and favours that he took it out of his hands1 either to prevent him from being able to display his ability so soon1 or perhaps drawn by his desire of gain4 ,afterwards ,paris was summoned to ,vicenza1 to paint a scene in fresco in the ,loggia of the ,piazza where justice is administered1 beside that of the ,judgment of ,solomon which ,tiziano had previously executed2 and he went very willingly1 and painted there a story of ,noah with his sons1 which was held to be a work passing good in diligence and in design1 and not less beautiful than that of ,tiziano1 insomuch that by those who know not the truth they are considered to be both by the same hand4 ,having returned to ,venice1 ,paris executed some nudes in fresco at the foot of the bridge of the ,rialto2 by reason of which essay he was commissioned to paint some faades of houses in ,venice4 ,being then summoned to ,treviso1 he painted there likewise some faades and other works1 and in particular many portraits1 which gave much satisfaction2 that of the ,magnificent ,m4 ,alberto ,unigo1 that of ,m4 ,marco ,seravalle1 and of ,m4 ,francesco da ,quer1 of the ,canon ,rovere1 and of ,monsignor ,alberti4 ,for the ,duomo of that city1 in an altar-piece in the centre of the church1 at the instance of the reverend ,vicar1 he painted the ,nativity of ,jesus ,christ1 and then a ,resurrection4 ,for ,s4 ,francesco he executed another altar-piece at the request of the ,chevalier ,rovere1 another for ,s4 ,girolamo1 and one for ,ognissanti1 with different heads of ,saints both male and female1 all beautiful and varied in the attitudes and in the vestments4 ,he executed another altar-piece for ,s4 ,lorenzo1 and in ,s4 ,polo he painted three chapels1 in the largest of which he depicted ,christ rising from the dead1 the size of life1 and accompanied by a great multitude of ,angels2 in the second some ,saints with many ,angels about them1 and in the third ,jesus ,christ upon a cloud1 with ,our ,lady1 who is presenting to ,him ,s4 ,dominic4 ,all these works have made him known as an able man and a lover of his city4 ,in ,venice1 where he has dwelt almost always1 he has executed many works at various times4 ,but the most beautiful1 the most remarkable and the most worthy of praise that ,paris ever painted1 was a scene in the ,scuola of ,s4 ,marco1 at ,,ss4 ,giovanni e ,polo1 wherein is the story of the fisherman presenting to the ,signoria of ,venice the ring of ,s4 ,mark1 with a very beautiful building in perspective1 about which is seated the ,senate with the ,doge2 among which ,senators are many portraits from nature1 lifelike and well painted beyond belief4 ,the beauty of this work1 executed so well and coloured in fresco1 was the reason that he began to be employed by many gentlemen4 ,thus in the great house of the ,foscari1 near ,s4 ,barnaba1 he executed many paintings and pictures1 and among them a ,christ who1 having descended to the ,limbo of ,hell1 is delivering the ,holy ,fathers2 which is held to be a work out of the ordinary4 ,for the ,church of ,s4 ,giobbe in ,canal ,reio he painted a most beautiful altar-piece1 and for ,s4 ,giovanni in ,bragola another1 and the same for ,s4 ,maria della ,celeste and for ,s4 ,marina4 ,illustration3 ,,the ,,fisherman ,,and ,,the ,,doge ,,gradenigo 7,after the painting by ,paris ,bordone4 ,venice3 ,accademia7 ,anderson ,but1 knowing that he who wishes to be employed in ,venice is obliged to endure too much servitude in paying court to one man or another1 ,paris resolved1 as a man of quiet nature and far removed from certain methods of procedure1 whenever an occasion might present itself1 to go abroad to execute such works as ,fortune might set before him1 without having to go about begging4 ,wherefore1 having made his way with a good opportunity into ,france in the year #aech1 to serve ,king ,francis1 he executed for him many portraits of ladies and other pictures with various paintings2 and at the same time he painted for ,monseigneur de ,guise a most beautiful church-picture1 and a chamber-picture of ,venus and ,cupid4 ,for the ,cardinal of ,lorraine he painted a ,christ in an ,ecce ,homo1 a ,jove with ,io1 and many other works4 ,he sent to the ,king of ,poland a picture wherein was ,jove with a ,nymph1 which was held to be a very beautiful thing4 ,and to ,flanders he sent two other most beautiful pictures1 a ,s4 ,mary ,magdalene in the ,desert accompanied by some ,angels1 and a ,diana who is bathing with her ,nymphs in a fount2 which two pictures the ,milanese ,candiano caused him to paint1 the physician of ,queen ,maria1 as presents for her ,highness4 ,at ,augsburg1 in the ,palace of the ,fugger family1 he executed many works of the greatest importance1 to the value of three thousand crowns4 ,and in the same city he painted for the ,prineri1 great men in that place1 a large picture wherein he counterfeited in perspective all the five ,orders of architecture1 which was a very beautiful work2 and another chamber-picture1 which is in the possession of the ,cardinal of ,augsburg4 ,at ,crema he has executed two altar-pieces for ,s4 ,agostino1 in one of which is portrayed ,signor ,giulio ,manfrone1 representing a ,s4 ,george1 in full armour4 ,the same master has painted many works at ,civitale di ,belluno1 which are extolled1 and in particular an altar-piece in ,s4 ,maria and another in ,s4 ,giosef1 which are very beautiful4 ,he sent to ,signor ,ottaviano ,grimaldo a portrait of him the size of life and most beautiful1 and with it another picture1 equal in size1 of a very lustful woman4 ,having then gone to ,milan1 ,paris painted for the ,church of ,s4 ,celso an altar-piece with some figures in the air1 and beneath them a very beautiful landscape1 at the instance1 so it is said1 of ,signor ,carlo da ,roma2 and for the palace of the same lord two large pictures in oils1 in one ,venus and ,mars under ,vulcan's net1 and in the other ,king ,david seeing ,bathsheba being bathed by her serving-women in the fount2 and also the portrait of that lord and that of ,signora ,paola ,visconti1 his consort1 and some pieces of landscape not very large1 but most beautiful4 ,at this same time he painted many of ,ovid's ,fables for the ,marchese d',astorga1 who took them with him to ,spain2 and for ,signor ,tommaso ,marini1 likewise1 he painted many things of which there is no need to make mention4 ,illustration3 ,,portrait ,,of ,a ,,lady 7,after the painting by ,paris ,bordone4 ,london3 ,national ,gallery1 ,no4 #fgd7 ,m4,s4 ,and this much it must suffice to have said of ,paris1 who1 being seventy-five years of age1 lives quietly at home with his comforts1 and works for pleasure at the request of certain ,princes and others his friends1 avoiding rivalries and certain vain ambitions1 lest he should suffer some hurt and have his supreme tranquillity and peace disturbed by those who walk not1 as he says1 in truth1 but by dubious ways1 malignantly and without charity2 whereas he is accustomed to live simply and by a certain natural goodness1 and knows nothing of subtleties or astuteness in his life4 ,he has executed recently a most beautiful picture for the ,duchess of ,savoy1 of a ,venus and ,cupid that are sleeping1 guarded by a servant2 all executed so well1 that it is not possible to praise them enough4 ,illustration3 ,,vision ,,of ,,the ,,apocalypse 7,after the mosaic by ,zuccati4 ,venice3 ,s4 ,marco7 ,anderson ,but here ,i must not omit to say that a kind of painting which is almost discontinued in every other place1 namely1 mosaic1 is kept alive by the most ,serene ,senate of ,venice4 ,of this the benign and as it were the principal reason has been ,tiziano1 who1 so far as it has lain in him1 has always taken pains that it should be practised in ,venice1 and has caused honourable salaries to be given to those who have worked at it4 ,wherefore various works have been executed in the ,church of ,s4 ,marco1 all the old works have been almost renewed1 and this sort of painting has been carried to such a height of excellence as is possible1 and to a different condition from that in which it was in ,florence and ,rome at the time of ,giotto1 ,alesso ,baldovinetti1 the ,ghirlandajo family1 and the miniaturist ,gherardo4 ,and all that has been done in ,venice has come from the design of ,tiziano and other excellent painters1 who have made drawings and coloured cartoons to the end that the works might be carried to such perfection as may be seen in those of the portico of ,s4 ,marco1 where in a very beautiful niche there is a ,judgment of ,solomon so lovely1 that in truth it would not be possible to do more with colours4 ,in the same place is the genealogical tree of ,our ,lady by the hand of ,lodovico ,rosso1 all full of ,sibyls and ,prophets executed in a delicate manner and put together very well1 with a relief that is passing good4 ,but none have worked better in this art in our times than ,valerio and ,vincenzio ,zuccheri#i of ,treviso1 by whose hands are stories many and various that may be seen in ,s4 ,marco1 and in particular that of the ,apocalypse1 wherein around the ,throne of ,god are the ,four ,evangelists in the form of animals1 the ,seven ,candlesticks1 and many other things executed so well1 that1 looking at them from below1 they appear as if done in oil-colours with the brush2 besides that there may be seen in their hands and about them little pictures full of figures executed with the greatest diligence1 insomuch that they have the appearance not of paintings only1 but of miniatures1 and yet they are made of stones joined together4 ,there are also many portraits2 the ,emperor ,charles ,v1 ,ferdinand his brother1 who succeeded him in the ,empire1 and ,maximilian1 son of ,ferdinand and now ,emperor2 likewise the head of the most illustrious ,cardinal ,bembo1 the glory of our age1 and that of the ,magnificent 4442 all executed with such diligence and unity1 and so well harmonized in the lights1 flesh-colours1 tints1 shadows1 and every other thing1 that there is nothing better to be seen1 nor any more beautiful work in a similar material4 ,and it is in truth a great pity that this most excellent art of working in mosaic1 with its beauty and everlasting life1 is not more in use than it is1 and that1 by the fault of the ,princes who have the power1 no attention is given to it4 ,footnote #i3 ,zuccati4 ,in addition to those named above1 there has worked in mosaic at ,s4 ,marco1 in competition with the ,zuccheri1 one ,bartolommeo ,bozzato1 who also has acquitted himself in his works in such a manner as to deserve undying praise4 ,but that which has been of the greatest assistance to all in this art1 is the presence and advice of ,tiziano2 of whom1 besides the men already named and many more1 another disciple1 helping him in many works1 has been one ,girolamo1 whom ,i know by no other name than ,girolamo di ,tiziano4 ,,jacopo ,,sansovino ,,description ,,of ,,the ,,works ,,of ,,jacopo ,,sansovino#aj ,,sculptor ,,of ,,florence ,footnote #aj3 ,after the death of ,jacopo ,sansovino in #aegj1 ,vasari published a separate ,life of him1 containing an account of his death and other additional information4 ,such passages as contain information that is new or expressed differently from that of the ,edition of #aefh will be found in the notes at the end of this ,life4 ,the while that ,andrea ,contucci1 the sculptor of ,monte ,sansovino1 having already acquired in ,italy and ,spain the name of the most excellent sculptor and architect that there was in art after ,buonarroti1 was living in ,florence in order to execute the two figures of marble that were to be placed over that door of the ,temple of ,s4 ,giovanni which faces towards the ,misericordia1 a young man was entrusted to him to be taught the art of sculpture1 the son of ,antonio di ,jacopo ,tatti1 whom ,nature had endowed with a great genius1 so that he gave much grace to the things that he did in relief4 ,whereupon ,andrea1 having recognized how excellent in sculpture the young man was destined to become1 did not fail to teach him with all possible care all those things which might make him known as his disciple4 ,and so1 loving him very dearly1 and doing his best for him with much affection1 and being loved by the young man with equal tenderness1 people judged that the pupil would not only become as excellent as his master1 but would by a great measure surpass him4 ,and such were the reciprocal friendliness and love between these two1 as it were between father and son1 that ,jacopo in those early years began to be called no longer ,tatti1 but ,sansovino1 and so he has always been1 and always will be4 ,now1 ,jacopo beginning to exercise his hand1 he was so assisted by ,nature in the things that he did1 that1 although at times he did not use much study and diligence in his work1 nevertheless in what he did there could be seen facility1 sweetness1 grace1 and a certain delicacy very pleasing to the eyes of craftsmen1 insomuch that his every sketch1 rough study1 and model has always had a movement and a boldness that ,nature is wont to give to but few sculptors4 ,moreover1 the friendship and intercourse that ,andrea del ,sarto and ,jacopo ,sansovino had with each other in their childhood1 and then in their youth1 assisted not a little both the one and the other1 for they followed the same manner in design and had the same grace in execution1 one in painting and the other in sculpture1 and1 conferring together on the problems of art1 and ,jacopo making models of figures for ,andrea1 they gave one another very great assistance4 ,and that this is true a proof is that in the altar-piece of ,s4 ,francesco1 belonging to the ,nuns of the ,via ,pentolini1 there is a ,s4 ,john the ,evangelist which was copied from a most beautiful model in clay that ,sansovino made in those days in competition with ,baccio da ,montelupo2 for the ,guild of ,por ,santa ,maria wished to have a bronze statue of four braccia made for a niche at the corner of ,orsanmichele1 opposite to the ,wool-,shearers1 for which ,jacopo made a more beautiful model in clay than ,baccio1 but nevertheless it was allotted to ,montelupo1 from his being an older master1 rather than to ,sansovino1 although his work1 young as he was1 was the better4 ,that model1 which is a very beautiful thing1 is now in the possession of the heirs of ,nanni ,unghero2 for which ,nanni1 being then his friend1 ,sansovino made some models of large boys in clay1 and the model for a figure of ,s4 ,nicholas of ,tolentino1 which were all executed of the size of life in wood1 with the assistance of ,sansovino1 and placed in the ,chapel of that ,saint in the ,church of ,s4 ,spirito4 ,becoming known for these reasons to all the craftsmen of ,florence1 and being considered a young man of fine parts and excellent character1 ,jacopo was invited by ,giuliano da ,san ,gallo1 architect to ,pope ,julius ,,ii1 to ,rome1 vastly to his satisfaction2 and then1 taking extraordinary pleasure in the ancient statues that are in the ,belvedere1 he set himself to draw them4 ,whereupon ,bramante1 who was likewise architect to ,pope ,julius1 holding the first place at that time and dwelling in the ,belvedere1 having seen some drawings by this young man1 and a nude recumbent figure of clay in full-relief1 holding a vessel to contain ink1 which he had made1 liked them so much that he took him under his protection and ordered him that he should make a large copy in wax of the ,laocoon1 which he was having copied also by others1 in order to take a cast in bronze--namely1 by ,zaccheria ,zacchi of ,volterra1 the ,spaniard ,alonzo ,berughetta1 and ,vecchio of ,bologna4 ,these1 when all were finished1 ,bramante caused to be seen by ,raffaello ,sanzio of ,urbino1 in order to learn which of the four had acquitted himself best2 whereupon it was judged by ,raffaello that ,sansovino1 young as he was1 had surpassed the others by a great measure4 ,then1 by the advice of ,cardinal ,domenico ,grimani1 orders were given to ,bramante that he should have ,jacopo's copy cast in bronze2 and so the mould was made1 and the work1 being cast in metal1 came out very well4 ,and afterwards1 having been polished1 it was given to the ,cardinal1 who held it as long as he lived not less dear than if it had been the antique2 and when he came to die1 he left it as a very rare thing to the most ,serene ,signoria of ,venice1 which1 after having kept it many years in the press of the ,hall of the ,council of ,ten1 finally in the year #aecd presented it to the ,cardinal of ,lorraine1 who took it to ,france4 ,illustration3 ,s4 ,,james 7,after ,jacopo ,sansovino4 ,florence3 ,duomo7 ,alinari ,while ,sansovino was acquiring greater fame every day in ,rome with his studies in art1 being held in much consideration1 ,giuliano da ,san ,gallo1 who had been keeping him in his house in the ,borgo ,vecchio1 fell ill2 and when he departed from ,rome in a litter1 in order to go to ,florence for a change of air1 a room was found for ,jacopo by ,bramante1 likewise in the ,borgo ,vecchio1 in the ,palace of ,domenico della ,rovere1 ,cardinal of ,san ,clemente1 where ,pietro ,perugino was also dwelling1 who at that time was painting for ,pope ,julius the vaulting of the chamber in the ,borgia ,tower4 ,whereupon ,pietro1 having seen the beautiful manner of ,sansovino1 caused him to make many models in wax for himself1 and among them a ,christ taken down from the ,cross in the round1 with many ladders and figures1 which was a very beautiful thing4 ,this and other things of the same sort1 and models of various fantasies1 were all collected afterwards by ,m4 ,giovanni ,gaddi1 and they are now in his house on the ,piazza di ,madonna in ,florence4 ,and these works were the reason that ,sansovino became very intimately associated with ,maestro ,luca ,signorelli1 the painter of ,cortona1 with ,bramantino da ,milano1 with ,bernardino ,pinturicchio1 with ,cesare ,cesariano1 who was in repute at that time for his commentaries on ,vitruvius1 and with many other famous and beautiful intellects of that age4 ,bramante1 then1 desiring that ,sansovino should become known to ,pope ,julius1 arranged to have some antiques restored by him2 whereupon ,jacopo1 setting to work1 displayed such diligence and so much grace in restoring them1 that the ,pope and all who saw them judged that nothing better could be done4 ,these praises so spurred ,sansovino to surpass himself1 that1 having given himself beyond measure to his studies1 and being1 also1 somewhat delicate in constitution and suffering from some excess such as young men commit1 he became so ill that he was forced for the sake of his life to return to ,florence1 where1 profiting by his native air1 by the advantage of his youth1 and by the diligence and care of the physicians1 in a short time he completely recovered4 ,now ,messer ,piero ,pitti was arranging at that time to have a ,madonna of marble made for that faade of the ,mercato ,nuovo in ,florence where the clock is1 and it appeared to him1 since there were in ,florence many young men of ability and also old masters1 that the work should be given to that one among them who might make the best model4 ,whereupon one was given to ,baccio da ,montelupo to execute1 one to ,zaccheria ,zacchi of ,volterra1 who had likewise returned to ,florence the same year1 another to ,baccio ,bandinelli1 and yet another to ,sansovino2 and when these were placed in comparison1 the honour and the work were given by ,lorenzo di ,credi1 an excellent painter and a person of judgment and probity1 and likewise by the other judges1 craftsmen1 and connoisseurs1 to ,sansovino4 ,but1 although the work was therefore allotted to him1 nevertheless so much delay was caused in procuring and conveying the marble for him1 by the envious machinations of ,averardo da ,filicaia1 who greatly favoured ,bandinelli and hated ,sansovino1 that he was ordered by certain other citizens1 having perceived that delay1 to make one of the large ,apostles in marble that were going into the ,church of ,s4 ,maria del ,fiore4 ,wherefore1 having made the model of a ,s4 ,james 7which model1 when the work was finished1 came into the possession of ,messer ,bindo ,altoviti71 he began that figure and1 continuing to work at it with all diligence and study1 he carried it to completion so perfectly1 that it is a miraculous figure and shows in all its parts that it was wrought with incredible study and care1 the draperies1 arms1 and hands being undercut and executed with such art and such grace1 that there is nothing better in marble to be seen4 ,thus1 ,sansovino showed in what way undercut draperies should be executed1 having made these so delicate and so natural1 that in some places he reduced the marble to the thickness that is seen in real folds and in the edges and hems of the borders of draperies2 a difficult method1 and one demanding much time and patience if you wish that it should so succeed as to display the perfection of art4 ,that figure remained in the ,office of ,works from the time when it was finished by ,sansovino until the year #aefe1 at which time1 in the month of ,december1 it was placed in the ,church of ,s4 ,maria del ,fiore to do honour to the coming of ,queen ,joanna of ,austria1 the wife of ,don ,francesco de' ,medici1 ,prince of ,florence and ,siena4 ,and there it is kept as a very rare work1 together with the other ,apostles1 likewise in marble1 executed in competition by other craftsmen1 as has been related in their ,lives4 ,illustration3 ,,bacchus 7,after ,jacopo ,sansovino4 ,florence3 ,museo ,nazionale7 ,alinari ,at this same time he made for ,messer ,giovanni ,gaddi a ,venus of marble on a shell1 of great beauty1 as was also the model1 which was in the house of ,messer ,francesco ,montevarchi1 a friend of these arts1 but came to an evil end in the inundation of the ,river ,arno in the year #aeeh4 ,he also made a boy of tow and a swan as beautiful as could be1 of marble1 for the same ,m4 ,giovanni ,gaddi1 together with many other things1 which are all in his house4 ,for ,messer ,bindo ,altoviti he had a chimney-piece of great cost made1 all in grey-stone carved by ,benedetto da ,rovezzano1 which was placed in his house in ,florence1 and ,messer ,bindo caused ,sansovino to make a scene with little figures for placing in the frieze of that chimney-piece1 with ,vulcan and other ,gods1 which was a very rare work2 but much more beautiful are two boys of marble that were above the crown of the chimney-piece1 holding some arms of the ,altoviti in their hands1 which have been removed by ,signor ,don ,luigi di ,toledo1 who inhabits the house of the above-named ,messer ,bindo1 and placed about a fountain in his garden1 behind the ,servite ,friars1 in ,florence4 ,two other boys of extraordinary beauty1 also of marble and by the same hand1 who are likewise holding an escutcheon1 are in the house of ,giovan ,francesco ,ridolfi4 ,all these works caused ,sansovino to be held by the men of art and by all ,florence to be a most excellent and gracious master2 on which account ,giovanni ,bartolini1 having caused a house to be built in his garden of ,gualfonda1 desired that ,sansovino should make for him a young ,bacchus in marble1 of the size of life4 ,whereupon the model for this was made by ,sansovino1 and it pleased ,giovanni so much1 that he had him supplied with the marble1 and ,jacopo began it with such eagerness1 that his hands and brain flew as he worked4 ,this work1 ,i say1 he studied in such a manner1 in order to make it perfect1 that he set himself to portray from the life1 although it was winter1 an assistant of his called ,pippo del ,fabbro1 making him stand naked a good part of the day4 ,which ,pippo would have become a capable craftsman1 for he was striving with every effort to imitate his master2 but1 whether it was the standing naked with the head uncovered at that season1 or that he studied too much and suffered hardships1 before the ,bacchus was finished he went mad1 copying the attitudes of that figure4 ,and this he showed one day that it was raining in torrents1 when1 ,sansovino calling out ,pippo6 and he not answering1 the master afterwards saw him mounted on the summit of a chimney on the roof1 wholly naked and striking the attitude of his ,bacchus4 ,at other times1 taking a sheet or other large piece of cloth1 and wetting it1 he would wrap it round his naked body1 as if he were a model of clay or rags1 and arrange the folds2 and then1 climbing up to some extraordinary place1 and settling himself now in one attitude and now in another1 as a ,prophet1 an ,apostle1 a soldier1 or something else1 he would have himself portrayed1 standing thus for a period of two hours without speaking1 not otherwise than as if he had been a motionless statue4 ,many other amusing follies of that kind poor ,pippo played1 but above all he was never able to forget the ,bacchus that ,sansovino had made1 save only when he died1 a few years afterwards4 ,illustration3 ,,mars ,,and ,,neptune 7,after ,jacopo ,sansovino4 ,venice3 ,ducal ,palace7 ,alinari ,but to return to the statue2 when it was carried to completion1 it was held to be the most beautiful work that had ever been executed by a modern master1 seeing that in it ,sansovino overcame a difficulty never yet attempted1 in making an arm raised in the air and detached on every side1 which holds between the fingers a cup all cut out of the same marble with such delicacy1 that the attachment is very slight1 besides which the attitude is so well conceived and balanced on every side1 and the legs and arms are so beautiful and so well proportioned and attached to the trunk1 that to the eye and to the touch the whole seems much more like living flesh2 insomuch that the fame that it has from all who see it is well deserved1 and even more4 ,this work1 ,i say1 when finished1 while ,giovanni was alive1 was visited in that courtyard in the ,gualfonda by everyone1 native and stranger alike1 and much extolled4 ,but afterwards1 ,giovanni being dead1 his brother ,gherardo ,bartolini presented it to ,duke ,cosimo1 who keeps it as a rare thing in his apartments1 together with other most beautiful statues of marble that he possesses4 ,for the same ,giovanni ,sansovino made a very beautiful ,crucifix of wood1 which is in their house in company with many works by the ancients and by the hand of ,michelagnolo4 ,in the year #aead1 when festive preparations of great richness were to be made in ,florence for the coming of ,pope ,leo ,x1 orders were given by the ,signoria and by ,giuliano de' ,medici that many triumphal arches of wood should be made in various parts of the city4 ,whereupon ,sansovino not only executed the designs for many of these1 but himself undertook in company with ,andrea del ,sarto to construct the faade of ,s4 ,maria del ,fiore all of wood1 with statues1 scenes1 and architectural orders1 exactly in the manner wherein it would be well for it to be in order to remove all that there is in it of the ,german order of composition4 ,having therefore set his hand to this 7to say nothing in this place of the awning of cloth that used to cover the ,piazza of ,s4 ,maria del ,fiore and that of ,s4 ,giovanni for the festival of ,s4 ,john and for others of the greatest solemnity1 since we have spoken sufficiently of this in another place71 beneath that awning1 ,i say1 ,sansovino constructed the said faade in the ,corinthian ,order1 making it in the manner of a triumphal arch1 and placing upon an immense base double columns on each side1 and between them certain great niches filled with figures in the round that represented the ,apostles4 ,above these were some large scenes in half-relief1 made in the likeness of bronze1 with stories from the ,old ,testament1 some of which are still to be seen in the house of the ,lanfredini on the bank of the ,arno2 and over them followed architraves1 friezes1 and cornices1 projecting outwards1 and then frontispieces of great beauty and variety2 and in the angles of the arches1 both in the wide parts and below1 were stories painted in chiaroscuro by the hand of ,andrea del ,sarto1 and very beautiful4 ,in short1 this work of ,sansovino's was such that ,pope ,leo1 seeing it1 said that it was a pity that the real faade of that temple was not so built1 which was begun by the ,german ,arnolfo4 ,the same ,sansovino made among these festive preparations for the coming of ,leo ,x1 besides the said faade1 a horse in the round all of clay and shearings of woollen cloth1 in the act of rearing1 and under it a figure of nine braccia1 upon a pedestal of masonry4 ,which work was executed with such spirit and force1 that it pleased ,pope ,leo and was much extolled by him2 wherefore ,sansovino was taken by ,jacopo ,salviati to kiss the feet of the ,pope1 who showed him many marks of affection4 ,the ,pope departed from ,florence1 and had a conference at ,bologna with ,king ,francis ,i of ,france2 and then he resolved to return to ,florence4 ,whereupon orders were given to ,sansovino that he should make a triumphal arch at the ,porta ,s4 ,gallo1 and he1 not falling back in any way from his own standard1 executed it similar to the other works that he had done--namely1 beautiful to a marvel1 and full of statues and painted pictures wrought excellently well4 ,his ,holiness having then determined that the faade of ,s4 ,lorenzo should be executed in marble1 the while that ,raffaello da ,urbino and ,buonarroti were expected from ,rome1 ,sansovino1 by order of the ,pope1 made a design for it2 which giving much satisfaction1 ,baccio d',agnolo was commissioned to make a model of it in wood1 which proved very beautiful4 ,meanwhile1 ,buonarroti had made another1 and he and ,sansovino were ordered to go to ,pietrasanta2 where1 finding much marble1 but difficult to transport1 they lost so much time1 that when they returned to ,florence they found the ,pope departed for ,rome4 ,whereupon1 both following after him with their models1 each by himself1 ,jacopo arrived at the very moment when ,buonarroti's model was being shown to his ,holiness in the ,torre ,borgia2 but he did not succeed in obtaining what he hoped1 because1 whereas he believed that he would at least make under ,michelagnolo part of the statues that were going into that work1 the ,pope having spoken of it to him and ,michelagnolo having given him so to understand1 he perceived on arriving in ,rome that ,buonarroti wished to be alone in the work4 ,nevertheless1 having made his way to ,rome and not wishing to return to ,florence without any result1 he resolved to remain in ,rome and there give his attention to sculpture and architecture4 ,and so1 having undertaken to execute for the ,florentine ,giovan ,francesco ,martelli a ,madonna in marble larger than life1 he made her most beautiful1 with the ,child in her arms2 and this was placed upon an altar within the principal door of ,s4 ,agostino1 on the right hand as one enters4 ,the clay model of this statue he presented to the ,priore de' ,salviati1 in ,rome1 who placed it in a chapel in his palace on the corner of the ,piazza di ,s4 ,pietro1 at the beginning of the ,borgo ,nuovo4 ,after no long lapse of time he made for the altar of the chapel that the very reverend ,cardinal ,alborense had caused to be built in the ,church of the ,spaniards in ,rome1 a statue in marble of four braccia1 worthy of no ordinary measure of praise1 of a ,s4 ,james1 which has a movement full of grace and is executed with judgment and perfect art1 so that it won him very great fame4 ,and the while that he was executing these statues1 he made the ground-plan and model1 and then began the building1 of the ,church of ,s4 ,marcello for the ,servite ,friars1 a work of truly great beauty4 ,continuing to be employed in matters of architecture1 he built for ,messer ,marco ,coscia a very beautiful loggia on the road that leads to ,rome1 at ,pontemolle on the ,via ,appia4#aa ,for the ,company of the ,crocifisso1 attached to the ,church of ,s4 ,marcello1 he made a ,crucifix for carrying in procession1 a thing full of grace2 and for ,cardinal ,antonio di ,monte he began a great fabric at his villa without ,rome1 on the ,acqua ,vergine4 ,and by the hand of ,jacopo1 perhaps1 is a very beautiful portrait in marble of that elder ,cardinal di ,monte which is now in the ,palace of ,signor ,fabiano at ,monte ,sansovino1 over the door of the principal chamber off the hall4 ,he directed1 also1 the building of the house of ,messer ,luigi ,leoni1 a most commodious edifice1 and in the ,banchi a palace beside the house of the ,gaddi1 which was bought afterwards by ,filippo ,strozzi--certainly a commodious and most beautiful fabric1 with many ornaments4 ,footnote #aa3 ,via ,flaminia4 ,at this time1 with the favour of ,pope ,leo1 the ,florentine colony had bestirred itself out of emulation of the ,germans1 ,spaniards1 and ,frenchmen1 who had either begun or finished the churches of their colonies in ,rome1 and had begun to perform their solemn offices in those already built and adorned2 and the ,florentines had sought leave likewise to build a church for themselves4 ,for which the ,pope having given instructions to ,lodovico ,capponi1 the ,consul of the ,florentine colony at that time1 it was determined that behind the ,banchi1 at the beginning of the ,strada ,giulia1 on the bank of the ,tiber1 an immense church should be built1 to be dedicated to ,s4 ,john the ,baptist2 which might surpass in magnificence1 grandeur1 cost1 ornamentation1 and design1 the churches of all the other colonies4 ,there competed1 then1 in making designs for this work1 ,raffaello da ,urbino1 ,antonio da ,san ,gallo1 ,baldassarre da ,siena1 and ,sansovino2 and the ,pope1 when he had seen all their designs1 extolled as the best that of ,sansovino1 because1 besides other things1 he had made at each of the four corners of that church a tribune1 and a larger tribune in the centre1 after the likeness of the plan that ,sebastiano ,serlio placed in his second book on ,architecture4 ,whereupon1 all the heads of the ,florentine colony concurring with the will of the ,pope1 with much approval of ,sansovino1 the foundations were begun for a part of that church1 altogether twenty-two canne#ab in length4 ,but1 there being not enough space1 and yet wishing to make the faade of the church in line with the houses of the ,strada ,giulia1 they were obliged to stretch out into the stream of the ,tiber at least fifteen canne2 which pleasing many of them1 because the grandeur as well as the cost was increased by making the foundations in the river1 work was begun on this1 and they spent upon it more than forty thousand crowns1 which would have been enough to build half the masonry of the church4 ,footnote #ab3 ,a canna is equal to about four braccia4 ,in the meantime ,sansovino1 who was the head of this fabric1 while the foundations were being laid little by little1 had a fall and suffered a serious injury2 and after a few days he had himself carried to ,florence for treatment1 leaving the charge of laying the rest of the foundations1 as has been related1 to ,antonio da ,san ,gallo4 ,but no long time passed before the ,florentine colony1 having lost by the death of ,leo so great a support and so splendid a ,prince1 abandoned the building for the duration of the life of ,pope ,adrian ,,vi4 ,then1 ,clement having been elected1 it was ordained1 in order to pursue the same order and design1 that ,sansovino should return and carry on that fabric in the same manner wherein he had first arranged it2 and so a beginning was made once more with the work4 ,meanwhile1 ,sansovino undertook to make the tomb of the ,cardinal of ,arragon and that of ,cardinal ,aginense2 and he had caused work to be begun on the marbles for the ornaments1 and had made many models for the figures1 and already ,rome was in his hands1 and he was executing many works of the greatest importance for all those lords1 when ,god1 in order to chastise that city and abate the pride of the inhabitants of ,rome1 permitted that ,bourbon should come with his army on the #fth of ,may1 #aebg1 and that the whole city should be sacked and put to fire and sword4 ,in that ruin1 besides many other beautiful intellects that came to an evil end1 ,sansovino was forced to his great loss to depart from ,rome and to fly to ,venice1 intending from there to pass into ,france to enter the service of the ,king1 whither he had been already invited4 ,but1 halting in that city in order to make himself ready and provide himself with many things1 for he was despoiled of everything1 it was announced to the ,prince ,andrea ,gritti1 who was much the friend of every talent1 that ,jacopo ,sansovino was there4 ,whereupon there came to ,gritti a desire to speak with him1 because at that very time ,cardinal ,domenico ,grimani had given him to understand that ,sansovino would have been the man for the cupolas of ,s4 ,marco1 their principal church1 which1 because of age and of weak foundations1 and also from their being badly secured with chains1 were all opening out and threatening to fall2 and so he had him summoned4 ,after many courtesies and long discussions1 he said to ,sansovino that he wished1 or rather1 prayed him1 that he should find a remedy for the ruin of those tribunes2 which ,sansovino promised to do1 and to put it right4 ,and so1 having agreed to do the work1 he caused it to be taken in hand2 and1 having contrived all the scaffoldings in the interior and made supports of beams after the manner of stars1 he propped in the central hollow of woodwork all the timbers that sustained the vault of each tribune1 and encircled them on the inner side with curtains of woodwork1 going on then to bind them on the outer side with chains of iron1 to flank them with new walls1 and to make at the foot new foundations for the piers that supported them1 insomuch that he strengthened them vastly and made them for ever secure4 ,by doing which he caused all ,venice to marvel1 and not only satisfied ,gritti1 but also--which was far more--rendered his ability so clearly manifest to that most illustrious ,senate1 that when the work was finished1 the ,protomaster to the ,lords ,procurators of ,s4 ,mark being dead1 which is the highest office that those lords give to their architects and engineers1 they gave it to him with the usual house and a passing handsome salary4 ,whereupon ,sansovino1 having accepted it most willingly and freed his mind of all doubt1 became the head of all their fabrics1 with honour and advantage for himself4 ,illustration3 ,,the ,,library ,,of ,s4 ,,marco 7,after ,jacopo ,sansovino4 ,venice7 ,alinari ,first1 then1 he erected the public building of the ,mint1 which he designed and distributed in the interior with so much order and method1 for the convenience and service of the many artificers1 that in no place is there a ,treasury ordered so well or with greater strength than that one1 which he adorned altogether in the ,rustic ,order1 very beautifully2 which method1 not having been used before in ,venice1 caused no little marvel in the men of that city4 ,wherefore1 having recognized that the genius of ,sansovino was equal to their every need in the service of the city1 they caused him to attend for many years to the fortifications of their ,state4 ,nor did any long time pass before he took in hand1 by order of the ,council of ,ten1 the very rich and beautiful fabric of the ,library of ,s4 ,marco1 opposite to the ,palazzo della ,signoria1 with such a wealth of carvings1 cornices1 columns1 capitals1 and half-length figures over the whole work1 that it is a marvel2 and it is all done without any sparing of expense1 so that up to the present day it has cost one hundred and fifty thousand ducats4 ,and it is held in great estimation in that city1 because it is full of the richest pavements1 stucco-work1 and stories1 distributed among the halls of the building1 with public stairs adorned by various pictures1 as has been related in the ,life of ,battista ,franco2 besides many other beautiful appurtenances1 and the rich ornaments that it has at the principal door of entrance1 which give it majesty and grandeur1 making manifest the ability of ,sansovino4 ,this method of building was the reason that in that city1 into which up to that time there had never entered any method save that of making their houses and palaces with the same order1 each one always continuing the same things with the same measure and ancient use1 without varying according to the sites as they found them or according to convenience--this1 ,i say1 was the reason that buildings both public and private began to be erected with new designs and better order4 ,the first palace that he built was that of ,m4 ,giorgio ,cornaro1 a most beautiful work1 erected with all proper appurtenances and ornaments at a cost of seventy thousand crowns4 ,moved by which1 a gentleman of the ,delfino family caused ,sansovino to build a smaller one1 at a cost of thirty thousand crowns1 which was much extolled and very beautiful4 ,then he built that of ,moro1 at a cost of twenty thousand crowns1 which likewise was much extolled2 and afterwards many others of less cost in the city and the neighbourhood4 ,wherefore it may be said that at the present day that magnificent city1 in the quantity and quality of her sumptuous and well-conceived edifices1 shines resplendent and is in that respect what she is through the ability1 industry1 and art of ,jacopo ,sansovino1 who therefore deserves the highest praise2 seeing that with those works he has been the reason that the gentlemen of ,venice have introduced modern architecture into their city1 in that not only has that been done there which has passed through his hands1 but also many--nay1 innumerable--other works which have been executed by other masters1 who have gone to live there and have achieved magnificent things4 ,jacopo also built the fabric of the loggia in the ,piazza di ,s4 ,marco1 in the ,corinthian ,order1 which is at the foot of the ,campanile of the said ,s4 ,marco1 with a very rich ornamentation of columns1 and four niches1 in which are four figures the size of life and in bronze1 of supreme beauty4 ,and that work formed1 as it were1 a base of great beauty to the said campanile1 which at the foot has a breadth1 on one of the sides1 of thirty-five feet1 which is about the extent of ,sansovino's ornamentation2 and a height from the ground to the cornice1 where are the windows of the bells1 of one hundred and sixty feet4 ,from the level of that cornice to the other above it1 where there is the corridor1 is twenty-five feet1 and the other dado above is twenty-eight feet and a half high2 and from that level of the corridor to the pyramid1 spire1 or pinnacle1 whatever it may be called1 is sixty feet4 ,at the summit of that pinnacle the little square1 upon which stands the ,angel1 is six feet high1 and the said ,angel1 which revolves1 is ten feet high2 insomuch that the whole height comes to be two hundred and ninety-two feet4 ,he also designed and executed for the ,scuola1 or rather1 ,confraternity and ,company of the ,misericordia1 the fabric of that place1 an immense building which cost one hundred and fifty thousand crowns2 and he rebuilt the ,church of ,s4 ,francesco della ,vigna1 where the ,frati de' ,zoccoli have their seat1 a vast work and of much importance4 ,illustration3 ,,loggetta 7,after ,jacopo ,sansovino4 ,venice3 ,piazza di ,s4 ,marco7 ,anderson ,nor for all this1 the while that he has been giving his attention to so many buildings1 has he ever ceased from executing every day for his own delight great and beautiful works of sculpture1 in marble and in bronze2 and over the holy-water font of the ,friars of the ,c ,grande there is a statue executed in marble by his hand1 representing a ,s4 ,john the ,baptist1 very beautiful and much extolled4 ,at ,padua1 in the ,chapel of the ,santo1 there is a large scene in marble by the same hand1 with very beautiful figures in half-relief1 of a miracle of ,s4 ,anthony of ,padua2 which scene is much esteemed in that place4 ,for the entrance of the stairs of the ,palace of ,s4 ,marco he is even now executing in marble1 in the form of two most beautiful giants1 each of seven braccia1 a ,neptune and a ,mars1 signifying the power that is exercised both on land and on sea by that most illustrious ,republic4 ,he made a very beautiful statue of a ,hercules for the ,duke of ,ferrara2 and for the ,church of ,s4 ,marco he executed four scenes of bronze in half-relief1 one braccio in height and one and a half in length1 for placing around a pulpit1 and containing stories of that ,evangelist1 which are held in great estimation for their variety4 ,over the door of the same ,s4 ,marco he has made a ,madonna of marble1 the size of life1 which is held to be a very beautiful thing1 and at the entrance of the sacristy in that place there is by his hand the door of bronze1 divided into two most beautiful parts1 with stories of ,jesus ,christ all in half-relief and wrought excellently well2 and over the door of the ,arsenal he has made a very lovely ,madonna of marble1 who is holding her ,son in her arms4 ,all which works not only have given lustre and adornment to that ,republic1 but also have caused ,sansovino to become daily more known as a most excellent craftsman1 and to be loved by those ,signori and honoured by their magnificent liberality1 and likewise by the other craftsmen2 for every work of sculpture and architecture that has been executed in that city in his time has been referred to him4 ,and in truth the excellence of ,jacopo has well deserved to be held in the first rank in that city among the craftsmen of design1 and his genius is rightly loved and revered by all men1 both nobles and plebeians1 for the reason that1 besides other things1 he has brought it about1 as has been said1 with his knowledge and judgment1 that that city has been almost entirely made new and has learned the true and good manner of building4 ,but1 if she has received from him beauty and adornment1 he1 on the other hand1 has received many benefits from her4 ,thus1 in addition to other things1 he has lived in her1 from the time when he first went there to the age of seventy-eight years1 full of health and strength2 and the air and that sky have done so much for him1 that he does not seem1 one might say1 more than forty4 ,he has had1 and still has1 from a most talented son--a man of letters--two grandchildren1 one male and the other female1 both of them pictures of health and beauty1 to his supreme contentment2 and1 what is more1 he is still alive1 full of happiness and with all the greatest conveniences and comforts that any man of his profession could have4 ,he has always loved his brother-craftsmen1 and in particular he has been very much the friend of the excellent and famous ,tiziano1 as he also was of ,m4 ,pietro ,aretino during his lifetime4 ,for all these reasons ,i have judged it well to make this honourable record of him1 although he is still living1 and particularly because now he is by way of doing little in sculpture4 ,sansovino had many disciples in ,florence3 ,niccol1 called ,tribolo1 as has been related1 and ,solosmeo da ,settignano1 who finished with the exception of the large figures the whole of the tomb in marble that is at ,monte ,casino1 wherein is the body of ,piero de' ,medici1 who was drowned in the ,river ,garigliano4 ,his disciple1 likewise1 was ,girolamo da ,ferrara1 called ,lombardo1 of whom there has been an account in the ,life of ,benvenuto ,garofalo of ,ferrara2 which ,girolamo has learned his art both from the first ,sansovino and from this second one in such a manner1 that1 besides the works at ,loreto of which we have spoken1 both in marble and in bronze1 he has executed many works in ,venice4 ,this master1 although he came under ,sansovino at the age of thirty and knowing little of design1 being rather a man of letters and a courtier than a sculptor1 although he had previously executed some works in sculpture1 nevertheless applied himself in such a manner1 that in a few years he made the proficience that may be perceived in his works in half-relief that are in the fabrics of the ,library and the ,loggia of the ,campanile of ,s4 ,marco2 in which he acquitted himself so well1 that he was afterwards able to make by himself alone the statues of marble and the ,prophets that he executed1 as has been related1 at the ,madonna of ,loreto4 ,illustration3 ,,the ,,miracle ,,of ,s4 ,,anthony 7,after the relief by ,jacopo ,sansovino4 ,padua3 ,s4 ,antonio7 ,alinari ,a disciple of ,sansovino1 also1 was ,jacopo ,colonna1 who died at ,bologna thirty years ago while executing a work of importance4 ,this ,jacopo made for the ,church of ,s4 ,salvadore in ,venice a nude ,s4 ,jerome of marble1 still to be seen in a niche near the organ1 which was a beautiful figure and much extolled1 and for ,s4 ,croce della ,giudecca he made a ,christ also nude and of marble1 who is showing ,his ,wounds1 a work of beautiful artistry2 and likewise for ,s4 ,giovanni ,nuovo three figures1 ,s4 ,dorothy1 ,s4 ,lucia1 and ,s4 ,catharine4 ,in ,s4 ,marina may be seen a horse with an armed captain upon it1 by his hand2 and all these works can stand in comparison with any that are in ,venice4 ,in ,padua1 for the ,church of ,s4 ,antonio1 he executed in stucco the said ,saint and ,s4 ,bernardino1 clothed4 ,of the same material he made for ,messer ,luigi ,cornaro a ,minerva1 a ,venus1 and a ,diana1 larger than life and in the round2 in marble a ,mercury1 and in terra-cotta a nude ,marzio as a young man1 who is drawing a thorn from his foot1 or rather1 showing that he has drawn it out1 he holds the foot with one hand1 looking at the wound1 and with the other hand seems to be about to cleanse it with a cloth2 which last work1 because it is the best that ,jacopo ever did1 the said ,messer ,luigi intends to have cast in bronze4 ,for the same patron he made another ,mercury of stone1 which was afterwards presented to ,duke ,federigo of ,mantua4 ,another disciple of ,sansovino was ,tiziano da ,padova1 a sculptor1 who carved some little figures of marble in the ,loggia of the ,campanile of ,s4 ,marco at ,venice2 and in the ,church of the same ,s4 ,marco there may be seen1 likewise fashioned and cast in bronze by him1 a large and beautiful cover for a basin in bronze1 in the ,chapel of ,s4 ,giovanni4 ,this ,tiziano had made a statue of ,s4 ,john1 with which were the four ,evangelists and four stories of ,s4 ,john1 wrought with beautiful artistry for casting in bronze2 but he died at the age of thirty-five1 and the world was robbed of an excellent and valiant craftsman4 ,and by the same hand is the vaulting of the ,chapel of ,s4 ,antonio da ,padova1 with a very rich pattern of compartments in stucco4 ,he had begun for the same chapel a grating of five arches in bronze1 which were full of stories of that ,saint1 with other figures in half-relief and low-relief2 but this1 also1 by reason of his death and of the disagreement of those who had the charge of having it done1 remained unfinished4 ,many pieces of it had already been cast1 which turned out very beautiful1 and many others were made in wax1 when he died1 and for the said reasons the whole work was abandoned4 ,the same ,tiziano1 when ,vasari executed the above-described decorations for the gentlemen of the ,company of the ,calza in ,canareio1 made for that work some statues in clay and many terminal figures4 ,and he was employed many times on ornaments for scenic settings1 theatres1 arches1 and other suchlike things1 whereby he won much honour2 having executed works all full of invention1 fantasy1 and variety1 and above all with great rapidity4 ,pietro da ,sal1 also1 was a disciple of ,sansovino2 and after having toiled at carving foliage up to the age of thirty1 finally1 assisted by ,sansovino1 who taught him1 he set himself to make figures of marble4 ,in which he so delighted1 and studied in such a manner1 that in two years he was working by himself2 to which witness is borne by some passing good works by his hand that are in the tribune of ,s4 ,marco1 and the statue of a ,mars larger than life that is in the faade of the ,palazzo ,pubblico1 which statue is in company with three others by the hands of good craftsmen4 ,he also made two figures for the apartments of the ,council of ,ten1 one male and the other female1 in company with two others executed by ,danese ,cattaneo1 a sculptor of highest renown1 who1 as will be related1 was likewise a disciple of ,sansovino2 which figures serve to adorn a chimney-piece4 ,pietro made1 in addition1 three figures that are at ,s4 ,antonio1 in the round and larger than life2 and these are a ,justice1 a ,fortitude1 and a statue of a ,captain-,general of the ,venetian forces1 all executed with good mastery4 ,he also made a statue of ,justice in a beautiful attitude and with good design1 which was placed upon a column in the ,piazza of ,murano1 and another in the ,piazza del ,rialto in ,venice1 as a support for that stone where public proclamations are made1 which is called the ,gobbo#ac di ,rialto2 and these works have made him known as a very good sculptor4 ,for the ,santo1 in ,padua1 he made a very beautiful ,thetis2 and a ,bacchus who is squeezing a bunch of grapes into a cup1 which figure1 the most difficult that he ever executed1 and the best1 he left at his death to his children1 who have it still in their house1 seeking to sell it to him who shall best recognize and reward the labour that their father endured for it4 ,footnote #ac3 ,hunchback4 ,likewise a disciple of ,jacopo was ,alessandro ,vittoria of ,trento1 a most excellent sculptor and much the friend of study1 who with a very beautiful manner has shown in many works that he has executed1 as well in stucco as in marble1 that he has a ready brain and a lovely style1 and that his labours are worthy to be held in estimation4 ,by the hand of this ,alessandro1 in ,venice1 at the principal door of the ,library of ,s4 ,marco1 are two great women of stone1 each ten palms high1 which are full of grace and beauty and worthy to be much extolled4 ,he has made four figures for the tomb of the ,contarini in the ,santo of ,padua1 two slaves1 or rather1 captives1 with a ,fame and a ,thetis1 all of stone2 and an ,angel ten feet high1 a very beautiful statue1 which has been placed upon the ,campanile of the ,duomo in ,verona4 ,and to ,dalmatia he sent four ,apostles also of stone1 each five feet high1 for the ,cathedral of ,tra4 ,he made1 also1 some figures in silver for the ,scuola of ,s4 ,giovanni ,evangelista in ,venice1 which were all in full-relief and rich in grace1 and a ,s4 ,teodoro of two feet in silver1 in the round4 ,for the ,chapel of the ,grimani1 in ,s4 ,sebastiano1 he wrought two figures in marble1 each three feet high2 and then he made a ,piet1 with two figures of stone1 held to be good1 which are at ,s4 ,salvadore in ,venice4 ,he made a ,mercury1 held to be a good figure1 for the pulpit of the ,palazzo di ,s4 ,marco1 which looks out over the ,piazza2 and for ,s4 ,francesco della ,vigna he made three figures large as life--,s4 ,anthony1 ,s4 ,sebastian1 and ,s4 ,rocco--all of stone and full of beauty and grace1 and well wrought4 ,for the ,church of the ,crocicchieri he made in stucco two figures each six feet high1 very beautiful1 which are placed on the high-altar2 and of the same material he made1 as has been already told1 all the ornaments that are in the vaulting of the new staircase of the ,palazzo di ,s4 ,marco1 with various patterns of compartments in stucco1 where ,battista ,franco afterwards painted in the spaces the scenes1 figures1 and grotesques that are there4 ,in like manner1 ,alessandro executed the ornaments of the staircase of the ,library of ,s4 ,marco1 all works of great mastery2 and a chapel for the ,friars ,minors1 and in the altar-piece of marble1 which is very large and very beautiful1 the ,assumption of ,our ,lady in half-relief1 with five great figures at the foot which have in them something of the grand and are made with a beautiful manner1 a lovely and dignified flow of draperies1 and much diligence of execution2 which figures of marble--,s4 ,jerome1 ,s4 ,john the ,baptist1 ,s4 ,peter1 ,s4 ,andrew1 and ,s4 ,leonardo--each six feet high1 are the best of all the works that he has done up to the present4 ,and as a crown to that chapel1 on the frontispiece1 are two figures likewise of marble1 each eight feet high and very graceful4 ,the same ,vittoria has executed many portraits in marble and most beautiful heads1 which are good likenesses1 such as that of ,signor ,giovan ,battista ,feredo1 placed in the ,church of ,s4 ,stefano1 that of ,camillo ,trevisano1 the orator1 placed in the ,church of ,,ss4 ,giovanni e ,polo2 the most illustrious ,marc',antonio ,grimani1 likewise placed in the ,church of ,s4 ,sebastiano2 and in ,s4 ,gimignano1 the rector of that church4 ,he has also portrayed ,messer ,andrea ,loredano4 ,m4 ,priano da ,lagie1 and two brothers of the ,pellegrini family--,m4 ,vincenzio and ,m4 ,giovan ,battista--both orators4 ,and since ,vittoria is young and a willing worker1 talented1 amiable1 desirous of acquiring name and fame1 and1 lastly1 very gentle1 we may believe that if he lives1 we are destined to see most beautiful works come from him from day to day1 worthy of his name of ,vittoria1 and that1 if his life endures1 he is like to be a most excellent sculptor and to win the palm from all the others of that country4 ,there is also one ,tommaso da ,lugano1 a sculptor1 who likewise has been many years with ,sansovino1 and has made with the chisel many figures in the ,library of ,s4 ,marco1 very beautiful1 in company with others4 ,and then1 having left ,sansovino1 he has made by himself a ,madonna with the ,child in her arms1 and at her feet a little ,s4 ,john1 which are all three figures of such beautiful form1 attitude1 and manner1 that they can stand among all the other beautiful modern statues that are in ,venice2 which work is placed in the ,church of ,s4 ,bastiano4 ,and a portrait of the ,emperor ,charles ,v1 which he made from the breast upwards1 of marble1 has been held to be a marvellous thing1 and was very dear to his ,majesty4 ,and since ,tommaso has delighted to work rather in stucco than in marble or bronze1 there are innumerable most beautiful figures by his hand and works executed by him in that material in the houses of various gentlemen of ,venice4 ,but it must suffice to have said this much of him4 ,of the ,lombards1 finally1 it remains for us to make record of ,jacopo ,bresciano1 a young man of twenty-four1 who has not long parted from ,sansovino4 ,he has given proof at ,venice1 in the many years that he has been there1 of being talented and likely to prove excellent1 as he has since shown in the works that he has executed in his native ,brescia1 and particularly in the ,palazzo ,pubblico1 and if he lives and studies1 there will be seen from his hand1 also1 things greater and better1 for he has a fine spirit and most beautiful gifts4 ,of our ,tuscans1 one of the disciples of ,sansovino has been the ,florentine ,bartolommeo ,ammanati1 of whom record has already been made in many places in this work4 ,this ,bartolommeo1 ,i say1 worked under ,sansovino in ,venice2 and then in ,padua for ,messer ,marco da ,mantova1 a most excellent doctor of medicine1 in whose house he made an immense giant from more than one piece of stone for his court1 and his tomb1 with many statues4 ,afterwards1 ,ammanati having gone to ,rome in the year #aeej1 there were allotted to him by ,giorgio ,vasari four statues of marble1 each of four braccia1 for the tomb of the old ,cardinal di ,monte1 which ,pope ,julius ,,iii had allotted to ,giorgio himself in the ,church of ,s4 ,pietro a ,montorio1 as will be related2 which statues were held to be very beautiful4 ,wherefore ,vasari1 having conceived an affection for him1 made him known to the said ,julius ,,iii1 who1 having ordained what he wanted done1 caused him to be set to work2 and so both of them1 ,vasari and ,ammanati1 worked together for a time at the ,vigna4 ,but not long afterwards1 when ,vasari had gone to serve ,duke ,cosimo in ,florence1 the above-named ,pope being dead1 ,ammanati1 who found himself without work and badly recompensed by that ,pontiff for his labours in ,rome1 wrote to ,vasari1 praying him that1 even as he had assisted him in ,rome1 so he should assist him in ,florence with the ,duke4 ,whereupon ,vasari1 occupying himself with fervour in this matter1 introduced him into the service of the ,duke1 for whom he has executed many statues in marble and in bronze that are not yet in position4 ,for the garden of ,castello he has made two figures in bronze larger than life--namely1 a ,hercules who is crushing ,antus1 from which ,antus1 in place of his spirit1 there issues from the mouth water in great abundance4 ,finally1 ,ammanati has executed in marble the colossal figure of ,neptune that is in the ,piazza1 ten braccia and a half in height2 but since the work of the fountain1 in the centre of which the said ,neptune is to stand1 is not finished1 ,i shall say nothing more of it4 ,the same ,ammanati1 as architect1 is giving his attention with much honour and praise to the fabric of the ,pitti1 in which work he has a great opportunity to show the worth and grandeur of his mind1 and the magnificence and great spirit of ,duke ,cosimo4 ,i could tell many particulars of this sculptor1 but since he is my friend1 and another1 so ,i hear1 is writing his history1 ,i shall say no more1 in order not to set my hand to things that may be related by another better than ,i perhaps might be able4 ,it remains for us to make mention1 as the last of ,sansovino's disciples1 of ,danese ,cattaneo1 the sculptor of ,carrara1 who was already with him in ,venice when still a little boy4 ,parting from his master at the age of nineteen1 he made by himself a boy of marble for ,s4 ,marco1 and a ,s4 ,laurence for the ,church of the ,friars ,minors2 for ,s4 ,salvadore another boy in marble1 and for ,,ss4 ,giovanni e ,polo the statue of a nude ,bacchus1 who is grasping a bunch of grapes from a vine which twines round a trunk that he has behind his legs1 which statue is now in the house of the ,mozzenighi at ,s4 ,barnaba4 ,he has executed many figures for the ,library of ,s4 ,marco and for the ,loggia of the ,campanile1 together with others of whom there has been an account above2 and1 in addition to those named1 the two that have been mentioned already as being in the apartments of the ,council of ,ten4 ,he made portraits in marble of ,cardinal ,bembo and ,contarini1 the ,captain-,general of the ,venetian forces1 which are both in ,s4 ,antonio at ,padua1 with rich and beautiful ornaments about them4 ,and in the same city of ,padua1 in ,s4 ,giovanni di ,verdara1 there is by the same hand the portrait of ,messer ,girolamo ,gigante1 a most learned jurist4 ,and for ,s4 ,antonio della ,giudecca1 in ,venice1 he has made a very lifelike portrait of ,giustiniano1 the ,lieutenant of the ,grand ,master of ,malta1 and that of ,tiepolo1 who was three times ,general2 but these have not yet been set in their places4 ,but the greatest work and the most distinguished that ,danese has ever executed is a rich chapel of marble1 with large figures1 in ,s4 ,anastasia at ,verona1 for ,signor ,ercole ,fregoso1 in memory of ,signor ,jano1 once ,lord of ,genoa1 and then ,captain-,general of the ,venetians1 in whose service he died4 ,this work is of the ,corinthian ,order1 in the manner of a triumphal arch1 and divided by four great columns1 round and fluted1 with capitals of olive-leaves1 which rest upon a base of proportionate height1 making the space in the centre as wide again as one of those at the sides2 with an arch between the columns1 above which there rest on the capitals the architrave and cornice1 and in the centre1 within the arch1 a very beautiful decoration of pilasters1 with cornice and frontispiece1 and with a ground formed by a tablet of most beautiful black basanite1 where there is the statue of a nude ,christ1 larger than life and in the round1 a very good figure2 which statue stands in the act of showing the ,wounds1 with a piece of drapery bound round the flanks and reaching between the legs to the ground4 ,over the angles of the arch are ,signs of ,his ,passion1 and between the columns that are on the right side there stands upon a pedestal a statue in the round representing ,signor ,jano ,fregoso1 fully armed after the antique save that he shows the arms and legs nude1 and he has the left hand upon the pommel of the sword at his girdle1 and with the right hand he holds the general's baton2 having behind him as a pendant1 within the space between the columns1 a ,minerva in half-relief1 who1 poised in the air1 holds with one hand a ,ducal staff1 such as that of the ,doges of ,venice1 and with the other a banner containing the device of ,s4 ,mark4 ,between the two other columns1 as the other pendant1 is ,military ,valour in armour1 on her head the helmet-crest with the house-leek upon it1 and on her cuirass the device of an ermine that stands upon a rock surrounded by mire1 with letters that run--,potius mori quam foedari1 and with the device of the ,fregosi2 and above is a ,victory1 with a garland of laurel and a palm in the hands4 ,above the columns1 architrave1 frieze and cornice1 is another range of pilasters1 upon the crowns of which stand two figures of marble in the round1 and two trophies likewise in the round and of the same size as the figures4 ,of these two statues1 one is ,fame in the act of taking flight1 pointing with the right hand to ,heaven1 and with a trumpet that she is sounding2 and this figure has light and most beautiful draperies about the body1 and all the rest nude4 ,the other1 representing ,eternity1 is clothed in heavier vestments1 and stands in majesty1 holding in the left hand a round on which she is gazing1 and with the right hand she grasps a hem of her garment wherein are globes that signify the various ages1 with the celestial sphere encircled by the serpent that seizes the tail in the mouth4 ,in the central space above the great cornice1 which forms and separates those two other spaces1 are three steps upon which are seated two large nude boys1 who hold a great shield with the helmet above it1 containing the devices of the ,fregosi2 and below those steps is an epitaph of basanite with large gilded letters4 ,that whole work is truly worthy to be extolled1 for ,danese executed it with great diligence1 and gave beautiful proportion and grace to the composition1 and made each figure with great study4 ,and ,danese is not only1 as has been described1 an excellent sculptor1 but also a good and much extolled poet1 as his works clearly demonstrate1 on which account he has always had intercourse and strait friendship with the greatest men and choicest spirits of our age2 and of this may serve as a proof the work described above1 executed by him with much poetic feeling4 ,by the hand of ,danese is the nude statue of the ,sun above the ornament of the well in the courtyard of the ,mint1 at ,venice2 in place of which those ,signori desired a ,justice1 but ,danese considered that in that place the ,sun is more appropriate4 ,this figure has a bar of gold in the left hand1 and in the right hand a sceptre1 at the end of which he made an eye1 and about the head the rays of the sun1 and above all the globe of the world encircled by the serpent that holds the tail in the mouth1 with some little mounds of gold about the globe1 generated by him4 ,danese would have liked to make two other statues1 that of the ,moon for silver and another for copper1 with that of the ,sun for gold2 but it was enough for those ,signori that there should be that of gold1 as the most perfect of all the metals4 ,the same ,danese has begun another work in memory of ,prince ,loredano1 ,doge of ,venice1 wherein it is hoped that in invention and fantasy he is to surpass by a great measure all his other labours2 which work is to be placed in the ,church of ,,ss4 ,giovanni e ,polo in ,venice4 ,but1 since this master is alive and still constantly at work for the benefit of the world and of art1 ,i shall say nothing more of him2 nor of other disciples of ,sansovino4 ,i will not omit1 however1 to speak briefly of some other excellent craftsmen1 sculptors and painters1 from that dominion of ,venice1 taking my opportunity from those mentioned above1 in order to make an end of speaking of them in this ,life of ,sansovino4 ,illustration3 ,,palazzo ,,chiericati 7,after ,andrea ,palladio4 ,vicenza7 ,alinari ,vicenza1 then1 has likewise had at various times sculptors1 painters1 and architects1 of some of whom record was made in the ,life of ,vittore ,scarpaccia1 and particularly of those who flourished in the time of ,mantegna and learned to draw from him2 and such were ,bartolommeo ,montagna1 ,francesco ,verbo1 and ,giovanni ,speranza1 all painters1 by whose hands are many pictures that are dispersed throughout ,vicenza4 ,now in the same city there are many sculptures by the hand of one ,giovanni1 a carver and architect1 which are passing good1 although his proper profession has been to carve foliage and animals1 as he still does excellently well1 although he is old4 ,in like manner1 ,girolamo ,pironi of ,vicenza has executed praiseworthy works of sculpture and painting in many places in his city4 ,but among all the masters of ,vicenza he who most deserves to be extolled is the architect ,andrea ,palladio1 from his being a man of singular judgment and brain1 as many works demonstrate that were executed by him in his native country and elsewhere1 and in particular the ,palazzo della ,comunit1 a building much renowned1 with two porticoes composed in the ,doric ,order with very beautiful columns4 ,the same ,palladio has erected a palace1 beautiful and grand beyond all belief1 with an infinity of the richest ornaments1 for ,count ,ottavio de' ,vieri1 and another like it for ,count ,giuseppe di ,porto1 which could not be more beautiful or magnificent1 nor more worthy than it is of no matter how great a ,prince2 and another is being built even now for ,count ,valerio ,chiericati under the direction of the same master1 very similar in majesty and grandeur to the ancient buildings so much extolled4 ,for the ,counts of ,valmorana1 likewise1 he has now carried almost to completion another most superb palace1 which does not yield in any particular to any of those mentioned above4 ,in the same city1 upon the piazza commonly called the ,isola1 he has built another very magnificent fabric for ,signor ,valerio ,chiericati2 and at ,pugliano1 a place in the ,vicentino1 a most beautiful house for the ,chevalier1 ,signor ,bonifazio ,pugliana4 ,in the same territory of ,vicenza1 at ,finale1 he has erected another fabric for ,messer ,biagio ,saraceni2 and one at ,bagnolo for ,signor ,vittore ,pisani1 with a large and very rich court in the ,doric ,order with most beautiful columns4 ,near ,vicenza1 at the township of ,lisiera1 he has constructed for ,signor ,giovan ,francesco ,valmorana another very rich edifice1 with four towers at the corners1 which make a very fine effect4 ,at ,meledo1 likewise1 for ,count ,francesco ,trissino and ,lodovico his brother1 he has begun a magnificent palace upon a hill of some eminence1 with many ranges of loggie1 staircases1 and other appurtenances of a villa4 ,at ,campiglia1 likewise in the ,vicentino1 he is making for ,signor ,mario ,ropetta another similar habitation1 with so many conveniences1 rich apartments of rooms1 loggie1 staircases1 and chambers dedicated to various virtues1 that it will be1 when once carried to completion1 an abode rather for a ,king than for a nobleman4 ,at ,lunedo he has built another1 in the manner of a villa1 for ,signor ,girolamo de' ,godi2 and at ,angarano another for ,count ,jacopo ,angarano1 which is truly most beautiful1 although it appears a small thing to the great mind of that lord4 ,at ,quinto1 also1 near ,vicenza1 he erected not long ago another palace for ,count ,marc',antonio ,tiene1 which has in it more of the grand and the magnificent than ,i could express4 ,in short1 ,palladio has constructed so many vast and lovely buildings within and without ,vicenza1 that1 even if there were no others there1 they would suffice to make a very handsome city with most beautiful surroundings4 ,in ,venice the same ,palladio has begun many buildings1 but one that is marvellous and most notable among them all1 in imitation of the houses that the ancients used to build1 in the ,monastery of the ,carit4 ,the atrium of this is forty feet wide and fifty-four feet long1 which are exactly the diameters of the quadrangle1 the wings being one-third and a half of the length4 ,the columns1 which are ,corinthian1 are three feet and a half in thickness and thirty-five feet high4 ,from the atrium one goes into the peristyle1 that is1 into a clauster 7for thus do the friars call their courts71 which on the side towards the atrium is divided into five parts1 and at the flanks into seven1 with three orders of columns one above the other1 of which the ,doric is at the foot1 and above it the ,ionic and the ,corinthian4 ,opposite to the atrium is the refectory1 two squares in length1 and as high as the level of the peristyle1 with its officines around it1 all most commodious4 ,the stairs are spiral1 in the form of an oval1 and they have neither wall nor column1 nor any part in the middle to support them2 they are thirteen feet wide1 and the steps by their position support one another1 being fixed in the wall4 ,this edifice is all built of baked stone1 that is1 of brick1 save the bases of the columns1 the capitals1 the imposts of the arches1 the stairs1 the surface of the cornices1 and the whole of the windows and doors4 ,the same ,palladio has built for the ,black ,friars of ,s4 ,benedict1 in their ,monastery of ,s4 ,giorgio ,maggiore in ,venice1 a very large and most beautiful refectory with its vestibule in front1 and has begun to found a new church1 with such beautiful ordering1 according as the model shows1 that1 if it is carried to completion1 it will prove a stupendous and most lovely work4 ,besides this1 he has begun the faade of the ,church of ,s4 ,francesco della ,vigna1 which the very reverend ,grimani1 ,patriarch of ,aquileia1 is causing to be made of ,istrian stone1 with a most magnificent disregard of expense2 the columns are four palms thick at the foot1 forty palms high1 and in the ,corinthian ,order1 and already the whole basement at the foot is built4 ,at ,gambaraie1 a place seven miles distant from ,venice1 on the ,river ,brenta1 the same ,palladio has made a very commodious habitation for ,m4 ,niccol and ,m4 ,luigi ,foscari1 gentlemen of ,venice4 ,another he has built at ,marocco1 a place in the ,mestrino1 for the ,chevalier ,mozzenigo2 at ,piombino one for ,m4 ,giorgio ,cornaro1 one at ,montagnana for the ,magnificent ,m4 ,francesco ,pisani1 and another at ,cicogna in the territory of ,padua for ,count ,adovardo da ,tiene1 a gentleman of ,vicenza4 ,at ,udine1 in ,friuli1 he has built one for ,signor ,floriano ,antimini2 at ,motto1 a township likewise in ,friuli1 one for the ,magnificent ,m4 ,marco ,zeno1 with a most beautiful court and porticoes all the way round2 and at ,fratta1 a township in the ,polesine1 a great fabric for ,signor ,francesco ,badoaro1 with some very beautiful and fantastic loggie4 ,in like manner1 near ,asolo1 a place in the territory of ,treviso1 he has erected a most commodious habitation for the very reverend ,s4 ,daniello ,barbaro1 ,patriarch-,elect of ,aquileia1 who has written upon ,vitruvius1 and for the most illustrious ,m4 ,marc',antonio1 his brother1 with such beautiful ordering1 that nothing better or greater can ever be imagined4 ,among other things1 he has made there a fountain very similar to that which ,pope ,julius caused to be made at his ,vigna ,giulia in ,rome2 with ornaments of stucco and paintings everywhere1 executed by excellent masters4 ,in ,genoa ,m4 ,luca ,giustiniano has erected a building with the design of ,palladio1 which is held to be very beautiful1 as are also all those mentioned above2 but it would have made too long a story to seek to recount the many particulars of the strange and lovely inventions and fantasies that are in them4 ,but1 since there is soon to come into the light of day a work of ,palladio1 in which will be printed two books of ancient edifices and one book of those that he himself has caused to be built1 ,i shall say nothing more of him1 because this will be enough to make him known as the excellent architect that he is held to be by all who see his beautiful works2 besides which1 being still young and attending constantly to the studies of his art1 every day greater things may be expected of him4 ,nor will ,i omit to say that he has wedded to such gifts a nature so amiable and gentle1 that it renders him well-beloved with everyone2 wherefore he has won the honour of being accepted into the number of the ,academicians of ,design in ,florence1 together with ,danese1 ,giuseppe ,salviati1 ,tintoretto1 and ,battista ,farinato of ,verona1 as will be told in another place1 speaking of the said ,academicians4 ,bonifazio1 a ,venetian painter1 of whom ,i have never before received any information1 is also worthy to be numbered in the company of these many excellent craftsmen1 being a well-practised and able colourist4 ,this master1 besides many pictures and portraits that are dispersed throughout ,venice1 has executed for the altar of the ,relics in the ,church of the ,servites1 in the same city1 an altar-piece wherein is a ,christ with the ,apostles about ,him1 and ,philip who appears to be saying1 ,domine1 ostende nobis patrem1 which is painted with a very good and beautiful manner4 ,and for the altar of the ,madonna in the ,church of the ,nuns of the ,spirito ,santo1 he has executed another most beautiful altar-picture with a vast number of men1 women1 and children of every age1 who in company with the ,virgin are adoring a ,god the ,father who is in the air with many ,angels about ,him4 ,another painter of passing good name in ,venice is ,jacopo ,fallaro1 who has painted on the doors of the organ in the ,church of the ,ingesuati the ,blessed ,giovanni ,colombini receiving his habit in the ,consistory from the ,pope1 with a good number of ,cardinals4 ,another ,jacopo1 called ,pisbolica1 has executed an altar-piece for ,s4 ,maria ,maggiore in ,venice1 wherein is ,christ in the air with many ,angels1 and below ,him ,our ,lady with the ,apostles4 ,and one ,fabrizio ,viniziano has painted on the faade of a chapel in the ,church of ,s4 ,maria ,sebenico the ,consecration of the baptismal font1 with many portraits from life executed with beautiful grace and a good manner4 ,,notes4 ,i41 line #a1 p4 #ahg4 ,the family of the ,tatti in ,florence is recorded in the books of the ,commune from the year #acjj1 because1 having come from ,lucca1 a very noble city of ,tuscany1 it was always abundant in industrious and honoured men1 and they were most highly favoured by the ,house of ,medici4 ,of this family was born ,jacopo1 of whom we are writing in this place2 and he was born from ,antonio1 a most excellent person1 and from his wife ,francesca1 in the month of ,january1 #adgg4 ,in the first years of his boyhood he was set1 as is usual1 to learn his letters2 and1 after beginning to show in these vivacity of brain and readiness of spirit1 not long afterwards he applied himself of his own accord to drawing1 giving evidence in a certain sort that nature was inclining him much more to this kind of work than to letters1 for the reason that he went very unwillingly to school and learned much against his will the scabrous rudiments of grammar4 ,his mother1 whom he resembled strongly1 perceiving this and fostering his genius1 gave him assistance1 causing him to be taught design in secret1 because she loved the thought that her son should be a sculptor1 perchance in emulation of the then rising glory of ,michelagnolo ,buonarroti1 who at that time was still quite young2 and also moved by a certain fateful augury1 in that ,michelagnolo and this ,jacopo had been born in one and the same street1 called ,via ,s4 ,maria1 near the ,via ,ghibellina4 ,now the boy1 after some time1 was placed to learn the trade of a merchant2 in which delighting even less than in letters1 he did and said so much1 that he obtained leave from his father to attend without hindrance to that towards which he was urged by nature4 ,there had come to ,florence at that time ,andrea ,contucci of ,monte ,sansovino1 a township near ,arezzo1 risen to great fame in our days from having been the birthplace of ,pope ,julius ,,iii2 which ,andrea1 having acquired in ,italy and in ,spain the name of the best sculptor and architect that there was in art after ,buonarroti1 was staying in ,florence in order to execute two figures of marble4 ,etc4 ,,ii41 line #ah1 p4 #aig4 7,and he was executing many works of the greatest importance for all those lords71 having been recognized by three ,pontiffs1 and especially by ,pope ,leo1 who presented him with a ,knighthood of ,s4 ,pietro1 which he sold during his illness1 doubting lest he might die2 7when ,god1 etc474 ,,iii41 line #bb1 p4 #aih4 ,having then entered on that office1 he began to occupy himself with every care1 both with regard to buildings and in the management of the papers and of the books that he held by virtue of his office1 acquitting himself with all possible diligence in the affairs of the ,church of ,s4 ,marco1 of the ,commissions1 which are a great number1 and of the many other matters that are in the charge of those ,procurators2 and he showed extraordinary lovingness towards those ,signori1 in that1 having turned his whole attention to benefiting them and to directing their affairs to the aggrandizement1 embellishment1 and ornamentation of the church1 the city1 and the public square 7a thing never yet done by any other in that office71 he provided them with various advantages1 profits1 and revenues by means of his inventions1 with his ingenuity of brain and readiness of spirit1 yet always with little or no expense to the ,signori themselves4 ,among which benefits1 one was this2 in the year #aebi there were between the two columns in the ,piazza some butchers' stalls1 and also between the one column and the other many wooden cabins to accommodate persons in their natural necessities--a thing most filthy and disgraceful1 both for the dignity of the ,palace and of the ,piazza ,pubblica1 and for the strangers who1 coming into ,venice by way of ,s4 ,giorgio1 saw first of all on arrival that filthiness4 ,jacopo1 after demonstrating to the ,prince ,gritti the honourable and profitable nature of his design1 caused those stalls and cabins to be removed2 and1 placing the stalls where they now are and making certain places for the sellers of herbs1 he obtained for the ,procurators an additional revenue of seven hundred ducats1 embellishing at the same time the ,piazza and the city4 ,not long afterwards1 having perceived that in the ,merceria 7on the way to the ,rialto1 near the ,clock71 by removing a house that paid a rent of twenty-six ducats1 a street could be made leading into the ,spadaria1 whereby the rent of the houses and shops all around would be increased1 he threw down that house and increased their revenues by one hundred and fifty ducats a year4 ,besides this1 by placing on that site the hostelry of the ,pellegrino and another in the ,campo ,rusolo1 he brought them in another four hundred ducats4 ,he obtained for them similar benefits by the buildings in the ,pescaria1 and1 on divers other occasions1 by many houses and shops and other places belonging to those ,signori1 at various times2 insomuch that the ,procurators1 having gained by his care a revenue of more than two thousand ducats1 have been rightly moved to love him and to hold him dear4 ,not long afterwards1 by order of the ,procurators1 he set his hand to the very rich and beautiful building of the ,library opposite to the ,palazzo ,pubblico1 with such a variety of architecture 7for it is both ,doric and ,corinthian71 and such a wealth of carvings1 cornices1 columns1 capitals1 and half-length figures throughout the whole work1 that it is a marvel2 and all without any sparing of expense1 since it is full of the richest pavements1 stucco-work and scenes throughout the halls of that place1 and public staircases adorned with various pictures1 as has been related in the ,life of ,battista ,franco1 not to speak of the appurtenances and rich ornaments that it has at the principal door of entrance1 which give it majesty and grandeur1 demonstrating the ability of ,sansovino4 ,which method of building was the reason that in that city1 into which there had not entered up to that time any other method but that of building their houses and palaces in one and the same order1 each man always continuing the same things with the same measurements and ancient use1 without varying according to the sites as they found them1 or according to convenience2 it was the reason1 ,i say1 that buildings both public and private began to be erected with new designs and better order1 and according to the ancient teaching of ,vitruvius2 and that work1 in the opinion of those who are good judges and have seen many parts of the world1 is without any equal4 ,he then built the ,palace of ,messer ,giovanni ,delfino1 situated on the ,grand ,canal on the other side from the ,rialto1 opposite to the ,riva del ,ferro1 at a cost of thirty thousand ducats4 ,he built1 likewise1 that of ,messer ,leonardo ,moro at ,s4 ,girolamo1 a work of great cost1 which has almost the appearance of a castle4 ,and he erected the ,palace of ,messer ,luigi de' ,garzoni1 wider by thirteen paces in every direction than is the ,fondaco de' ,tedeschi1 with so many conveniences1 that water runs through the whole fabric1 which is adorned with four most beautiful figures by ,sansovino2 which palace is at ,ponte ,casale1 in the neighbourhood of ,venice4 ,but the most beautiful is the ,palace of ,messer ,giorgio ,cornaro on the ,grand ,canal1 which1 without any doubt surpassing the others in convenience1 majesty1 and grandeur1 is considered perhaps the finest that there is in ,italy4 ,he also built 7to have done with speaking of private edifices7 the ,scuola or ,confraternity of the ,misericordia1 a vast work costing one hundred and thirty thousand crowns1 which1 when carried to completion1 will prove to be the most superb edifice in ,italy4 ,and his work1 also1 is the ,church of ,s4 ,francesco della ,vigna1 where the ,frati de' ,zoccoli have their seat1 a work of great size and importance2 but the faade was by another master4 ,the ,loggia about the ,campanile of ,s4 ,marco1 in the ,corinthian ,order1 was from his design1 with a very rich ornament of columns1 and with four niches1 in which are four supremely beautiful figures in bronze1 little less than the size of life1 which are by his hand1 together with various scenes and figures in low-relief4 ,that work makes a most beautiful base to the said campanile1 which has a thickness1 on one of the sides1 of thirty-five feet1 which is about the extent of ,sansovino's ornamentation4 ,in height1 from the ground to the cornice where are the windows of the bells1 it is one hundred and sixty feet2 from the level of that cornice to the other above it1 where the corridor is1 twenty-five feet2 and the other dado above has a height of twenty-eight feet and a half4 ,from that level of the corridor up to the pyramid is sixty feet2 at the summit of which spire1 the little square1 upon which rests the ,angel1 is six feet high1 and the said ,angel1 which turns with every wind1 is ten feet high2 insomuch that the whole height comes to be two hundred and ninety-two feet4 ,but the finest1 richest1 and strongest of his edifices is the ,mint of ,venice1 all of iron and stone1 for there is not in it one single piece of wood1 in order to render it absolutely safe from fire4 ,and the interior is distributed with such order and convenience for the sake of the many artificers1 that there is not in any part of the world a treasury better ordered1 or with greater strength1 than that one1 which he built entirely in the ,rustic ,order and very beautiful2 which method1 not having been used before in that city1 caused the inhabitants to marvel not a little4 ,by his hand1 also1 may be seen the ,church of ,s4 ,spirito on the lagoons1 of a very delicate and pleasing workmanship2 and in ,venice there is the faade of ,s4 ,gimignano1 which gives splendour to the ,piazza1 in the ,merceria the faade of ,s4 ,giuliano1 and in ,s4 ,salvadore the very rich tomb of the ,prince ,francesco ,veniero4 ,he also erected in the ,rialto1 on the ,grand ,canal1 the new fabrics of the vaults1 with such good design1 that almost every day there assembles there a very convenient market of townsmen and of other persons who flock to that city4 ,and a very marvellous thing and new was that which he did for the ,tiepoli at the ,misericordia1 in that1 they having on the canal a great palace with many regal chambers1 and the whole building being badly founded in the water1 so that it was likely enough that in a few years the edifice would fall to the ground1 ,sansovino rebuilt all the foundations in the canal below the palace with very large stones1 maintaining the house on its feet with a marvellous support of props1 while the owners lived in their house with perfect security4 ,nor for all this1 while he has given his attention to so many buildings1 has he ever ceased to occupy himself every day for his own delight with vast and beautiful works of sculpture1 in marble and in bronze4 ,over the holy-water font of the ,friars of the ,c ,grande there is by his hand a statue made of marble1 representing ,s4 ,john the ,baptist1 which is very beautiful and highly extolled4 ,at ,padua1 in the ,chapel of the ,santo1 there is a large scene in marble by the same hand1 with very beautiful figures in half-relief1 of a miracle of ,s4 ,anthony of ,padua2 which is much esteemed in that place4 ,for the entrance of the stairs of the ,palace of ,s4 ,marco he is even now executing in marble in the forms of two very beautiful giants1 each of seven braccia1 a ,neptune and a ,mars1 signifying the power which that most illustrious ,republic has on land and sea4 ,he made a most beautiful statue of ,hercules for the ,duke of ,ferrara2 and for the ,church of ,s4 ,marco he made six scenes of bronze in half-relief1 one braccio high and one and a half long1 for placing on a pulpit1 with stories of that ,evangelist1 which are held in much estimation for their variety4 ,over the door of the same ,s4 ,marco he made a ,madonna of marble1 the size of life1 which is held to be a very beautiful thing2 and at the entrance to the sacristy of that place there is by his hand the door of bronze divided into two most beautiful parts1 with stories of ,jesus ,christ all in half-relief and wrought excellently well4 ,and over the door of the ,arsenal he made a very beautiful ,madonna1 who is holding her ,son in her arms1 of marble4 ,all which works not only have given lustre and adornment to that ,republic1 but also have caused ,sansovino to be better known every day as a most excellent craftsman1 and loved and honoured by the magnificent liberality of those ,signori1 and likewise by the other craftsmen1 every work of sculpture and architecture that has been executed in that city in his time being referred to him4 ,and in truth the excellence of ,jacopo has well deserved that he should be held in the first rank among the craftsmen of design in that city1 and that his talents should be loved and revered by all without exception1 both nobles and plebeians1 for the reason that1 besides other things1 as has been told1 with his judgment and knowledge he has brought it about that the city has been made almost entirely new and has learned the true and good method of building4 ,three most beautiful figures in stucco by his hand1 also1 may be seen in the possession of his son1 one a ,laocoon1 another a ,venus standing1 and the third a ,madonna with many children about her2 which figures are so rare1 that in ,venice there is seen nothing to equal them4 ,the said son also has in drawing sixty plans of temples and churches of ,sansovino's invention1 which are so excellent that from the days of the ancients to our own there have been seen none better conceived or more beautiful4 ,these ,i have heard that the son will publish for the benefit of the world1 and already he has had some pieces engraved1 accompanying them with designs of the numberless labours that have been carried into execution by ,sansovino in various parts of ,italy4 ,for all this1 although occupied1 as has been related1 with the management of so many things both public and private1 and both in the city and abroad 7for strangers1 also1 ran to him for models and designs of buildings1 for figures1 or for counsel1 as did the ,duke of ,ferrara1 who obtained a ,hercules in the form of a giant1 the ,duke of ,mantua1 and the ,duke of ,urbino71 he was always very zealous in the private and particular service of each of his own ,lords ,procurators1 who1 availing themselves of him both in ,venice and elsewhere1 and not doing a single thing without his assistance or counsel1 kept him continually at work not only for themselves1 but also for their friends and relatives1 without any reward1 he consenting to endure any inconvenience and fatigue in order to satisfy them4 ,but above all he was greatly loved and held in infinite price by the ,prince ,gritti1 who delighted in beautiful intellects1 by ,messer ,vettorio ,grimani1 brother of the ,cardinal1 and by ,messer ,giovanni da ,legge the ,chevalier1 all ,procurators1 and by ,messer ,marc',antonio ,justiniano1 who became acquainted with him in ,rome4 ,for these illustrious men1 exalted in spirit and truly regal in mind1 being conversant with the affairs of the world and well informed in the noble and excellent arts1 soon recognized his merit and how worthy he was to be cherished and esteemed1 and availed themselves of him in due measure2 and they used to say1 in accord with the whole city1 that the ,procurators never had and never would have at any time another equal to him1 for they knew very well how celebrated and renowned his name was with the men and princes of intellect in ,florence and ,rome and throughout all ,italy1 and every one held it as certain that not he only but also his descendants and all his posterity deserved to be endowed for ever in return for his singular genius4 ,jacopo was in body of ordinary stature1 without any fat1 and he walked with the person upright4 ,he was white in complexion1 with the beard red2 and in his youth he was very graceful and handsome1 and therefore much beloved by various women of some importance4 ,after he became old1 he had a venerable presence1 with a beautiful white beard1 and walked like a young man1 insomuch that1 having come to the age of ninety-three1 he was still very strong and healthy and could see every least thing1 however distant it might be1 without spectacles1 and when writing he kept his head erect1 not bending over at all as is done by others4 ,he delighted to dress handsomely1 and was always very neat in his person2 and he always took pleasure in women down to extreme old age1 and much loved to talk of them4 ,in his youth1 by reason of his excesses1 he was not very robust2 but when he had become old he never suffered any illness1 insomuch that for a period of fifty years1 although at times he felt indisposed1 he would never avail himself of any physician2 nay1 having had an apoplectic stroke for the fourth time at the age of eighty-four1 he recovered by staying only two months in bed in a very dark and warm place1 despising medicines4 ,he had so good a stomach1 that he was not afraid of anything1 making no distinction between food that might be good and food that might be harmful2 and in summer he lived almost entirely on fruits1 eating very often as many as three cucumbers at a time1 and half a citron1 in his extreme old age4 ,as for his qualities of mind1 he was very prudent and foresaw future events in the matters of the present1 weighing them against the past2 and he was zealous in his affairs1 not considering any fatigue1 and never left his business to follow pleasures4 ,he discoursed well and with many words upon no matter what subject that he understood1 giving many illustrations with much grace2 on which account he was very dear both to the great and to the small1 and to his friends4 ,and in his last years he had a memory still very fresh1 and remembered in detail his childhood1 the sack of ,rome1 and many things1 fortunate or unfortunate1 that he experienced in his time4 ,he was courageous1 and from his youth took delight in contending with those greater than himself1 because1 he used to say1 by contending with the great a man advances1 but against the little he lowers himself4 ,he esteemed honour above everything in the world1 wherefore in his affairs he was most loyal and a man of his word1 and so pure in heart1 that no offer1 however great1 could have corrupted him1 although he was put to the test several times by his ,signori1 who for this and for other qualities regarded him not as their protomaster or minister1 but as a father and brother1 honouring him for his goodness1 which was in no way feigned1 but real4 ,he was liberal with every man1 and so loving towards his relatives1 that he deprived himself of many comforts in order to assist them2 although he lived always in repute and honour1 as one who was observed by everyone4 ,at times he let himself be overcome by anger1 which was very great in him1 but it soon passed2 and very often with a few humble words you could make the tears come to his eyes4 ,he had a surpassing love for the art of sculpture2 such a love1 indeed1 that1 to the end that it might be dispersed widely in various parts1 he formed many disciples1 making as it were a seminary of that art in ,italy4 ,among these1 very famous were ,niccol ,tribolo and ,solosmeo1 ,florentines2 ,danese ,cattaneo of ,carrara1 a ,tuscan1 of supreme excellence in poetry as well as in sculpture2 ,girolamo da ,ferrara1 ,jacopo ,colonna of ,venice1 ,luca ,lancia of ,naples1 ,tiziano da ,padova1 ,pietro da ,sal1 ,bartolommeo ,ammanati of ,florence1 at the present day sculptor and protomaster to the great ,duke of ,tuscany1 and1 finally1 ,alessandro ,vittoria of ,trento1 a rare master in portraits of marble1 and ,jacopo de' ,medici of ,brescia2 who1 reviving the memory of the excellence of their master1 have employed their talents on many honoured works in various cities4 ,sansovino was much esteemed by ,princes1 among whom ,alessandro de' ,medici1 ,duke of ,florence1 sought his judgment in building the ,citadel of that city4 ,and ,duke ,cosimo in the year #aedj1 ,sansovino having gone on his affairs to his native city1 not only sought his counsel in the matter of that fortress1 but also strove to engage him in his service1 offering him a good salary2 and on his return from ,florence ,duke ,ercole of ,ferrara detained him about his person and proposed various conditions to him1 making every effort to keep him in ,ferrara4 ,but he1 being used to ,venice1 and finding himself comfortable in that city1 where he had lived a great part of his life1 and having a singular love for the ,procurators1 by whom he was so much honoured1 would never listen to any of them4 ,he was also invited by ,pope ,paul ,,iii1 who wished to advance him to the charge of ,s4 ,pietro in the place of ,antonio da ,san ,gallo1 and with this ,monsignor della ,casa1 who was then ,legate in ,venice1 occupied himself much2 but all was in vain1 because he said that he was not minded to exchange the manner of life of a republic for that of living under an absolute ,prince4 ,and ,king ,philip of ,spain1 on his way to ,germany1 showed him much kindness at ,peschiera1 whither ,jacopo had gone to see him4 ,he had an immoderate desire of glory1 and by reason of that used to spend his own substance on others 7not without notable harm to his descendants71 in the hope that there might remain some memory of him4 ,good judges say that although he had to yield to ,michelagnolo1 yet in certain things he was his superior4 ,thus in the fashioning of draperies1 in children1 and in the expressions of women1 ,jacopo had no equal1 for the reason that his draperies in marble were very delicate and well executed1 with beautiful folds and curves that revealed the nude beneath the vestments2 his children he made tender and soft1 without those muscles that adults have1 and with their little arms and legs as if of flesh1 insomuch that they were in no way different from the life2 and the expressions of his women were sweet and pleasing1 and as gracious as could be1 as is clearly seen from various ,madonnas made by him in many places1 of marble and in low-relief1 and from his statues of ,venus and other figures4 ,now this man1 having thus become celebrated in sculpture and in architecture a master without a rival1 and having lived in the grace of mankind and also of ,god1 who bestowed upon him the genius that made him illustrious1 as has been related1 when he had come to the age of ninety-three1 feeling somewhat weary in body1 took to his bed in order to rest2 in which having lain without any kind of suffering1 although he strove to rise and dress himself as if well1 for a period of a month and a half1 failing little by little1 he asked for the ,sacraments of the ,church1 which having received1 while still hoping to live a few years1 he sank gradually and died on the #bnd of ,november in the year #aegj2 and although in his old age he had run the whole course of nature1 yet his death was a grief to all ,venice4 ,he left behind him his son ,francesco1 born at ,rome in the year #aeba1 a man learned both in the law and in the humanities1 from whom ,jacopo saw three grandchildren born2 a male child called1 like his grandfather1 ,jacopo1 and two female1 one called ,fiorenza1 who died1 to his infinite grief and sorrow1 and the other ,aurora4 ,his body was borne with much honour to his chapel in ,s4 ,gimignano1 where there was erected to his memory by his son the marble statue made by ,jacopo himself while he was alive1 with the epitaph given below in memory of his great worth3 ,,jacobo ,,sansovino ,,florentino ,,qui ,,rom ,,julio ,,ii1 ,,leoni ,x1 ,,clementi ,,vii1 ,,pont4 ,,max41 ,,maxime ,,gratus1 ,,venetiis ,,architectur ,,sculptur,,que ,,intermortuum ,,decus ,,primus ,,excitavit1 ,,quique ,a ,,senatu ,,ob ,,eximiam ,,virtutem ,,liberaliter ,,honestatus1 ,,summo ,,civitatis ,,moerore ,,decessit1 ,,franciscus ,f4 ,,hoc ,,mon4 ,p4 ,,vixit ,,ann4 ,,xciii4 ,,ob4 ,v4 ,,cal4 ,,dec4 ,,mdlxx4 ,his obsequies were likewise celebrated publicly at the ,frari by the ,florentine colony1 with no slight pomp1 and the oration was delivered by ,messer ,camillo ,buonpigli1 an excellent man4 ,,leone ,,lioni ,,of ,,arezzo ,,of ,,leone ,,lioni ,,of ,,arezzo1 ,,and ,,other ,,sculptors ,,and ,,architects ,since that which has been said above1 here and there1 of the ,chevalier ,leone1 a sculptor of ,arezzo1 has been said incidentally1 it cannot but be well to speak here in due order of his works1 which are truly worthy to be celebrated and to pass into the memory of mankind4 ,this ,leone1 then1 having applied himself in the beginning to the goldsmith's art1 and having made in his youth many beautiful works1 and in particular portraits from life in dies of steel for medals1 became in a few years so excellent1 that he came to the knowledge of many great men and ,princes1 and particularly of the ,emperor ,charles ,v1 by whom1 having recognized his talents1 he was set to works of greater importance than medals4 ,thus1 not long after he became known to his ,majesty1 he made a statue of that ,emperor in bronze1 larger than life and in the round1 which he then furnished with a very delicate suit of armour formed of two very thin shells1 which can be put on and taken off with ease1 and all wrought with such grace1 that whoever sees the statue when covered does not notice it and can scarcely believe that it is nude below1 and when it is nude no one would believe without difficulty that it could ever be so well clad in armour4 ,this statue rests on the left leg1 and with the right foot tramples on ,fury1 which is a recumbent figure bound in chains1 with the torch beneath it and arms of various kinds4 ,on the base of this work1 which is now in ,madrid1 are these words3 ,c,,saris ,,virtute ,,furor ,,domitus4 ,after these statues ,leone made a great die for striking medals of his ,majesty1 and on the reverse the ,giants being slain by ,jove with thunderbolts4 ,for all which works the ,emperor gave to ,leone a pension of one hundred and fifty ducats a year on the ,mint of ,milan1 with a very commodious house in the ,contrada de' ,moroni1 and made him a ,chevalier and of his household1 besides giving him many privileges of nobility for his descendants4 ,and while ,leone was with his ,majesty in ,brussels1 he had his rooms in the palace of the ,emperor himself1 who at times would go for recreation to see him at work4 ,not long afterwards he made another statue of the ,emperor1 in marble1 and also those of the ,empress and ,king ,philip1 and a bust of the same ,emperor for placing on high between two panels in bronze4 ,he made1 likewise in bronze1 the head of ,queen ,maria1 that of ,ferdinand1 at that time ,king of the ,romans1 that of ,maximilian his son1 now ,emperor1 and that of ,queen ,leonora1 with many others1 which were placed in the ,gallery of the ,palace of ,binche by ,queen ,maria1 who had caused them to be made4 ,but they did not stay there long1 because ,king ,henry of ,france set fire to the building by way of revenge1 leaving written there these words1 ,vela fole ,maria2#ad ,i say by way of revenge1 because a few years before that ,queen had done the same to him4 ,however it may have been1 the work of that gallery did not proceed1 and those statues are now partly in the ,palace of the ,catholic ,king at ,madrid1 and partly at ,alicante1 a sea-port1 from which her ,majesty intended to have them conveyed to ,granada1 where are the tombs of all the ,kings of ,spain4 ,on returning from ,spain1 ,leone brought with him two thousand crowns in cash1 besides many other gifts and favours that were bestowed upon him by that ,court4 ,footnote #ad3 ,the story runs that in the year #aecc ,queen ,maria attacked and destroyed the ,castle of ,folembrai1 and that in the following year ,king ,henry of ,france1 out of revenge1 destroyed the fortress of ,binche in ,upper ,hainault1 leaving on the ruined walls the words ,voil ,folembrai2 which in the ,italian have been corrupted into ,vela fole ,maria4 ,illustration3 ,,tomb ,,of ,,gian ,,jacopo ,,medici 7,after ,leone ,lioni4 ,milan3 ,duomo7 ,alinari ,for the ,duke of ,alva ,leone has executed a head of the ,duke1 one of ,charles ,v1 and another of ,king ,philip4 ,for the very reverend ,bishop of ,arras1 now ,grand ,cardinal1 called ,granvella1 he has made some pieces in bronze of an oval form1 each of two braccia1 with rich borders1 and containing half-length statues2 in one is ,charles ,v1 in another ,king ,philip1 and in the third the ,cardinal himself1 portrayed from life1 and all have bases with little figures of much grace4 ,for ,signor ,vespasiano ,gonzaga he has made in a great bust of bronze the portrait of ,alva1 which ,gonzaga has placed in his house at ,sabbionetto4 ,for ,signor ,cesare ,gonzaga he has executed1 likewise in metal1 a statue of four braccia1 which has beneath it another figure that is entwined with a ,hydra1 in order to denote his father ,don ,ferrante1 who by his worth and valour overcame the vicious envy that had sought to bring him into disgrace with ,charles ,v in the matter of the government of ,milan4 ,this statue1 which is clad in a toga and armed partly in the ancient and partly in the modern fashion1 is to be taken to ,guastalla and placed there in memory of that ,don ,ferrante1 a most valorous captain4 ,the same ,leone has made1 as has been told in another place1 the tomb of ,signor ,giovanni ,jacopo ,medici1 ,marquis of ,marignano and brother of ,pope ,pius ,,iv1 which stands in the ,duomo of ,milan1 about twenty-eight palms in length and forty in height4 ,this tomb is all of ,carrara marble1 and adorned with four columns1 two of them black and white1 which were sent by the ,pope as rare things from ,rome to ,milan1 and two others1 larger1 which are of a spotted stone similar to jasper2 which are all accommodated under one and the same cornice1 an unusual contrivance1 by the desire of that ,pope1 who caused the whole work to be executed after the directions of ,michelagnolo1 excepting only the five figures of bronze that are there1 which are by the hand of ,leone4 ,the first of these1 the largest of them all1 is the statue of the ,marquis himself1 standing upright and larger than life1 which has in the right hand the baton of a ,general1 and the left hand resting on a helmet that is on a very richly adorned trunk4 ,on the left of this is a smaller statue1 representing ,peace1 and on the right another signifying ,military ,virtue2 and these are seated1 and in aspect all sad and sorrowing4 ,of the other two1 which are on high1 one is ,providence and the other ,fame2 and between them1 on the same level1 is a most beautiful ,nativity of ,christ in bronze1 in low-relief4 ,at the summit of the whole work are two figures of marble1 which support that lord's escutcheon of balls4 ,for this work seven thousand and eight hundred crowns were paid1 according to the agreement made in ,rome by the most illustrious ,cardinal ,morone and ,signor ,agabrio ,scierbellone4 ,the same master has made for ,signor ,giovan ,battista ,castaldo a statue likewise in bronze1 which is to be placed in ,i know not what monastery1 with some ornaments4 ,for the above-named ,catholic ,king he has executed a ,christ in marble1 more than three braccia high1 with the ,cross and with other ,mysteries of the ,passion1 which is much extolled4 ,finally1 he has in hand the statue of ,signor ,alfonso ,davalos1 the ,marchese del ,vasto of famous memory1 which was entrusted to him by the ,marchese di ,pescara1 his son2 four braccia high1 and likely to prove an excellent figure when cast1 by reason of the diligence that he is devoting to its execution1 and the good fortune that ,leone has always had in his castings4 ,leone1 in order to display the greatness of his mind1 the beautiful genius that he has received from ,nature1 and the favour of ,fortune1 has built at great expense and with most beautiful architecture a house in the ,contrada de' ,moroni1 so full of fantastic inventions1 that there is perhaps no other like it in all ,milan4 ,in the distribution of the faade there are upon pilasters six captives each of six braccia and all of pietra viva1 and between these1 in certain niches1 ,fates in imitation of the antique1 with little terminal figures1 windows1 and cornices all different from the common use and very graceful2 and all the parts below correspond with beautiful order to those above1 and the frieze-ornaments are all of various instruments of the arts of design4 ,from the principal door one enters by a passage into a courtyard1 in the centre of which1 upon four columns1 is the horse with the statue of ,marcus ,aurelius1 cast in gesso from the original which is in the ,campidoglio4 ,by means of that statue he has intended that his house should be dedicated to ,marcus ,aurelius2 and as for the captives1 that fancy is interpreted by various persons in various ways4 ,besides the horse1 he has in that beautiful and most commodious habitation1 as has been told in another place1 as many casts in gesso as he has been able to obtain of famous works in sculpture and casting1 both ancient and modern4 ,a son of ,leone1 called ,pompeo1 who is now in the service of ,king ,philip of ,spain1 is in no way inferior to his father in executing dies of steel for medals and in casting figures that are marvellous4 ,wherefore at that ,court he has been a competitor of ,giovan ,paolo ,poggini1 a ,florentine1 who also works in the service of that ,king and has made most beautiful medals4 ,but ,pompeo1 having served that ,king many years1 intends to return to ,milan in order to enjoy his ,aurelian house and the other labours of his excellent father1 the loving friend of every man of talent4 ,and now to say something of medals1 and of the steel dies with which they are made4 ,i believe that it may be affirmed with truth that our modern intellects have achieved as much as the ancient ,romans once did in the excellence of the figures1 and that in the lettering and in other parts they have surpassed them4 ,which may be seen clearly in twelve reverses--besides many others--that ,pietro ,paolo ,galeotto has executed recently in the medals of ,duke ,cosimo1 and they are these2 ,pisa restored almost to her pristine condition by means of the ,duke1 he having drained the country round and dried the marshy places1 and having made many other improvements2 the waters conducted to ,florence from various places1 the ornate and magnificent building of the ,magistrates erected for the public convenience1 the union of the ,states of ,florence and ,siena1 the building of a city and two fortresses in ,elba1 the column conveyed from ,rome and placed on the ,piazza di ,s4 ,trinita in ,florence1 the preservation1 completion and enlargement of the ,library of ,s4 ,lorenzo for the public good1 the foundation of the ,order of the ,knights of ,s4 ,stephen1 the resignation of the government to the ,prince1 the fortifying of the ,state1 the militia or trained companies of his dominion1 and the ,pitti ,palace with its gardens1 waters1 and buildings1 a work of such regal magnificence2 of which reverses ,i do not give here either the lettering that they have around them1 or their explanation1 having to treat of them in another place4 ,all these twelve reverses are beautiful to a marvel and executed with much diligence and grace1 as is also the head of the ,duke1 which is of perfect beauty2 and medals and other works in stucco1 likewise1 as ,i have said on another occasion1 are being made of absolute perfection at the present day4 ,and recently ,mario ,capocaccia of ,ancona has executed with coloured stucco1 in little cases1 heads and portraits that are truly most beautiful2 such as a portrait of ,pope ,pius ,v1 which ,i saw not long since1 and that of ,cardinal ,alessandrino4 ,i have seen1 also1 portraits of the same kind by the hands of the sons of ,polidoro1 a painter of ,perugia1 which are very beautiful4 ,but to return to ,milan2 looking again a year ago over the works of the sculptor ,gobbo1 of whom mention has been made in another place1 ,i did not see anything that was otherwise than ordinary1 excepting an ,adam and ,eve1 a ,judith1 and a ,s4 ,helena1 in marble1 which are about the ,duomo2 with two other statues of dead persons1 representing ,lodovico1 called ,il ,moro1 and ,beatrice his wife1 which were to be placed upon a tomb by the hand of ,giovan ,jacomo della ,porta1 sculptor and architect to the ,duomo of ,milan1 who in his youth executed many works under the said ,gobbo2 and those named above1 which were to go on that tomb1 are wrought with a high finish4 ,the same ,giovan ,jacomo has executed many beautiful works for the ,certosa of ,pavia1 and in particular on the tomb of the ,conte di ,virt and on the faade of the church4 ,from him one his nephew learned his art1 by name ,guglielmo1 who in ,milan1 about the year #aecj1 applied himself with much study to copying the works of ,leonardo da ,vinci1 which gave him very great assistance4 ,whereupon he went with ,giovan ,jacomo to ,genoa1 when in the year #aeca the latter was invited to execute the sepulchre of ,s4 ,john the ,baptist1 and he devoted himself with great study to design under ,perino del ,vaga2 and1 not therefore abandoning sculpture1 he made one of the sixteen pedestals that are in that sepulchre1 on which account1 it being seen that he was acquitting himself very well1 he was commissioned to make all the others4 ,next1 he executed two ,angels in marble1 which are in the ,company of ,s4 ,giovanni2 and for the ,bishop of ,servega he made two portraits in marble1 and a ,moses larger than life1 which was placed in the ,church of ,s4 ,lorenzo4 ,and then1 after he had made a ,ceres of marble that was placed over the door of the house of ,ansaldo ,grimaldi1 he executed for placing over the ,gate of the ,cazzuola1 in that city1 a statue of ,s4 ,catharine of the size of life2 and after that the three ,graces1 with four little boys1 of marble1 which were sent into ,flanders to the ,grand ,equerry of the ,emperor ,charles ,v1 together with another ,ceres of the size of life4 ,illustration3 ,,eve 7,after ,cristofano ,solari4 ,milan3 ,duomo7 ,brogi ,having executed these works in six years1 ,guglielmo in the year #aecg made his way to ,rome1 where he was much recommended by his uncle ,giovan ,jacomo to the painter ,fra ,sebastiano ,viniziano1 his friend1 to the end that he might recommend him1 as he did1 to ,michelagnolo ,buonarroti4 ,which ,michelagnolo1 seeing ,guglielmo to be spirited and very assiduous in labouring1 began to conceive an affection for him1 and1 before any other thing1 caused him to restore some antique things in the ,farnese ,palace1 in which he acquitted himself in such a manner1 that ,michelagnolo put him into the service of the ,pope4 ,another proof of his powers had been seen already in a tomb that he had executed at the ,botteghe ,scure1 for the most part of metal1 for ,bishop ,sulisse1 with many figures and scenes in low-relief--namely1 the ,cardinal ,virtues and others1 wrought with much grace1 and besides these the figure of the ,bishop himself1 which afterwards went to ,salamanca in ,spain4 ,now1 while ,guglielmo was engaged in restoring the statues1 which are now in the loggia that is before the upper hall in the ,farnese ,palace1 there took place in the year #aedg the death of ,fra ,sebastiano ,viniziano1 who1 as has been told1 had administered the office of the ,piombo4 ,whereupon ,guglielmo1 with the favour of ,michelagnolo and of others1 so wrought upon the ,pope1 that he obtained the said office of the ,piombo1 with the charge of executing the tomb of ,pope ,paul ,,iii1 which was to be placed in ,s4 ,pietro4 ,for this he availed himself in the model1 with better design1 of the scenes and figures of the ,theological and ,cardinal ,virtues that he had made for the above-named ,bishop ,sulisse1 placing at the corners four children in four partitions1 and four cartouches1 and making in addition a bronze statue of the said ,pontiff seated1 giving the benediction2 which statue was seventeen palms high4 ,but doubting1 on account of the size of the casting1 lest the metal might grow cold and the work therefore not succeed1 he placed the metal in the vessel below1 in such a way that it might be gradually sucked upwards4 ,and with this unusual method that casting came out very well1 and as clean as the wax1 so that the very surface that came from the fire had no need at all to be polished1 as may be seen from the statue itself1 which was placed below the first arches that support the tribune of the new ,s4 ,pietro4 ,on this tomb1 which according to a design by his hand was to be isolated1 were to be placed four figures1 which he executed in marble with beautiful inventions according as he was directed by ,m4 ,annibale ,caro1 who had the charge of this from the ,pope and ,cardinal ,farnese4 ,one was ,justice1 which is a nude figure lying upon some draperies1 with the belt of the sword across the breast1 and the sword hidden2 in one hand she has the fasces of consular jurisdiction1 and in the other a flame of fire1 and she is young in countenance1 and has the hair plaited1 the nose aquiline1 and the aspect full of expression4 ,the second was ,prudence in the form of a matron1 young in aspect1 with a mirror in the hand1 and a closed book1 and partly nude1 partly draped4 ,the third was ,abundance1 a young woman crowned with ears of corn1 with a horn of plenty in one hand and the ancient corn-measure in the other1 and clothed in such a manner as to show the nude beneath the draperies4 ,the fourth and last was ,peace1 who is a matron with a boy that has lost his eyes1 and with the ,caduceus of ,mercury4 ,he made1 likewise1 a scene also of metal and after the directions of the above-named ,caro1 which was to be placed in the work1 with two ,river ,gods1 one representing a lake and the other a river that is in the domains of the ,farnesi2 and1 besides all these things1 there was to be there a mount covered with lilies1 and with the rainbow of ,iris4 ,but the whole was not afterwards carried into execution1 for the reasons that have been given in the ,life of ,michelagnolo4 ,it may be believed that even as these parts are in themselves beautiful and wrought with much judgment1 so they would have succeeded as a whole together2 and yet it is the air of the piazza#ae which gives the true light and enables us to form a correct judgment of a work4 ,footnote #ae3 ,see last line on p4 #aab4 ,illustration3 ,,tomb ,,of ,,pope ,,paul ,,iii 7,after ,guglielmo della ,porta4 ,rome3 ,s4 ,peter's7 ,alinari ,the same ,fra ,guglielmo has executed during a period of many years fourteen stories of the life of ,christ1 for casting in bronze2 each of which is four palms in breadth and six in height1 excepting only one1 which is twelve palms high and six broad1 wherein is the ,nativity of ,jesus ,christ1 with most beautiful fantasies of figures4 ,in the other thirteen are1 ,mary going with the ,infant ,christ on the ass to ,jerusalem1 with two figures in strong relief1 and many in half-relief and low-relief2 the ,last ,supper1 with thirteen figures well composed1 and a very rich building2 the ,washing of the ,disciples' feet2 the ,prayer in the ,garden1 with five figures1 and at the foot a multitude of great variety2 ,christ led before ,annas1 with six large figures1 many lower down1 and one in the distance2 the ,scourging at the ,column1 the ,crowning with ,thorns1 the ,ecce ,homo1 ,pilate washing his hands2 ,christ bearing the ,cross1 with fifteen figures1 and others in the distance1 going to ,mount ,calvary2 ,christ ,crucified1 with eighteen figures2 and ,christ taken down from the ,cross4 ,all which scenes1 if they were cast1 would form a very rare work1 seeing that they have been wrought with much study and labour4 ,pope ,pius ,,iv had intended to have them executed for one of the doors of ,s4 ,pietro1 but he had not time1 being overtaken by death4 ,recently ,fra ,guglielmo has executed models in wax for three altars in ,s4 ,pietro2 ,christ taken down from the ,cross1 ,peter receiving the ,keys of the ,church1 and the ,coming of the ,holy ,spirit1 which would all be beautiful scenes4 ,in short1 this man has had1 and still has1 the greatest opportunities to exert himself and to execute works1 seeing that the office of the ,piombo gives such a revenue that the holder can study and labour for glory1 which he who has not such advantages is not able to do2 and yet ,fra ,guglielmo has executed no finished work between #aedg and this year of #aefg4 ,but it is the characteristic of those who hold that office to become sluggish and indolent2 and that this is true1 a proof is that this ,guglielmo1 before he became ,friar of the ,piombo1 executed many heads in marble and other works1 besides those that we have mentioned4 ,it is true1 indeed1 that he has made four great ,prophets in stucco1 which are in the niches between the pilasters of the first great arch of ,s4 ,pietro4 ,he also occupied himself much with the cars for the feast of ,testaccio and other masquerades1 which were held now many years ago in ,rome4 ,a pupil of this master has been one ,guglielmo ,tedesco1 who1 among other works1 has executed a very rich and beautiful ornamentation of little statues in bronze1 imitated from the best antiques1 for a cabinet of wood 7so it is called7 which the ,count of ,pitigliano presented to the ,lord ,duke ,cosimo4 ,which little figures are these2 the horse of the ,campidoglio1 those of ,monte ,cavallo1 the ,farnese figures of ,hercules1 the ,antinous and the ,apollo of the ,belvedere1 and the heads of the ,twelve ,emperors1 with others1 all well wrought and very similar to the originals4 ,milan has also had another sculptor1 dead this year1 called ,tommaso ,porta1 who worked marble excellently well1 and in particular counterfeited antique heads in marble1 which have been sold as antiques2 and masks he made so well that in them no one has equalled him1 of which ,i have one in marble by his hand1 placed on the chimney-piece of my house at ,arezzo1 which everyone takes for an antique4 ,this ,tommaso made the heads of the ,twelve ,emperors in marble1 the size of life1 which were the rarest things4 ,these ,pope ,julius ,,iii took1 making him a present of an office of a hundred crowns a year in the ,segnatura2 and he kept the heads ,i know not how many months in his chamber1 as choice things4 ,but by the agency 7so it is believed7 of the above-named ,fra ,guglielmo and others who were jealous of him1 such measures were taken against him1 that1 with no regard for the dignity of the gift bestowed upon him by that ,pontiff1 they were sent back to his house2 where they were afterwards bought from him on better terms by merchants1 and then sent to ,spain4 ,not one of our imitators of antiques was superior to this ,tommaso1 of whom it has seemed to me right that record should be made1 and the rather as he has passed to a better life1 leaving name and fame for his ability4 ,many works1 likewise1 have been executed in ,rome by one ,leonardo1 a ,milanese1 who has made recently two statues of marble1 ,s4 ,peter and ,s4 ,paul1 for the ,chapel of ,cardinal ,giovanni ,riccio da ,montepulciano1 which are much extolled and held to be good and beautiful figures4 ,and the sculptors ,jacopo and ,tommaso ,casignuola have made in the ,chapel of the ,caraffi1 in the ,church of the ,minerva1 the tomb of ,pope ,paul ,,iv1 and1 besides other ornaments1 a statue formed of pieces which represents that ,pope1 with a mantle of veined brocatello marble1 and the trimming and other things of veined marbles of various colours1 which render it marvellous4 ,and so we see added to the other industries of our modern intellects this new one1 and that sculptors proceed with colours in their sculpture to imitate painting4 ,which tomb has been executed by means of the great saintliness1 goodness and gratitude of ,pope ,pius ,v1 a ,pontiff and ,holy ,father truly most saintly1 most blessed1 and most worthy of long life4 ,of ,nanni di ,baccio ,bigio1 a ,florentine sculptor1 besides what has been said of him in other places1 ,i have to record that in his youth1 under ,raffaello da ,montelupo1 he applied himself in such a manner to sculpture1 that in some little things that he did in marble he gave great promise that he would prove to be an able man4 ,and having gone to ,rome1 under the sculptor ,lorenzetto1 while he gave his attention as his father had done also to architecture1 he executed the statue of ,pope ,clement ,,vii1 which is in the choir of the ,minerva1 and a ,piet of marble1 copied from that of ,michelagnolo1 which was placed in ,s4 ,maria de ,anima1 the ,church of the ,germans1 as a work that is truly very beautiful4 ,another like it he made not long afterwards for ,luigi del ,riccio1 a ,florentine merchant1 which is now in ,s4 ,spirito at ,florence1 in a chapel of that ,luigi1 who is no less extolled for such piety towards his native city than is ,nanni for having executed the statue with much diligence and love4 ,nanni then applied himself under ,antonio da ,san ,gallo with more study to architecture1 and gave his attention1 while ,antonio was alive1 to the fabric of ,s4 ,pietro2 where1 falling from a staging sixty braccia high1 and shattering himself1 he escaped with his life by a miracle4 ,nanni has erected many edifices in ,rome and in the country round1 and has sought to obtain even more1 and greater1 as has been told in the ,life of ,michelagnolo4 ,his work1 also1 is the ,palace of ,cardinal ,montepulciano on the ,strada ,giulia1 and a gate at ,monte ,sansovino built by order of ,julius ,,iii1 with a reservoir for water that is not finished1 and a loggia and other apartments of the palace formerly built by the old ,cardinal di ,monte4 ,and a work of ,nanni1 likewise1 is the house of the ,mattei1 with many other buildings that have been erected or are still being constructed in ,rome4 ,a famous and most celebrated architect1 also1 among others of the present day1 is ,galeazzo ,alessi of ,perugia1 who1 serving in his youth the ,cardinal of ,rimini1 whose chamberlain he became1 executed among his first works1 at the desire of that lord1 the rebuilding of the apartments in the ,fortress of ,perugia1 with so many conveniences and such beauty1 that for a place so small it was a marvel1 and many times already they have accommodated the ,pope with all his ,court4 ,then1 after many other works that he executed for the said ,cardinal1 he was invited by the ,genoese with much honour into the service of that ,republic1 for which the first work that he did was to restore and fortify the port and the mole2 nay rather1 to make it almost entirely different from what it was before4 ,for1 reaching out over a good space into the sea1 he caused to be constructed a great and most beautiful port1 which lies in a semicircle1 very ornate with rustic columns and with niches about them1 at the extremities of which semicircle there meet two little bastions1 which defend that great port4 ,on the piazza1 then1 above the mole and at the back of the great port1 towards the city1 he made a very large portico of the ,doric ,order1 which accommodates the ,guard1 and over it1 comprising all the space that it covers and likewise the two bastions and the gate1 there is left a platform arranged for the operations of artillery1 which commands the mole in the manner of a cavalier and defends the port both within and without4 ,and besides this1 which is finished1 arrangements are being made for the enlargement of the city after his design1 and his model has already been approved by the ,signoria2 and all with much praise for ,galeazzo1 who in these and other works has shown himself to be a most ingenious architect4 ,the same ,galeazzo has executed the new street of ,genoa1 with so many palaces built in the modern manner after his designs1 that many declare that in no other city of ,italy is there to be found a street more magnificent and grand than that one1 nor one more full of the richest palaces1 all built by those ,signori with the persuasion and directions of ,galeazzo1 to whom all confess that they owe a very great obligation1 in that he has been the inventor and executor of works which render their city1 with regard to edifices1 incomparably more grand and magnificent than it was before4 ,the same master has built other streets without ,genoa1 and among others that which starts from ,ponte ,decimo on the way to ,lombardy4 ,he has restored the walls of the city towards the sea1 and the fabric of the ,duomo1 making therein the tribune and the cupola2 and he has built1 also1 many private edifices1 such as the country palace of ,messer ,luca ,giustiniano1 that of ,signor ,ottaviano ,grimaldi1 the ,palaces of two ,doges1 one for ,signor ,battista ,grimaldi1 and many others of which there is no need to speak4 ,illustration3 ,,palazzo ,,grimaldi 7,after ,galeazzo ,alessi4 ,genoa7 ,alinari ,now ,i will not omit to say that he has made the lake and island of ,signor ,adamo ,centurioni1 abounding in waters and fountains contrived in various beautiful and fantastic ways1 and also the fountain of the ,captain ,larcaro1 near the city1 which is a most remarkable work2 but beyond all the different kinds of fountains that he has made for many persons1 most beautiful is the bath that he has made in the house of ,signor ,giovan ,battista ,grimaldi at ,bisagno4 ,this bath1 which in form is round1 has in the centre a little basin wherein eight or ten persons can bathe without inconvenience2 which basin has hot water from four heads of sea-monsters that appear as if issuing from it1 and cold water from as many frogs that are over those heads of monsters4 ,around that basin1 to which one descends by three circular steps1 there curves a space wide enough for two persons to walk in comfort4 ,the circular wall of the whole bath is divided into eight spaces1 in four of which are four great niches1 each of which contains a round basin that is raised a little from the ground1 half being within the niche and half remaining without2 and in the centre of each basin a man can bathe1 hot and cold water coming from a great mask that pours it through the horns and draws it in again when necessary by the mouth4 ,in one of the other four spaces is the door1 and in the other three are windows and places to sit2 and all the eight spaces are separated by terminal figures1 which support the cornice upon which rests the round vaulting of the whole bath4 ,from the centre of that vaulting hangs a great ball of crystal-glass1 on which is painted the sphere of the heavens1 and within it the globe of the earth1 from certain parts of which1 when one uses the bath at night1 comes a brilliant light that renders the place as light as if it were mid-day4 ,i forbear to speak of the anteroom1 the dressing-room1 and the small bath1 which are full of stucco-ornaments1 and of the pictures that adorn the place1 so as not to be longer than is needful2 let it suffice to say that they are in no way unworthy of so great a work4 ,in ,milan1 under the direction of the same ,galeazzo1 has been built the ,palace of ,signor ,tommaso ,marini1 ,duke of ,terranuova2 and also1 possibly1 the faade of the fabric of ,s4 ,celso that is now being built1 the auditorium of the ,cambio1 which is round in form1 the already begun ,church of ,s4 ,vittore1 and many other edifices4 ,he has also sent designs over all ,italy and abroad1 wherever he has not been able to be in person1 of many edifices1 palaces1 and temples1 of which ,i shall say no more2 this much being enough to make him known as a talented and most excellent architect4 ,i will not omit--seeing that he is one of our ,italians1 although ,i do not know any particulars of his works--that in ,france1 so ,i am informed1 a most excellent architect1 and particularly in the work of fortification1 is ,rocco ,guerrini of ,marradi1 who in the recent wars of that kingdom1 to his great profit and honour1 has executed many ingenious and laudable works4 ,and so in this last part1 in order not to defraud any man of the proper credit of his talent1 ,i have discoursed of some sculptors and architects now living1 of whom hitherto ,i had not had a convenient occasion to speak4 ,,don ,,giulio ,,clovio ,,of ,,don ,,giulio ,,clovio ,,miniaturist ,there has never been1 nor perhaps will there ever be for many centuries1 a more rare or more excellent miniaturist1 or we would rather say painter of little things1 than ,don ,giulio ,clovio1 in that he has surpassed by a great measure all others who have ever been engaged in that kind of painting4 ,this master was born in the province of ,sclavonia1 or rather1 ,croatia1 at a place called ,grisone1 in the diocese of ,madrucci1 although his elders1 of the family of the ,clovi1 had come from ,macedonia2 and the name given to him at baptism was ,giorgio ,giulio4 ,as a child he gave his attention to letters2 and then1 by a natural instinct1 to design4 ,and having come to the age of eighteen1 being desirous to make proficience1 he came to ,italy and placed himself in the service of ,cardinal ,marino ,grimani1 with whom for a period of three years he applied himself in such a manner to drawing1 that he achieved a much better result than perhaps up to that time had been expected of him2 as was seen in some designs of medals and their reverses that he made for that lord1 drawn with the pen most minutely1 with extreme and almost incredible diligence4 ,whereupon1 having seen that he was more assisted by nature in little things than in great1 he resolved1 and wisely1 that he would give his attention to miniature1 since his works in that field were full of grace and beautiful to a marvel2 being urged to this1 also1 by many friends1 and in particular by ,giulio ,romano1 a painter of bright renown1 who was the man who before any other taught him the method of using tints and colours in gum and in distemper4 ,illustration3 ,,the ,,deposition 7,after the painting upon parchment by ,giulio ,clovio4 ,florence3 ,pitti1 ,no4 #bda7 ,mansell ,among the first works that ,clovio coloured was a ,madonna1 which1 as a man of ingenious and beautiful spirit1 he copied from the book of the ,life of the ,virgin2 which ,madonna was printed in wood-engraving among the first sheets of ,albrecht ,drer4 ,whereupon1 having acquitted himself well in that his first work1 he made his way by means of ,signor ,alberto da ,carpi1 who was then serving in ,hungary1 into the service of ,king ,louis and of ,queen ,maria1 the sister of ,charles ,v2 for which ,king he executed a ,judgment of ,paris in chiaroscuro1 which much pleased him1 and for the ,queen the ,roman ,lucretia killing herself1 with some other things1 which were held to be very beautiful4 ,the death of that ,king then ensuing1 and the ruin of everything in ,hungary1 ,giorgio ,giulio was forced to return to ,italy2 where he had no sooner arrived than the old ,cardinal ,campeggio took him into his service4 ,thereupon1 being settled to his liking1 he executed a ,madonna in miniature for that lord1 and some other little things1 and disposed himself to attend at all costs with greater study to the matters of art2 and so he set himself to draw1 and to seek with every effort to imitate the works of ,michelagnolo4 ,but this fine resolution was interrupted by the unhappy sack of ,rome in the year #aebg1 when the poor man1 finding himself the prisoner of the ,spaniards and maltreated1 in his great misery had recourse to divine assistance1 making a vow that if he escaped safely from that miserable ruin and out of the hands of those new ,pharisees1 he would straightway become a friar4 ,wherefore1 having escaped by the grace of ,god and made his way to ,mantua1 he became a monk in the ,monastery of ,s4 ,ruffino1 a seat of the ,order of ,canons ,regular of ,scopeto2 having been promised1 besides peace and quiet of mind and tranquil leisure in the service of ,god1 that he would have facilities for attending at times1 as it were by way of pastime1 to the work of miniature4 ,having thus taken the habit and the name of ,don ,giulio1 at the end of a year he made his profession2 and then for a period of three years he stayed peacefully enough among those fathers1 changing from one monastery to another according to his pleasure1 as has been related elsewhere1 and always working at something4 ,during that time he completed a great choir-book with delicate illuminations and most beautiful borderings1 making in it1 among other things1 a ,christ appearing to the ,magdalene in the form of a gardener1 which was held to be a rare thing4 ,wherefore1 growing in courage1 he depicted--but in figures much larger--the ,adulterous ,woman accused by the ,jews before ,christ1 with a good number of figures2 all which he copied from a picture that had been executed in those days by ,tiziano ,vecelli1 that most excellent painter4 ,not long afterwards it happened that ,don ,giulio1 in transferring himself from one monastery to another1 as monks or friars do1 by misfortune broke a leg4 ,being therefore conveyed by those fathers to the ,monastery of ,candiana1 that he might be better attended1 he lay there some time without recovering1 perhaps having been wrongly treated1 as is common1 no less by the fathers than by the physicians4 ,which hearing1 ,cardinal ,grimani1 who much loved him for his excellence1 obtained from the ,pope the power to keep him in his service and to have him cured4 ,whereupon ,don ,giulio1 having thrown off the habit1 and his leg being healed1 went to ,perugia with the ,cardinal1 who was ,legate there2 and1 setting to work1 he executed for him in miniature these works2 an ,office of ,our ,lady1 with four most beautiful stories1 and in an ,epistolar three large stories of ,s4 ,paul the ,apostle1 one of which was sent not long afterwards to ,spain4 ,he also made for him a very beautiful ,piet1 and a ,christ ,crucified1 which after the death of ,grimani came into the hands of ,messer ,giovanni ,gaddi1 ,clerk of the ,chamber4 ,all these works caused ,don ,giulio to become known in ,rome as an excellent craftsman1 and were the reason that ,cardinal ,alessandro ,farnese1 who has always assisted1 favoured1 and desired to have about him rare and gifted men1 having heard his fame and seen his works1 took him into his service1 in which he has remained ever since and still remains1 old as he is4 ,for that lord1 ,i say1 he has executed an infinite number of the rarest miniatures1 of which ,i shall mention here only a part1 because to mention them all is almost impossible4 ,in a little picture he has painted ,our ,lady with her ,son in her arms1 with many ,saints and figures around1 and ,pope ,paul ,,iii kneeling1 portrayed from life so well1 that for all the smallness of that miniature he seems as if alive2 and all the other figures1 likewise1 appear to lack nothing save breath and speech4 ,that little picture1 as a thing truly of the rarest1 was sent to ,spain to the ,emperor ,charles ,v1 who was amazed by it4 ,after that work the ,cardinal caused him to set his hand to executing in miniature the stories in an ,office of ,our ,lady1 written in lettering shaped by ,monterchi1 who is a rare master in such work4 ,whereupon ,don ,giulio1 resolving that this work should be the highest flight of his powers1 applied himself to it with so much study and diligence1 that no other was ever executed with more2 wherefore he has achieved with the brush things so stupendous1 that it does not appear possible to go so far with the eye or with the hand4 ,don ,giulio has divided this labour into twenty-six little scenes1 each two sheets being next to one another1 the figure and the prefiguration1 and every little scene has around it an ornament different from the other1 with figures and fantasies appropriate to the story that it represents4 ,nor do ,i wish to grudge the labour of describing them briefly1 for the reason that everyone is not able to see them4 ,on the first page1 where ,matins begin1 is the ,angel bringing the ,annunciation to the ,virgin ,mary1 and in the ornament a border full of little children that are marvellous2 and in the other scene ,isaiah speaking with ,king ,ahaz4 ,in the second1 for ,lauds1 is the ,visitation of the ,virgin to ,elizabeth1 which has an ornament in imitation of metal2 and in the opposite scene are ,justice and ,peace embracing one another4 ,for ,prime is the ,nativity of ,christ1 and opposite1 in the ,earthly ,paradise1 ,adam and ,eve eating the ,fruit2 both the one and the other with ornaments full of nudes and other figures and animals1 portrayed from nature4 ,for ,terce he has painted the ,shepherds with the ,angel appearing to them1 and in the opposite scene the ,tiburtine ,sibyl showing to the ,emperor ,octavian the ,virgin with ,christ her ,son in ,heaven2 both the one and the other with ornaments of various borders and figures1 all coloured1 and containing the portrait of ,alexander the ,great and of ,cardinal ,alessandro ,farnese4 ,for ,sext there is the ,circumcision of ,christ1 where ,pope ,paul ,,iii is portrayed for ,simeon1 and in the scene are portraits of ,mancina and ,settimia1 gentlewomen of ,rome1 who were of surpassing beauty2 and around it a border well adorned1 which likewise encloses with the same design the other story that is beside it1 wherein is ,s4 ,john the ,baptist baptizing ,christ1 a scene full of nudes4 ,for ,nones he has made there the ,magi adoring ,christ1 and opposite to that ,solomon adored by the ,queen of ,sheba1 both one and the other with borders rich and varied1 and at the foot of this the whole ,feast of ,testaccio executed with figures smaller than ants1 which is a marvellous thing to see1 that a work so small should have been executed to perfection with the point of a brush2 this is one of the greatest things that mortal hand could do or mortal eye could behold1 and in it are all the liveries that ,cardinal ,farnese devised at that time4 ,for ,vespers there is ,our ,lady flying with ,christ into ,egypt1 and opposite is the ,submersion of ,pharaoh in the ,red ,sea2 with varied borders at the sides4 ,for ,complines there is the ,coronation of ,our ,lady in ,heaven1 with a multitude of ,angels1 and in the other scene opposite is ,ahasuerus crowning ,esther2 with appropriate borders4 ,for the ,mass of the ,madonna he has placed first1 in a border in imitation of cameos1 the ,angel ,gabriel announcing the ,word to the ,virgin2 and the two scenes are ,our ,lady with ,jesus ,christ in her arms and ,god the ,father creating ,heaven and ,earth4 ,before the ,penitential ,psalms is the ,battle in which ,uriah the ,hittite was done to death by command of ,king ,david1 wherein are horses and warriors wounded or dead1 all marvellous2 and opposite1 in the other scene1 ,david in ,penitence2 with ornaments and also little grotesques4 ,but he who would sate himself with marvelling1 let him look at the ,litanies1 where ,don ,giulio has woven a maze with the letters of the names of the ,saints2 and there in the margin above is a ,heaven filled with ,angels around the most holy ,trinity1 and one by one the ,apostles and the other ,saints2 and on the other side the ,heaven continues with ,our ,lady and all the ,virgin ,saints4 ,on the margin below he has depicted with the most minute figures the procession that ,rome holds for the solemn office of the ,corpus ,christi1 thronged with officers with their torches1 ,bishops1 and ,cardinals1 and the most ,holy ,sacrament borne by the ,pope1 with the rest of the ,court and the ,guard of ,halberdiers1 and finally ,castel ,s4 ,angelo firing artillery2 all such as to cause every acutest wit to marvel with amazement4 ,at the beginning of the ,office for the ,dead are two scenes2 ,death triumphing over all mortals1 mighty rulers of ,states and ,kingdoms and the common herd alike1 and opposite1 in the other scene1 the ,resurrection of ,lazarus1 and also ,death in combat with some on horseback4 ,for the ,office of the ,cross he has made ,christ ,crucified1 and opposite is ,moses with the rain of serpents1 and the same ,moses placing on high the serpent of brass4 ,for that of the ,holy ,spirit is that same ,holy ,spirit descending upon the ,apostles1 and opposite is the ,building of the ,tower of ,nimrod4 ,that work was executed by ,don ,giulio in a period of nine years with so much study and labour1 that in a manner of speaking it would never be possible to pay for the work with no matter what price2 nor is one able to see any more strange and beautiful variety than there is in all the scenes1 of bizarre ornaments and various movements and postures of nudes both male and female1 studied and well detailed in every part1 and placed appropriately all around in those borders1 in order to enrich the work4 ,which diversity of things infuses such beauty into that whole work1 that it appears a thing divine and not human1 and above all because with his colours and his manner of painting he has made the figures1 the buildings and the landscapes recede and fade into the distance with all those considerations that perspective requires1 and with the greatest perfection that is possible1 insomuch that1 whether near or far1 they cause everyone to marvel2 not to speak of the thousand different kinds of trees1 wrought so well that they appear as if grown in ,paradise4 ,in the stories and inventions may be seen design1 in the composition order and variety1 and richness in the vestments1 which are executed with such beauty and grace of manner1 that it seems impossible that they could have been fashioned by the hand of man4 ,wherefore we may say1 as we said at the beginning1 that ,don ,giulio has surpassed in this field both ancients and moderns1 and that he has been in our times a new1 if smaller1 ,michelagnolo4 ,the same master once executed a small picture with little figures for the ,cardinal of ,trent1 so pleasing and so beautiful1 that that lord made a present of it to the ,emperor ,charles ,v2 and afterwards1 for the same lord1 he painted another of ,our ,lady1 and with it the portrait of ,king ,philip1 which were very beautiful and therefore presented to the said ,catholic ,king4 ,for the above-named ,cardinal ,farnese he painted a little picture of ,our ,lady with her ,son in her arms1 ,s4 ,elizabeth1 a young ,s4 ,john1 and other figures1 which was sent to ,ruy ,gomez in ,spain4 ,in another1 which the above-named ,cardinal now has1 he painted ,s4 ,john the ,baptist in the ,desert1 with landscapes and animals of great beauty1 and another like it he executed afterwards for the same lord1 for sending to ,king ,philip2 and a ,piet1 which he painted with the ,madonna and many other figures1 was presented by the same ,farnese to ,pope ,paul ,,iv1 who as long as he lived would always have it beside him4 ,and a scene in which ,david is cutting off the head of the giant ,goliath1 was presented by the same ,cardinal to ,madama ,margherita of ,austria1 who sent it to ,king ,philip1 her brother1 together with another which that most illustrious lady caused ,don ,giulio to execute as a companion to it1 wherein was ,judith severing the head of ,holofernes4 ,many years ago ,don ,giulio stayed many months with ,duke ,cosimo1 and during that time executed some works for him1 part of which were sent to the ,emperor and other lords1 and part remained with his most illustrious ,excellency1 who1 among other things1 caused him to copy a little head of ,christ from one of great antiquity that his ,excellency himself possesses1 which once belonged to ,godfrey of ,bouillon1 ,king of ,jerusalem2 which head1 they say1 is more like the true image of the ,saviour than any other that there may be4 ,don ,giulio painted for the said ,lord ,duke a ,christ on the ,cross with the ,magdalene at the foot1 which is a marvellous thing1 and a little picture of a ,piet1 of which we have the design in our book together with another1 also by the hand of ,don ,giulio1 of ,our ,lady standing with her ,son in her arms1 dressed in the ,jewish manner1 with a choir of ,angels about her1 and many nude souls in the act of commending themselves to her4 ,but to return to the ,lord ,duke2 he has always loved dearly the excellence of ,don ,giulio1 and sought to obtain works by his hand2 and if it had not been for the regard that he felt for ,farnese1 he would not have let him go when he stayed some months1 as ,i have said1 in his service in ,florence4 ,the ,duke1 then1 besides the works mentioned1 has a little picture by the hand of ,don ,giulio1 wherein is ,ganymede borne to ,heaven by ,jove transformed into an ,eagle1 copied from the one that ,michelagnolo once drew1 which is now in the possession of ,tommaso de' ,cavalieri1 as has been told elsewhere4 ,in like manner1 the ,duke has in his study a ,s4 ,john the ,baptist seated upon a rock1 and some portraits by the same hand1 which are admirable4 ,don ,giulio once executed a picture of a ,piet1 with the ,maries and other figures around1 for the ,marchioness of ,pescara1 and another like it in every part for ,cardinal ,farnese1 who sent it to the ,empress1 who is now the wife of ,maximilian and sister of ,king ,philip2 and another little picture by the same master's hand he sent to his ,imperial ,majesty1 in which1 in a most beautiful little landscape1 is ,s4 ,george killing the ,serpent1 executed with supreme diligence4 ,but this was surpassed in beauty and design by a larger picture that ,don ,giulio painted for a ,spanish gentleman1 in which is the ,emperor ,trajan as he is seen in medals with the ,province of ,juda on the reverse2 which picture was sent to the above-named ,maximilian1 now ,emperor4 ,for the same ,cardinal ,farnese he has executed two other little pictures2 in one is ,jesus ,christ nude1 with the ,cross in ,his hands1 and in the other is ,christ led by the ,jews and accompanied by a vast multitude to ,mount ,calvary1 with the ,cross on ,his shoulder1 and behind ,him ,our ,lady and the other ,maries in attitudes full of grace1 such as might move to pity a heart of stone4 ,and in two large sheets for a ,missal1 he has painted for that ,cardinal ,jesus ,christ instructing the ,apostles in the doctrine of the ,holy ,evangel1 and the ,universal ,judgment--a work so beautiful1 nay1 so marvellous1 so stupendous1 that ,i am confounded at the thought of it2 and ,i hold it as certain that it is not possible1 ,i do not say to execute1 but to see or even imagine anything in miniature more beautiful4 ,it is a notable thing that in many of these works1 and particularly in the ,office of the ,madonna described above1 ,don ,giulio has made some little figures not larger than very small ants1 with all the members so depicted and distinguished1 that more could not have been done in figures of the size of life2 and that everywhere there are dispersed portraits from nature of men and women1 not less like the reality than if they had been executed1 large as life and very natural1 by ,tiziano or ,bronzino4 ,besides which1 in some ornaments of the borders there may be seen little figures both nude and in other manners1 painted in the likeness of cameos1 which1 marvellously small as they are1 resemble in those proportions the most colossal giants2 such is the art and surpassing diligence that ,don ,giulio uses in his work4 ,of him ,i have wished to give to the world this information1 to the end that those may know something of him who are not or will not be able to see any of his works1 from their being almost all in the hands of great lords and personages4 ,i say almost all1 because ,i know that some private persons have in little cases most beautiful portraits by his hand1 of various lords1 their friends1 or ladies loved by them4 ,but1 however that may be1 it is certain that the works of men such as ,don ,giulio are not public1 nor in places where they can be seen by everyone1 like the pictures1 sculptures1 and buildings of the other masters of these our arts4 ,at the present day ,don ,giulio1 although he is old and does not study or attend to anything save to seeking the salvation of his soul by good and holy works and by a life wholly apart from the things of the world1 and is in every way an old man1 yet continues constantly to work at something1 there where he lives well attended and in perfect peace in the ,palace of the ,farnesi1 where he is most courteous in showing his work with much willingness to all who go to visit and see him1 as they visit the other marvels of ,rome4 ,,divers ,,italian ,,craftsmen ,,of ,,divers ,,italian ,,craftsmen ,,still ,,living ,there is now living in ,rome one who is certainly very excellent in his profession1 ,girolamo ,siciolante of ,sermoneta1 of whom1 although something has been said in the ,life of ,perino del ,vaga1 whose disciple he was1 assisting him in the works of ,castel ,s4 ,angelo and in many others1 nevertheless it cannot but be well to say also here so much as his great excellence truly deserves4 ,among the first works1 then1 that this ,girolamo executed by himself1 was an altar-piece twelve palms high painted by him in oils at the age of twenty1 which is now in the ,badia of ,s4 ,stefano1 near his native town of ,sermoneta2 wherein1 large as life1 are ,s4 ,peter1 ,s4 ,stephen1 and ,s4 ,john the ,baptist1 with certain children4 ,after that altar-piece1 which was much extolled1 he painted for the ,church of ,s4 ,apostolo1 in ,rome1 an altar-piece in oils with the ,dead ,christ1 ,our ,lady1 ,s4 ,john1 the ,magdalene1 and other figures1 all executed with diligence4 ,then in the ,pace1 in the marble chapel that ,cardinal ,cesis caused to be constructed1 he decorated the whole vaulting with stucco-work in a pattern of four pictures1 painting therein the ,nativity of ,jesus ,christ1 the ,adoration of the ,magi1 the ,flight into ,egypt1 and the ,massacre of the ,innocents2 all which was a work worthy of much praise and executed with invention1 judgment1 and diligence4 ,for that same church1 not long after1 the same ,girolamo painted an altar-piece fifteen palms high1 which is beside the high-altar1 of the ,nativity of ,jesus ,christ1 which was very beautiful2 and then in another altar-piece in oils1 for the ,sacristy of the ,church of ,s4 ,spirito in ,rome1 the ,descent of the ,holy ,spirit upon the ,apostles1 which is a work full of grace4 ,in like manner1 in the ,church of ,s4 ,maria de ,anima1 the church of the ,german colony1 he painted in fresco the whole of the ,chapel of the ,fugger family 7for which ,giulio ,romano once executed the altar-piece71 with large scenes of the ,life of ,our ,lady4 ,for the high-altar of ,s4 ,jacopo degli ,spagnuoli he painted in a large altar-piece a very beautiful ,christ on the ,cross with some ,angels about ,him1 ,our ,lady1 and ,s4 ,john1 and besides this two large pictures that are one on either side of it1 each nine palms high and with a single figure1 ,s4 ,james the ,apostle and ,s4 ,alfonso the ,bishop2 in which pictures it is evident that he used much study and diligence4 ,on the ,piazza ,giudea1 in the ,church of ,s4 ,tommaso1 he painted in fresco the whole of a chapel that looks out over the court of the ,cenci ,palace1 depicting there the ,nativity of the ,madonna1 the ,annunciation by the ,angel1 and the ,birth of ,our ,saviour ,jesus ,christ4 ,for ,cardinal ,capodiferro he painted a hall in his palace1 which is very beautiful1 with stories of the ancient ,romans4 ,and at ,bologna he once executed for the ,church of ,s4 ,martino the altar-piece of the high-altar1 which was much commended4 ,for ,signor ,pier ,luigi ,farnese1 ,duke of ,parma and ,piacenza1 whom he served for some time1 he executed many works1 and in particular a picture that is in ,piacenza1 painted for a chapel1 wherein are ,our ,lady1 ,s4 ,joseph1 ,s4 ,michael1 ,s4 ,john the ,baptist1 and an ,angel1 of eight palms4 ,illustration3 ,,the ,,martyrdom ,,of ,s4 ,,catharine 7,after the painting by ,sermoneta4 ,rome3 ,s4 ,maria ,maggiore7 ,alinari ,after his return from ,lombardy he painted in the ,minerva1 in the passage of the sacristy1 a ,christ on the ,cross1 and another in the church4 ,then he painted in oils a ,s4 ,catharine and a ,s4 ,agatha2 and in ,s4 ,luigi he executed a scene in fresco in competition with ,pellegrino ,pellegrini of ,bologna and the ,florentine ,jacopo del ,conte4 ,in an altar-piece in oils1 sixteen palms high1 executed not long since for the ,church of ,s4 ,al1 opposite to the ,misericordia1 a ,company of the ,florentines1 he painted ,our ,lady1 ,s4 ,james the ,apostle1 and the ,bishops ,s4 ,al and ,s4 ,martino2 and in ,s4 ,lorenzo in ,lucina1 in the ,chapel of the ,countess of ,carpi1 he painted in fresco a ,s4 ,francis who is receiving the ,stigmata4 ,in the ,hall of ,kings1 at the time of ,pope ,pius ,,iv1 as has been related1 he executed a scene in fresco over the door of the ,chapel of ,sixtus2 in that scene1 which was much extolled1 ,pepin1 ,king of the ,franks1 is presenting ,ravenna to the ,roman ,church1 and is leading as prisoner ,astulf1 ,king of the ,lombards2 and we have the design of it by ,girolamo's own hand in our book1 with many others by the same master4 ,and1 finally1 he has now in hand the ,chapel of ,cardinal ,cesis in ,s4 ,maria ,maggiore1 for which he has already executed in a large altar-piece the ,martyrdom of ,s4 ,catharine on the wheel1 which is a most beautiful picture1 as are the others on which both there and elsewhere1 with much study1 he is continually at work4 ,i shall not make mention of the portraits and other pictures and little works of ,girolamo1 because1 besides that they are without number1 these are enough to make him known as a valiant and excellent painter4 ,having said above1 in the ,life of ,perino del ,vaga1 that the painter ,marcello ,mantovano worked many years under him at pictures that gave him a great name1 ,i have to say in this place1 coming more to particulars1 that he once painted in the ,church of ,s4 ,spirito the whole ,chapel of ,s4 ,giovanni ,evangelista and its altar-piece1 with the portrait of a ,knight ,commander of the same ,s4 ,spirito1 who built that church and constructed that chapel2 which portrait is a very good likeness1 and the altar-piece most beautiful4 ,whereupon a ,friar of the ,piombo1 having seen his beautiful manner1 caused him to paint in fresco in the ,pace1 over the door that leads from the church into the convent1 ,jesus ,christ as a boy disputing with the ,doctors in the ,temple1 which is a very lovely work4 ,but since he has always delighted to make portraits and little things1 abandoning larger works1 he has executed an infinite number of these2 and among them may be seen some of ,pope ,paul ,,iii1 which are beautiful and speaking likenesses4 ,in like manner1 from the designs of ,michelagnolo and from his works he has executed a vast number of things likewise small1 and among these he has depicted in one of his works the whole faade of the ,judgment1 which is a rare thing and executed excellently well2 and in truth1 for small paintings1 it would not be possible to do better4 ,for which reason1 finally1 that most gentle ,messer ,tommaso de' ,cavalieri1 who has always favoured him1 has caused him to paint after the design of ,michelagnolo an altar-picture of the ,annunciation of the ,virgin1 most beautiful1 for the ,church of ,s4 ,giovanni ,laterano2 which design by ,buonarroti's own hand1 imitated by this ,marcello1 ,leonardo ,buonarroti1 the nephew of ,michelagnolo1 presented to the ,lord ,duke ,cosimo together with some others of fortifications and architecture and other things of the rarest4 ,and this must suffice for ,marcello1 who has been attending lately to working at little things1 executing them with a truly supreme and incredible patience4 ,of ,jacopo del ,conte1 a ,florentine1 who like those named above dwells in ,rome1 enough will have been said1 what with this and other places1 after certain other particulars have been given here4 ,this ,jacopo1 then1 having been much inclined from his earliest youth to portraying from the life1 has desired that this should be his principal profession1 although on occasions he has executed altar-pictures and works in fresco in some numbers1 both in ,rome and without4 ,of his portraits--not to speak of them all1 which would make a very long story--,i shall say only that he has portrayed all the ,pontiffs that there have been from ,pope ,paul ,,iii to the present day1 and all the lords and ambassadors of importance who have been at that ,court1 and likewise the military captains and great men of the house of ,colonna and of the ,orsini1 ,signor ,piero ,strozzi1 and an infinite number of ,bishops1 ,cardinals1 and other great prelates and lords1 not to speak of many men of letters and other men of quality2 all which has caused him to acquire fame1 honour1 and profit in ,rome1 so that he lives honourably and much at his ease with his family in that city4 ,from his boyhood he drew so well that he gave promise1 if he should persevere1 of becoming excellent1 and so in truth he would have been1 but1 as ,i have said1 he turned to that to which he felt himself inclined by nature4 ,nevertheless1 his works cannot but be praised4 ,by his hand is a ,dead ,christ in an altar-piece that is in the ,church of the ,popolo1 and in another that he has executed for the ,chapel of ,s4 ,dionigi in ,s4 ,luigi1 with stories1 is the first-named ,saint4 ,but the most beautiful work that he ever did was in two scenes in fresco that he once painted1 as has been told in another place1 in the ,florentine ,company of the ,misericordia1 with an altar-picture of ,christ taken down from the ,cross1 with the ,thieves fixed on their crosses1 and the ,madonna in a swoon1 painted in oil-colours1 all beautiful and executed with diligence and with great credit to him4 ,he has made many pictures throughout ,rome1 and figures in various manners1 and has executed a number of full-length portraits1 both nude and draped1 of men and women1 which have proved very beautiful1 because the subjects were not otherwise4 ,he has also portrayed1 according as occasions arose1 many heads of noble ladies1 gentlewomen and princesses who have been in ,rome2 and among others1 ,i know that he once portrayed ,signora ,livia ,colonna1 a most noble lady1 incomparable in her illustrious blood1 her virtue1 and her beauty4 ,and let this suffice for ,jacopo del ,conte1 who is still living and constantly at work4 ,i might have made known1 also1 many from our ,tuscany and from other parts of ,italy1 their names and their works1 which ,i have passed over lightly1 because many of them1 being old1 have ceased to work1 and others who are young are now trying their hands and will become known better by their works than by means of writings4 ,but of ,adone ,doni of ,assisi1 because he is still living and working1 although ,i made mention of him in the ,life of ,cristofano ,gherardi1 ,i shall give some particulars of his works1 such as are in ,perugia and throughout all ,umbria1 and in particular many altar-pieces in ,foligno4 ,but his best works are in ,s4 ,maria degli ,angeli at ,assisi1 in the little chapel where ,s4 ,francis died1 wherein are some stories of the life of that ,saint executed in oils on the walls1 which are much extolled1 besides which1 he has painted the ,passion of ,christ in fresco at the head of the refectory of that convent1 in addition to many other works that have done him honour2 and his gentleness and courtesy have caused him to be considered liberal and courteous4 ,in ,orvieto there are two young men also of that same profession1 one a painter called ,cesare del ,nebbia1 and the other a sculptor1 both well on the way to bringing it about that their city1 which up to the present has always invited foreign masters to adorn her1 will no longer be obliged1 if they follow up the beginnings that they have made1 to seek other masters4 ,there is working at ,orvieto1 in ,s4 ,maria1 the ,duomo of that city1 a young painter called ,niccol dalle ,pomarancie1 who1 having executed an altar-piece wherein is ,christ raising ,lazarus1 has given signs--not to speak of other works in fresco--of winning a name among the others named above4 ,and now that we are come to the end of our ,italian masters still living1 ,i shall say only that no less service has been rendered by one ,lodovico1 a ,florentine sculptor1 who1 so ,i am told1 has executed notable works in ,england and at ,bari2 but1 since ,i have not found here either his relatives or his family name1 and have not seen his works1 ,i am not able 7as ,i fain would7 to make any other record of him than this mention of his name4 ,,divers ,,flemings ,,of ,,divers ,,flemings ,now1 although in many places mention has been made of the works of certain excellent ,flemish painters and of their engravings1 but without any order1 ,i shall not withhold the names of certain others--for of their works ,i have not been able to obtain full information--who have been in ,italy1 and ,i have known the greater number of them1 in order to learn the ,italian manner2 believing that no less is due to their industry and to the labour endured by them in our arts4 ,leaving aside1 then1 ,martin of ,holland1 ,jan van ,eyck of ,bruges1 and ,hubert his brother1 who in #aeaj invented and brought to light the method of painting in oil-colours1 as has been told elsewhere1 and left many works by his hand in ,ghent1 ,ypres1 and ,bruges1 where he lived and died in honour2 after them1 ,i say1 there followed ,roger van der ,weyden of ,brussels1 who executed many works in several places1 but principally in his native city1 and for the ,town ,hall four most beautiful panel-pictures in oils1 of things appertaining to ,justice4 ,a disciple of that ,roger was ,hans1#af by whom1 as has been told1 we have in ,florence the ,passion of ,christ in a little picture that is in the hands of the ,duke4 ,to him there succeeded the ,fleming ,louis of ,louvain1 ,pieter ,christus1 ,justus of ,ghent1 ,hugo of ,antwerp1 and many others1 who1 for the reason that they never went forth from their own country1 always adhered to the ,flemish manner4 ,and if ,albrecht ,drer1 of whom we have spoken at some length1 did once come to ,italy1 nevertheless he kept always to one and the same manner2 although he was spirited and vivacious1 particularly in his heads1 as is well known to all ,europe4 ,footnote #af3 ,hans ,memling4 ,but1 leaving these1 and together with them ,lucas of ,holland and others1 ,i became acquainted in ,rome1 in #aecb1 with one ,michael ,coxie1 who gave no little study to the ,italian manner1 and executed many works in fresco in that city1 and in particular two chapels in ,s4 ,maria de ,anima4 ,having then returned to his own country and made himself known as an able man1 ,i hear that among other works he executed for ,king ,philip of ,spain an altar-picture copied from one by the above-named ,jan van ,eyck that is in ,ghent2 and in that copy1 which was taken into ,spain1 is the ,triumph of the ,agnus ,dei4 ,there studied in ,rome1 not long afterwards1 ,martin ,heemskerk1 a good master of figures and landscapes1 who has executed in ,flanders many pictures and many designs for copper-engravings1 which1 as has been related elsewhere1 have been engraved by ,hieronymus ,cock1 whom ,i came to know in ,rome while ,i was serving ,cardinal ,ippolito de' ,medici4 ,and all these have been most beautiful inventors of stories1 and close observers of the ,italian manner4 ,illustration3 ,,portrait ,,of ,a ,,man 7,after the painting by ,johannes ,calcar4 ,paris3 ,louvre1 ,no4 #aahe7 ,x phot4 ,in ,naples1 also1 in the year #aede1 ,i came to know ,johann of ,calcar1 a ,flemish painter1 who became very much my friend2 a very rare craftsman1 and so well practised in the ,italian manner1 that his works were not recognized as by the hand of a ,fleming4 ,but he died young in ,naples1 while great things were expected of him2 and he drew for ,vessalio his studies in anatomy4 ,before him1 however1 there was much in repute one ,dirk of ,louvain1 a good master in that manner2 and also ,quentin of the same place1 who in his figures always followed nature as well as he was able1 as also did a son of his called ,johann4 ,joost van ,cleef1 likewise1 was a great colourist and rare in making portraits from life1 for which ,king ,francis of ,france employed him much in executing many portraits of various lords and ladies4 ,famous painters of the same province1 also1 have been--and some of them still are--,jan van ,hemessen1 ,matthys ,cock of ,antwerp1 ,bernard of ,brussels1 ,jan ,cornelis of ,amsterdam1 ,lambert of the same city1 ,hendrik of ,dinant1 ,joachim ,patinier of ,bouvignes1 and ,jan ,scorel1 ,canon of ,utrecht1 who carried into ,flanders many new methods of painting taken from ,italy4 ,besides these1 there have been ,jean ,bellegambe of ,douai1 ,dirk of ,haarlem1 from the same place1 and ,franz ,mostaert1 who was passing skilful in painting landscapes in oils1 fantasies1 bizarre inventions1 dreams1 and suchlike imaginings4 ,hieronymus ,bosch and ,pieter ,brueghel of ,breda were imitators of that ,mostaert1 and ,lancelot ,blondeel has been excellent in painting fires1 nights1 splendours1 devils1 and other things of that kind4 ,pieter ,koeck has had much invention in stories1 and has made very beautiful cartoons for tapestries and arras-hangings2 with a good manner and practice in matters of architecture1 on which account he has translated into the ,teuton tongue the works on architecture of ,sebastiano ,serlio of ,bologna4 ,and ,jean ,gossart of ,mabuse was almost the first who took from ,italy into ,flanders the true method of making scenes full of nude figures and poetical inventions2 and by his hand is a large altar-piece in the ,abbey of ,middelburg in ,zeeland4 ,of all these information has been received from ,maestro ,giovanni ,strada of ,bruges1 a painter1 and from ,giovan ,bologna of ,douai1 a sculptor2 both ,flemings and men of excellence1 as we shall relate in the ,treatise on the ,academicians4 ,as for those of the same province who are still living and in repute1 the first among them1 both for his works in painting and for his many copper-plate engravings1 is ,franz ,floris of ,antwerp1 a disciple of the above-mentioned ,lambert ,lombard4 ,this ,floris1 who is held to be most excellent1 has worked in such a manner in every field of his profession1 that no one1 they say there1 has expressed better the emotions of the soul1 sorrow1 gladness1 and the other passions1 and all with most beautiful and bizarre inventions2 insomuch that1 likening him to the ,urbinate1 they call him the ,flemish ,raffaello4 ,it is true that this is not demonstrated to us fully by the printed sheets1 for the reason that the engraver1 be he ever so able1 never by a great measure equals the originals or the design and manner of him who has drawn them4 ,a fellow-disciple with ,floris1 learning under the discipline of the same master1 has been ,willem ,key of ,breda1 and also of ,antwerp1 a temperate1 serious1 and judicious man1 and a close imitator of the life and the objects of nature1 and in addition passing fertile in invention1 and one who more than any other executes his pictures with good gradation and all full of sweetness and grace2 and although he has not the facility1 boldness1 and terrible force of his brother-disciple ,floris1 for all that he is held to be truly excellent4 ,michael ,coxie1 of whom ,i have spoken above1 saying that he carried the ,italian manner into ,flanders1 is much celebrated among the ,flemish craftsmen for being profoundly serious and making his figures such that they have in them much of the virile and severe2 wherefore the ,fleming ,messer ,domenicus ,lampsonius1 of whom mention will be made in the proper place1 discoursing of the two masters named above and of this ,michael1 likens them to a fine trio in music1 in which each plays his part with excellence4 ,much esteemed1 also1 among the same men1 is ,antonius ,moor of ,utrecht in ,holland1 painter to the ,catholic ,king1 whose colours1 they say1 in portraying whatever he may choose from nature1 vie with the reality and deceive the eye most beautifully4 ,the same ,lampsonius writes to me that ,moor1 who is a man of very gentle ways and much beloved1 has painted a most beautiful altar-picture of ,christ rising from the dead1 with two ,angels1 ,s4 ,peter1 and ,s4 ,paul1 which is a marvellous thing4 ,marten de ,vos1 who copies excellently well from nature1 is held to be good in invention and colouring4 ,but in the matter of making beautiful landscapes1 none are equal to ,jakob ,grimmer1 ,hans ,bol1 and others1 all of ,antwerp and able men1 of whom1 nevertheless1 ,i have not been able to obtain particular information4 ,pieter ,aertsen1 called ,long ,peter1 painted in his native city of ,amsterdam an altar-picture with wing-panels1 containing ,our ,lady and other ,saints2 which whole work cost two thousand crowns4 ,they also celebrate as a good painter ,lambert of ,amsterdam1 who dwelt many years in ,venice1 and had the ,italian manner very well4 ,this ,lambert was the father of ,federigo1 of whom1 from his being one of our ,academicians1 record will be made in the proper place4 ,pieter ,brueghel of ,antwerp1 likewise1 they celebrate as an excellent master1 and ,lambert van ,noort of ,amersfort in ,holland1 and as a good architect ,gilis ,mostaert1 brother of the above-named ,franz2 and ,pieter ,pourbus1 a mere lad1 has given proof that he is destined to become an excellent painter4 ,now1 that we may learn something of the miniaturists of those countries3 they say that these have been excellent there1 ,marinus of ,zierickzee1 ,lucas ,horebout of ,ghent1 ,simon ,bening of ,bruges1 and ,gerard2 and likewise some women1 ,susanna1 sister of the said ,lucas1 who was invited for that work into the service of ,henry ,,viii1 ,king of ,england1 and lived there in honour all the rest of her life2 ,clara ,skeysers of ,ghent1 who at the age of eighty died1 so they say1 a virgin2 ,anna1 daughter of ,meister ,seghers1 a physician2 ,levina1 daughter of the above-named ,meister ,simon of ,bruges1 who was married by the said ,henry of ,england to a nobleman1 and held in estimation by ,queen ,mary1 even as she is now by ,queen ,elizabeth2 and likewise ,catharina1 daughter of ,meister ,jan van ,hemessen1 who went to ,spain into the service of the ,queen of ,hungary1 with a good salary4 ,in short1 many other women in those parts have been excellent miniaturists4 ,in the work of glass and of making windows there have been many able men in the same province2 ,arthus van ,noort of ,nymwegen1 ,borghese of ,antwerp1 ,dierick ,jacobsz ,vellaert1 ,dirk van ,staren of ,kampen1 and ,jan ,haeck of ,antwerp1 by whom are the windows in the ,chapel of the ,sacrament in the ,church of ,s4 ,gudule in ,brussels4 ,and here in ,tuscany many very beautiful windows of fired glass have been made for the ,duke of ,florence by ,wouter ,crabeth and ,giorgio1 ,flemings and able men1 from the designs of ,vasari4 ,in architecture and sculpture the most celebrated ,flemings are ,sebastian van ,oja of ,utrecht1 who served ,charles ,v in some fortifications1 and then ,king ,philip2 ,willem van ,antwerp2 ,willem ,keur of ,holland1 a good architect and sculptor2 ,jan van ,dalen1 sculptor1 poet and architect2 and ,jakob ,breuck1 sculptor and architect1 who executed many works for the ,queen ,regent of ,hungary1 and was the master of ,giovan ,bologna of ,douai1 one of our ,academicians1 of whom we shall speak in a short time4 ,jan de ,mynsheere of ,ghent1 also1 is held to be a good architect1 and ,matthaeus ,manemaker of ,antwerp1 who is with the ,king of the ,romans1 an excellent sculptor2 and ,cornelis ,floris1 brother of the above-named ,franz1 is likewise an excellent sculptor and architect1 and the first who introduced into ,flanders the method of making grotesques4 ,others who give their attention to sculpture1 with much honour to themselves1 are ,willem ,paludanus1 a very studious and diligent sculptor1 brother of the above-named ,heinrich2 ,jan der ,sart of ,nymwegen1 ,simon van ,delft1 and ,joost ,janszoon of ,amsterdam4 ,and ,lambert ,suavius of ,lige is a very good architect and master in engraving prints with the burin1 wherein he has been followed by ,joris ,robyn of ,ypres1 ,dirk ,volkaerts and ,philip ,galle1 both of ,haarlem1 ,lucas van ,leyden1 and many others2 who have all been in ,italy in order to learn and to draw the antiquities1 and to return home1 as for the most part they have done1 excellent masters4 ,but greater than any of those named above has been ,lambert ,lombard of ,lige1 a man great in letters1 judicious in painting1 and excellent in architecture1 the master of ,franz ,floris and ,willem ,key2 of the excellencies of which ,lambert and of others ,i have received much information in letters from ,m4 ,domenicus ,lampsonius of ,lige1 a man well lettered and of much judgment in everything1 who was the familiar confidant of ,cardinal ,pole of ,england during his lifetime1 and now is secretary to ,monsignor the ,prince ,bishop of ,lige4 ,that gentleman1 ,i say1 once sent me the life of the said ,lambert written in ,latin1 and he has saluted me several times in the name of many of our craftsmen from that province2 and a letter that ,i have by his hand1 dated ,october #cj1 #aefd1 is written in this tenor3 ,for four years back ,i have had it constantly in mind to thank you1 honoured ,sir1 for two very great benefits that ,i have received from you1 although ,i know that this will appear to you a strange exordium from one whom you have never seen or known4 ,and strange1 indeed1 it would be1 if ,i had not known you1 which has been from the time when my good fortune1 or rather1 our ,lord ,god1 willed that by ,his ,grace there should come into my hands1 ,i know not in what way1 your most excellent writings concerning the architects1 painters1 and sculptors4 ,but at that time ,i did not know one word of ,italian1 whereas now1 thanks be to ,god1 for all that ,i have never seen ,italy1 by reading your writings ,i have gained such little knowledge as has encouraged me to write you this letter4 ,and to this desire to learn your tongue ,i have been attracted by your writings1 which perhaps those of no other man could have done2 being drawn to seek to understand them by a natural and irresistible love that ,i have borne from childhood to these three most beautiful arts1 but above all to that most pleasing to every age1 sex1 and rank1 and hurtful to none1 your art of painting4 ,in which art1 although ,i was at that time wholly ignorant and wanting in judgment1 now1 by means of the frequently reiterated reading of your writings1 ,i understand so much--little though it may be1 and as it were nothing--as is yet enough to enable me to lead an agreeable and happy life2 and this ,i value more than all the honours1 comforts and riches of this world4 ,by this little ,i mean only that ,i could copy with oil-colours1 as with any kind of drawing-instrument1 the objects of nature1 and particularly nudes and vestments of every sort2 but ,i have not had courage enough to plunge deeper1 as for example1 to paint things more hazardous which require a hand more practised and sure1 such as landscapes1 trees1 waters1 clouds1 splendours1 fires1 etc4 ,and although in these things1 as also in inventions1 up to a certain point1 it is possible that in case of necessity ,i could show that ,i have made some little proficience by means of the reading ,i have mentioned1 yet ,i have been content1 as ,i have said1 to confine myself to making only portraits1 and the rather because the many occupations which my office necessarily involves do not permit me to do more4 ,and in order to prove myself in some way appreciative and grateful for these benefits1 that by your means ,i have learned a most beautiful tongue and the art of painting1 ,i would have sent you with this letter a little portrait of my face1 taken with a mirror1 had ,i not doubted whether my letter would find you in ,rome or not1 since at the present moment you might perchance be living in ,florence or your native city of ,arezzo4 ,this letter contains1 in addition1 many other particulars that are not here to the point4 ,in others1 since1 he has prayed me in the name of many honourable gentlemen of those parts1 who have heard that these ,lives are being reprinted1 that ,i should add to them three treatises on sculpture1 painting1 and architecture1 with drawings of figures1 by way of elucidation according to necessity1 in order to expound the secrets of the arts1 as ,albrecht ,drer and ,serlio have done1 and ,leon ,battista ,alberti1 who has been translated by ,m4 ,cosimo ,bartoli1 a gentleman and ,academician of ,florence4 ,which ,i would have done more than willingly1 but my intention has been only to describe the lives and works of our craftsmen1 and not to teach the arts1 with the methods of drawing the lines of painting1 architecture1 and sculpture2 besides which1 the work having grown under my hands for many reasons1 it will be perchance too long1 even without adding treatises4 ,but it was not possible or right for me to do otherwise than ,i have done1 or to defraud anyone of his due praise and honour1 nor yet the world of the pleasure and profit that ,i hope may be derived from these labours4 ,,index ,,of ,,names ,,of ,,the ,,craftsmen ,,mentioned ,,in ,,volume ,,ix ,abate1 ,niccol dell' 7,niccol da ,modena71 #adh ,adone ,doni1 #bfa ,aertsen1 ,pieter1 #bfh ,agnolo1 ,baccio d'1 #dj1 #da1 #aid ,agnolo ,bronzino1 #aah1 #abe1 #abh1 #acc1 #acg1 #beb ,agnolo di ,donnino1 #bi1 #cj ,agresti1 ,livio 7,livio da ,forl71 #aee ,aimo1 ,domenico 7,vecchio71 #ahi ,alberti1 ,leon ,batista1 #bga ,albrecht ,drer1 #afc1 #bdf1 #bfe1 #bga ,alessandro ,allori 7,alessandro del ,bronzino71 #acc1 #ach ,alessandro 7,scherano da ,settignano71 #ee ,alessandro ,vittoria1 #bjd-bjf1 #bbc ,alessi1 ,galeazzo1 #bci-bdb ,alesso ,baldovinetti1 #ahb ,alfonso ,lombardi1 #afg ,allori1 ,alessandro 7,alessandro del ,bronzino71 #acc1 #ach ,alonzo ,berughetta1 #bj1 #ahi ,ammanati1 ,bartolommeo1 #fi1 #gj1 #gc1 #aah1 #abe1 #abf1 #abi1 #bjg1 #bjh1 #bbc ,amsterdam1 ,lambert of 7,lambert ,lombard71 #bff-bfh1 #bgj ,andrea ,calamech1 #abi ,andrea ,contucci 7,andrea ,sansovino71 #ae1 #dj1 #da1 #ahg1 #bjb1 #baf ,andrea del ,minga1 #aca ,andrea del ,sarto1 #bj1 #dc1 #ahh1 #aic1 #aid ,andrea ,mantegna1 #baa ,andrea ,palladio1 #baa-bad ,andrea ,sansovino 7,andrea ,contucci71 #ae1 #dj1 #da1 #ahg1 #bjb1 #baf ,anna ,seghers1 #bfi ,antonio ,begarelli 7,modena71 #aac ,antonio da ,san ,gallo 7the elder71 #af1 #dj1 #da ,antonio da ,san ,gallo 7the younger71 #fa-fg1 #aif1 #aig1 #bbd1 #bci ,antonio di ,gino ,lorenzi1 #aca ,antonio di ,marco di ,giano 7,carota71 #ea ,antonio ,mini1 #dg-ea1 #fi1 #ha1 #ajg1 #aji ,antonius ,moor1 #bfh ,antwerp1 ,hugo of1 #bfe ,antwerp1 ,willem van1 #bfi ,apelles1 #acc1 #afh ,arca1 ,niccol dell'1 #aa ,aretino1 ,leone 7,leone ,lioni71 ,life1 #bbi-bcb4 #ie1 #bcc ,aristotile 7,bastiano7 da ,san ,gallo1 #bj1 #bi1 #cj ,arnolfo di ,lapo1 #aid ,arthus van ,noort1 #bfi ,ascanio ,condivi 7,ascanio dalla ,ripa ,transone71 #e1 #ajg ,baccio ,bandinelli1 #bj1 #di1 #abf1 #aij ,baccio d',agnolo1 #dj1 #da1 #aid ,baccio da ,montelupo1 #ee1 #ahh1 #aij1 #bci ,bagnacavallo1 ,bartolommeo da1 #adg ,bagnacavallo1 ,giovan ,battista da1 #adg1 #adh ,baldassarre ,peruzzi1 #fe1 #aif ,baldovinetti1 ,alesso1 #ahb ,bandinelli1 ,baccio1 #bj1 #di1 #abf1 #aij ,bandini1 ,giovanni di ,benedetto 7,giovanni dell',opera71 #abf1 #acj1 #adj1 #ada ,barbara de' ,longhi1 #aee ,barbiere1 ,domenico del1 #adi ,barozzi1 ,jacopo 7,vignuola71 #ajb1 #adf1 #adg ,bartolommeo ,ammanati1 #fi1 #gj1 #gc1 #aah1 #abe1 #abf1 #abi1 #bjg1 #bjh1 #bbc ,bartolommeo ,bozzato 7,girolamo ,bozza71 #ahc ,bartolommeo da ,bagnacavallo1 #adg ,bartolommeo ,montagna1 #baa ,bartolommeo ,passerotto1 #aef ,bartolommeo ,suardi 7,bramantino da ,milano71 #aij ,bassano1 ,jacopo da1 #age1 #agf ,bastiano 7,aristotile7 da ,san ,gallo1 #bj1 #bi1 #cj ,battista del ,cavaliere 7,battista ,lorenzi71 #aca1 #adj1 #ada ,battista del ,cinque1 #ea ,battista del ,tasso1 #ea ,battista di ,benedetto ,fiammeri1 #abf 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