,frontispiece3 ,,the ,,david4 ,bell's ,miniature ,series of ,painters ,,michelangelo ,,by ,,edward ,c4 ,,strutt ,,london ,,george ,,bell ,,sons #aijh ,first ,published1 ,january1 #aijd4 ,reprinted1 #aijh4 ,,table ,,of ,,contents ,,some ,,books ,,about ,,michelangelo ,,list ,,of ,,illustrations ,,chronology ,,of ,,the ,,artist',s ,,life ,,life ,,of ,,michelangelo ,,the ,,art ,,of ,,michelangelo ,,our ,,illustrations ,,list ,,of ,,the ,,artist',s ,,chief ,,works ,,in ,,public ,,galleries ,,some ,,books ,,about ,,michelangelo ,carte ,michelangiolescheinedite4 ,milano1 #ahfe4 ,vita di ,michelangelo ,buonarroti1 by ,a4 ,condivi4 ,pisa1 #ahbc4 ,michelangelo1 by ,h4 ,knackfuss4 ,berlin1 #ahie4 ,michel ,ange1 by ,e4 ,ollivier4 ,paris1 #ahib4 ,the ,lives and ,works of ,michelangelo and ,raphael1 by ,quatremere de ,quincy4 ,michelangelo1 by ,l4 von ,scheffler4 #ahib4 ,michelangiolo in ,rom1 #aejh-aeab1 by ,a4 ,springer4 ,leipzig1 #ahge4 ,life and works of ,m4 ,a4 ,buonarroti1 by ,charles ,heath ,wilson4 ,london1 #ahgf4 ,life of ,michelangelo ,buonarroti1 by ,john ,addington ,symonds4 ,london1 #ahic4 ,michelangelo ,buonarroti1 by ,sir ,charles ,holroyd4 ,london1 #aijc4 ,an account of the drawings by ,raphael and ,michelangelo in the ,university ,galleries of ,oxford1 by ,sir ,j4 ,c4 ,robinson4 ,michael ,angelo1 by ,lord ,ronald ,sutherland ,gower4 ,london1 #aijc4 ,,list ,,of ,,illustrations ,,the ,,david ,accademia1 ,florence1 ,frontispiece ,,portrait ,,of ,,michelangelo ,uffizi ,gallery1 ,florence ,,the ,,creation ,,of ,,man ,sistine ,chapel1 ,vatican1 ,rome ,,tomb ,,of ,,lorenzo ,,de' ,,medici ,new ,sacristy1 ,san ,lorenzo1 ,florence ,,central ,,group ,,of ,,the ,,last ,,judgment ,sistine ,chapel1 ,vatican1 ,rome ,,the ,,madonna ,,della ,,piet ,st4 ,peter's1 ,rome ,,the ,,holy ,,family ,uffizi ,gallery1 ,florence ,,the ,,moses ,san ,pietro in ,vincoli1 ,rome ,,chronology ,,of ,,michelangelo',s ,,life #adge4 ,born at ,caprese4 #adhh4 ,is apprenticed to ,domenico ,ghirlandajo4 #adhi-ib4 ,studies sculpture under the patronage of ,lorenzo il ,magnifico4 #aejd4 ,enters into competition with ,leonardo da ,vinci4 #aeje4 ,goes to ,rome at the invitation of ,pope ,julius ,,ii4 #aejh4 ,begins painting ceiling of ,sistine ,chapel4 #aeab4 ,completes it4 #aeba4 ,commences ,medicean ,tombs in ,san ,lorenzo4 #aebi4 ,fortifies ,florence against ,charles ,v4 #aece-da4 ,paints ,last ,judgment4 #aedg4 ,begins building ,cupola of ,st4 ,peter's4 #aefd4 ,dies in ,rome4 ,,the ,,life ,,of ,,michelangelo ,in the quaintly written diary of ,messer ,lodovico ,buonarroti ,simoni1 a well-to-do ,florentine citizen1 the following entry1 dated ,march #fth1 #adge1 may still be found3 ,to-day there was born unto me a male child1 whom ,i have named ,michelagnolo4#a ,he saw the light at ,caprese1 whereof ,i am ,podest1 on ,monday morning1 #fth ,march1 between four and five o'clock1 and on the #hth of the same month he was baptized in the church of ,san ,giovanni4 ,messer ,lodovico had been appointed ,podest1 or ,governor1 of ,chiusi and ,caprese in the ,casentino by ,lorenzo de ,medici only a few months before penning this memorandum1 so that1 by a strange caprice of fate1 it was here1 in the little town overshadowed by the rugged ,sasso della ,verna1 hallowed by the ecstatic visions of ,st4 ,francis of ,assisi1 and not in ,florence1 in the ,athens of the ,italian ,renaissance1 where resurrected ,paganism ran riot and triumphed1 that the longest and most glorious career in the history of art and of human endeavour began4 #a ,this is the archaic form of angelo4 ,the name is also sometimes spelt ,michelangiolo1 but ,i have thought it advisable to adopt the modern and more generally accepted ,michelangelo4 ,vasari and ,condivi1 ,michelangelo's pupils and enthusiastic biographers1 maintain that the ,buonarroti family was closely related to the great house of the ,counts of ,canossa1 a conviction fully shared1 curiously enough1 by the artist himself1 who rather prided himself on his aristocratic connection4 ,but recent genealogical researches have proved beyond all doubt that1 although of gentle birth 7both his father and his mother1 ,madonna ,francesca di ,miniato ,del ,sera1 coming of ancient ,florentine stock71 ,michelangelo could not in reality lay claim to even distant ties of kinship with the ,canossa family4 ,on the expiration of his term of office as ,podest of ,caprese1 which extended little over a year1 ,messer ,lodovico returned with his family to ,settignano1 the picturesque little village built on a vine-clad slope overlooking ,florence1 where1 in an old-fashioned mansion nestling among olive trees and surrounded by a well-cultivated podere1 many generations of the ,buonarroti had lived and died4 ,before leaving ,caprese1 however1 the proud father had the child's horoscope cast1 and greatly did he rejoice when the astrologer announced that a singularly lucky combination of the planets had presided over the birth of his boy1 who was destined to perform wonders with his mind and with his hands1 a prophecy which was amply fulfilled4 ,,first ,,florentine ,,period ,the removal of the ,buonarroti family to ,settignano1 the little village almost exclusively inhabited by stonemasons and workers in marble1 exercised a most decisive influence on the child's future career4 ,indeed1 ,michelangelo himself used to say half jestingly1 that as he had been given out to nurse to a stonemason's wife1 the mania for sculpture must have entered his blood together with the milk which he had sucked as a babe4 ,a mallet and a chisel and bits of marble were the only toys that the infant ,michelangelo cared for1 and it is recorded of him that when he grew up to be a sturdy boy of ten he could use his tools almost as skilfully as his foster-father himself4 ,he soon became more ambitious1 and would pass whole hours with chalk and charcoal1 trying to copy the marble figures and ornaments plentifully strewn about4 ,for it was a busy time at ,settignano1 whose hundreds of stone-carvers were hardly able to cope with the numerous commissions which poured in upon them from the merchant princes of ,florence1 anxious to rival ,lorenzo the ,magnificent in the building and decoration of splendid palaces4 ,a spirited drawing of a faun by ,michelangelo's boyish hand may still be seen on a wall of the ,buonarroti ,villa4 ,messer ,lodovico did everything in his power to discourage these marked artistic tendencies1 and in order the better to uproot what he regarded as a worthless inclination1 he sent the boy to a grammar-school in ,florence1 away from the dangerous milieu of ,settignano1 with its unceasing din of hammer and chisel on reverberating marble1 which was sweet music to ,michelangelo's ear4 ,but although ,maestro ,francesco da ,urbino1 to whose care ,messer ,lodovico had entrusted his son1 frequently had recourse to the most persuasive and forcible arguments1 they were entirely lost on young ,michelangelo1 who had instinctively drifted into the company of the garzoni and pupils of leading ,florentine artists1 and sadly neglected his books in order to devote himself with growing enthusiasm to the study of art4 ,amongst his new friends was ,francesco ,granacci1 a pupil of ,domenico ,ghirlandajo1 who often lent him drawings to copy1 and took him to his master's bottega whenever any work was going forward from which he might learn4 ,so powerfully1 says ,condivi1 did these sights move ,michelangelo1 that he altogether abandoned letters2 so that his father1 who held art in contempt1 often beat him severely for it4 ,but it soon became apparent that blows and persuasion were equally unavailing1 and ,messer ,lodovico finally gave up the hopeless struggle1 apprenticing his thirteen-year-old son on ,april #ast1 #adhh1 to ,domenico and ,david ,ghirlandajo1 reputed the best painters of the time in ,florence4 ,although a mere child1 ,michelangelo was evidently already able to make himself useful in the studio1 for instead of paying a certain sum for his apprenticeship1 as was usually the case1 it was stipulated that he should receive twenty-four florins1 about #h #abs41 during the three years of its duration4 ,michelangelo's first picture was a strikingly faithful copy of ,martin ,schongauer's famous ,temptation of ,st4 ,antony1 which he painted with a realistic force considered wonderful for a child of his age4 ,a number of anecdotes illustrative of the precocity of the boy's genius1 are related by ,condivi and by ,vasari4 ,michelangelo1 says the latter1 grew in power and character so rapidly that ,domenico was astonished seeing him do things quite extraordinary in a youth1 for he not only surpassed the other students1 but often equalled the work done by his master4 ,it happened that ,domenico was working in the great chapel of ,santa ,maria ,novella1 and one day when he was out ,michelangelo set himself to draw from nature the scaffolding1 the tables with all the materials of the art1 and some of the young men at work4 ,presently ,domenico returned1 and saw ,michelangelo's drawing4 ,he was astonished1 saying 'this boy knows more than ,i do2' and he was stupefied by this style and new realism2 'a gift from heaven to a child of such tender years4' ,michelangelo derived very little advantage from his apprenticeship to ,domenico ,ghirlandajo1 who was actually jealous of his pupil and gave him little or no assistance in his studies4 ,he may have picked up some practical knowledge1 however1 transferring cartoons for his master in the church of ,santa ,maria ,novella1 painting draperies and ornaments1 mixing colours for fresco painting1 and generally fulfilling the rather menial duties which fell to the lot of an artist's apprentice in those days4 ,the boy had no fixed plan or method of study1 but devoted himself principally to drawing1 in which he soon acquired a boldness and security of line never attained by his master1 whose faulty cartoons ,michelangelo often had the courage to correct4 ,it was in the gardens of the ,medici at ,san ,marco1 where ,lorenzo the ,magnificent had collected many antique statues and decorative sculptures1 that ,michelangelo finally discovered his real artistic vocation1 and here he would spend many hours every day1 assimilating the ,hellenic spirit which emanated from the masterpieces before him4 ,lorenzo's principal object in establishing a museum of antique sculpture at ,san ,marco had been to raise ,florentine sculpture from the state of comparative neglect into which it had fallen since the death of ,donatello4 ,he therefore appointed one ,bertoldo1 who had been foreman of ,donatello's workshop1 keeper of the collection1 with a special commission to encourage and instruct the young men who studied there4 ,but there was evidently a great lack of students1 for ,lorenzo had recourse to ,domenico ,ghirlandajo1 requesting him to select from his pupils those he considered the most promising1 and send them to work in the garden of ,san ,marco4 ,domenico1 nothing loth to get rid of his two most ambitious apprentices1 selected ,francesco ,granacci and ,michelangelo1 and it was thus that the latter came under the influence of ,donatello's school4 ,of ,bertoldo1 who must be considered ,michelangelo's first instructor in the art of sculpture1 and who doubtless had a great share in shaping his genius1 very little is known beyond ,vasari's statement that although he was old and could not work1 he was none the less an able and highly reputed artist4 ,the magnificent pulpits of ,san ,lorenzo1 begun by ,donatello and completed by ,bertoldo1 amply suffice to confirm ,vasari's eulogistic estimate4 ,under such a master ,michelangelo made rapid progress1 and by his first attempt at sculpture1 a mask of a grinning ,faun1 attracted the attention of ,lorenzo the ,magnificent1 who took the keenest interest in the art school which he had founded4 ,so struck was ,lorenzo with the boy's genius1 that he prevailed upon ,messer ,lodovico1 not without the greatest difficulty1 to entrust the talented young sculptor to his care4 ,vasari tells us that he gave ,michelangelo a good room in his own house with all that he needed1 treating him like a son1 with a seat at his table1 which was frequented every day by noblemen and men of great importance4 ,illustration3 ,,portrait ,,of ,,michelangelo4 ,michelangelo's daily companions at this hospitable board were such men as ,pico della ,mirandola1 surnamed the prince of wisdom1 ,marsilio ,ficino1 the expounder of ,plato1 and the poets ,luigi ,pulci and ,angelo ,poliziano4 ,it was the latter who suggested the subject of ,michelangelo's first important work1 a bas-relief1 now in the ,casa ,buonarroti1 representing the ,battle of the ,centaurs and ,lapithae4 ,it is a singularly powerful composition1 conceived and carried out with a freedom and originality little short of miraculous in a boy of fifteen4 ,the struggling groups of combatants1 instinct with life and energy1 the masterful treatment of anatomical problems1 and the already profound knowledge of the human frame1 reveal the future author of the ,last ,judgment4 ,michelangelo himself1 when at the height of his artistic greatness1 used to say that he had never quite fulfilled the splendid promise contained in this youthful work of his4 ,apart from its intrinsic merit1 this bas-relief is interesting as illustrating ,michelangelo's complete independence from the school and methods of ,donatello4 ,his bold and original genius had sought inspiration directly from the antique1 and the ,battle of the ,centaurs and ,lapithae might easily be taken for a fragment from some ,roman sarcophagus4 ,in view of these very pronounced characteristics1 it is difficult to understand why another bas-relief1 also in the ,casa ,buonarroti1 representing a seated ,madonna with the ,infant ,jesus1 and chiefly notable for its almost servile imitation of ,donatello's manner1 should be ascribed by most critics to this same period4 ,indeed1 the execution and design of this ,madonna and ,child are so inferior as to render it a work of extremely doubtful authenticity4 ,although he applied himself principally to the study of sculpture1 ,michelangelo continued to devote many hours every day to drawing1 and1 like most young artists of his age1 he drew and studied assiduously in the ,brancacci ,chapel of the ,church of the ,carmine1 containing the famous frescoes of ,masaccio and his followers4 ,conscious of his own superiority1 ,michelangelo was1 it appears1 in the habit of frankly criticizing the work of his fellow-students in the ,brancacci ,chapel1 and one of these1 named ,piero ,torrigiani1 a brutal and proud fellow1 got so angry one day that he hit ,michelangelo a formidable blow on the nose1 breaking the cartilage and disfiguring his critic for life4 ,for this act of temper ,torrigiani was banished from ,florence1 but it is pleasant to know that ,michelangelo successfully interceded with ,lorenzo on behalf of the man who had assaulted him4 ,michelangelo had just completed the ,battle of the ,centaurs and ,lapithae when he lost his best friend and munificent patron1 to whom he had become deeply attached4 ,on ,april #hth1 #adib1 ,lorenzo the ,magnificent died at ,careggi1 sincerely mourned1 not only in ,florence1 but throughout ,italy4 ,the generous encouragement which he gave to art and letters1 the power and splendour which he bestowed on ,florence in exchange for her lost liberty1 more as an infatuated lover dowering a wayward bride than as a conqueror imposing his will1 the consummate ability displayed in his diplomatic dealings with the other ,italian ,states1 these were the principal merits which justified the proud title of ,il ,magnifico1 conferred on him by his contemporaries1 and which caused ,lorenzo's death to be regarded as a public calamity throughout ,italy4 ,so much grief1 says ,condivi1 did ,michelangelo feel for his patron's death1 that for some time he was quite unable to work4 ,he left the ,medicean palace1 which had been his home during three years1 and returned to his father's house4 ,but his love for art was stronger than his grief1 and after a few weeks1 when he was himself again1 he bought a large piece of marble that had for many years been exposed to the wind and rain1 and carved a ,hercules out of it4 ,this statue was placed in the ,strozzi ,palace1 where it stood until the siege of ,florence in #aecj1 when ,giovanni ,battista della ,palla bought it and sent it into ,france as a gift to ,king ,francis ,i4 ,it has unfortunately been lost4 ,at this time ,michelangelo applied himself most diligently to the study of anatomy1 a profound knowledge of which is apparent in all his subsequent works4 ,he was indebted to the ,prior of ,santo ,spirito for many kindnesses1 amongst others for the use of a room where he dissected the subjects1 for the most part executed criminals1 which the ,prior placed at his disposal4 ,nothing1 says ,condivi1 could have given ,michelangelo more pleasure1 and this was the beginning of his anatomical studies1 which he followed until he had completely mastered the secrets of the human frame4 ,it is surprising that artists of the ,cinquecento should have enjoyed privileges for practically studying anatomy which were denied to physicians4 ,when the famous ,dr4 ,hunter saw ,leonardo da ,vinci's anatomical drawings and their descriptions1 preserved in the library of ,george ,,iii41 he discovered with astonishment that the artist had been a deep student1 and was at that time the best anatomist in the world4 ,michelangelo1 as ,vasari tells us1 dissected many dead bodies1 zealously studying anatomy1 whereas ,cortesius1 professor of anatomy at ,bologna1 who wrote a century later1 complains that he was prevented finishing a treatise on ,practical ,anatomy in consequence of having only been able twice to dissect a human body in the course of twenty-four years4 ,to please his friend the ,prior1 ,michelangelo carved a crucifix in wood1 a little under life size1 which was placed over the high altar of the church of ,santo ,spirito1 but which has since been lost4 ,piero de' ,medici1 the ,magnifico's son and successor1 had inherited none of his father's brilliant qualities4 ,he was proud and insolent1 and his coarse tastes and manners soon lost him that popularity which had been ,lorenzo's stepping-stone to greatness4 ,michelangelo1 who had been his companion as a boy1 and whom he persuaded to accept his hospitality1 was ill at ease in the house of a ,prince who could so far insult the sensitive artist as to boast that he had two remarkable men in his establishment1 ,michelangelo and a certain ,spanish groom remarkable for his athletic prowess1 thus placing both on the same level4 ,too proud to tolerate such treatment1 and foreseeing ,piero's approaching fall1 ,michelangelo left ,florence early in the year #adid and went first to ,venice1 where he failed to find employment1 and thence to ,bologna4 ,here he was hospitably received by a gentleman named ,messer ,gian ,francesco ,aldovrandi1 who not only paid a fine of fifty ,bolognese lire to which the impecunious young sculptor had been condemned for having neglected to provide himself with a passport1 but invited him to his house and honoured him highly1 delighting in his genius1 and every evening he made him read something from ,dante or from ,petrarca1 or now and then from ,boccaccio1 until he fell asleep4 ,while staying with ,aldovrandi1 and thanks to his recommendation1 ,michelangelo completed an unfinished statue of ,san ,petronio in the church of ,san ,domenico and carved a statuette of a kneeling angel holding a candlestick for the arca or shrine of the saint1 begun by ,nicol di ,bari4 ,it is a beautiful and highly finished work1 which was greatly admired and for which he received thirty ducats4 ,his success aroused the fierce jealousy of the ,bolognese sculptors1 and it was under fear of personal violence from the native craftsmen1 who accused him of taking the bread out of their mouths1 that ,michelangelo hastily left ,bologna in the spring of #adie and returned to ,florence4 ,in ,november of the preceding year ,piero de' ,medici had had to fly from the city over whose destinies he was so unfit to preside1 and when ,michelangelo returned to ,florence he found that ,savonarola had established a popular government4 ,the fiery ,dominican1 with his inspired eloquence1 his ascetic fervour and an energy bordering upon violence1 was exactly a man after ,michelangelo's heart1 and ,savonarola's impassioned and gloomy appeals made an indelible impression upon him4 ,the ,last ,judgment in the ,sistine ,chapel might almost be regarded as a pictorial rendering of one of the terrible frate's sermons4 ,although only twenty years of age1 ,michelangelo1 of whom it has been said that he was never young1 was made a member of the ,general ,council of ,citizens4 ,but his political duties did not take up much of his time1 for to this period must be ascribed the statue of a youthful ,st4 ,john the ,baptist1 executed for ,lorenzo di ,pier ,francesco1 a cousin of the exiled ,medici1 and now in the ,berlin ,museum4 ,it is a charming but somewhat effeminate figure1 differing strangely from the powerful and rugged style to which we are accustomed in ,michelangelo's works4 ,lorenzo1 however1 was delighted with it and became a staunch friend and admirer of the young sculptor1 whose studio he frequently visited4 ,on one occasion he found ,michelangelo at work on a ,sleeping ,cupid so perfectly modelled and conceived in a spirit so truly ,hellenic1 as to appear a masterpiece of antique art4 ,lorenzo suggested that ,michelangelo should make it look as if it had been buried under the earth for many centuries1 so that the statue1 being taken for a genuine antique1 would sell much better1 and the artist1 more out of professional pride than in hopes of gain1 followed his friend's suggestion4 ,the ,sleeping ,cupid was sent to ,rome1 where ,raffaelo ,riario1 ,cardinal di ,san ,giorgio1 bought it as an antique for two hundred ducats1 an evidence not so much of the ,cardinal's ignorance as of ,michelangelo's careful study of classical art4 ,this work was indirectly the cause of ,michelangelo's first coming to ,rome1 for the ,cardinal having discovered that his ,cupid had been made in ,florence was at first very angry at having been fooled1 and insisted on the dealer1 ,baldassare del ,milanese1 taking back the statue and refunding the two hundred ducats 7of which sum1 by the way1 ,michelangelo had only received thirty ducats71 but when his anger had subsided1 the prelate1 who was a liberal patron of art1 shrewdly concluded that a sculptor who could so well imitate the antique was worth encouraging1 and he forthwith despatched one of his gentlemen to ,florence for the express purpose of discovering the mysterious forger and bringing him to ,rome4 ,the ,cardinal's emissary1 after much fruitless search1 chanced upon ,michelangelo in his studio1 and was so struck with the masterful manner in which the young sculptor made a pen-drawing of a hand in his presence1 that he began to cross-examine him discreetly about his other works1 and gradually learned all the story of the ,cupid4 ,michelangelo1 who longed to see ,rome1 which his visitor extolled as the widest field for an artist to study and to show his genius in1 readily consented to leave ,florence4 ,in fact it appears that he was not very popular among his fellow-citizens owing to his former intimacy with the exiled ,medici1 and so1 towards the end of ,june1 #adif1 he set foot in ,rome for the first time4 ,as to the ,sleeping ,cupid1 nothing is known about its fate beyond the fact that it fell into the hands of ,cesare ,borgia at the sack of ,urbino in #aeib1 and was by him presented to the ,marchioness of ,mantua1 who in acknowledging the gift describes it as without a peer among the works of modern times4 ,michelangelo was greatly disappointed in his hopes of obtaining lucrative employment from ,cardinal ,riario4 ,indeed1 the only work which he did during the first few weeks of his sojourn consisted in a cartoon for a ,saint ,francis receiving the ,stigmata1 to be painted by the ,cardinal's barber6 ,fortunately for the young artist a wealthy ,roman gentleman1 ,messer ,jacopo ,galli1 came to his rescue1 commissioning a ,bacchus1 which is now in the ,national ,museum at ,florence1 and a ,cupid1 believed by some to be the statue now in the ,victoria and ,albert ,museum1 ,south ,kensington4 ,of all ,michelangelo's works1 this ,bacchus is certainly the most realistic and least dignified1 representing as it does a youth in the first stage of intoxication1 holding a cup in his right hand and in his left a bunch of grapes1 from which a mischievous little ,satyr is slily helping himself4 ,the statue was greatly admired in ,rome and was the means of bringing ,michelangelo to the notice of the ,french king's envoy in ,rome1 ,cardinal ,de la ,groslaye de ,villiers1 who commissioned him to carve a marble group of ,our ,lady holding the dead ,christ in her arms1 for the price of four hundred and fifty golden ducats4 ,the contract1 dated ,august #bfth1 #adih1 is still preserved in the ,archivio ,buonarroti1 and concludes with these words3 ,and ,i1 ,jacopo ,gallo1 promise to his ,most ,reverend ,lordship that the said ,michelangelo will furnish the said work within one year1 and that it shall be the most beautiful work in marble which ,rome to-day can show1 and that no master of our days shall be able to produce a better4 ,we shall see1 when describing this magnificent group1 that ,jacopo's boast and promise were more than justified4 ,while in ,rome1 ,michelangelo kept up an active correspondence with ,messer ,lodovico1 who1 it appears1 found himself in great financial straits at this time4 ,being a most dutiful and affectionate son1 the young sculptor sent every available scudo of his money to succour his father and his three younger brothers1 namely ,buonarroto1 born in #adgg1 whom he placed in the ,arte della ,seta2 ,giovan ,simone1 born in #adgi1 who led a vagabond life and was a source of continual trouble1 and ,sigismondo1 born in #adha1 who became a soldier4 ,the letters which ,michelangelo1 in the midst of his artistic labours1 found time to write home1 full of tender solicitude and good advice and invariably containing a remittance1 give us a touching insight into the beautiful and disinterested character which lay hidden underneath his stern and decidedly unattractive exterior4 ,he lived not only very economically1 but penuriously1 in order the better to help his family1 and it appears that his health suffered not a little from these privations4 ,his father heard of it1 and wrote a letter1 dated ,december #aith1 #aejj1 in which these passages occur3 ,economy is good1 but above all do not be penurious2 live moderately and do not stint yourself1 and avoid hardships1 because in your art1 if you fall ill 7which ,god forbid71 you are a lost man4 ,above all things1 never wash2 have yourself rubbed down1 but never wash6 ,when ,michelangelo returned to ,florence in the spring of #aeja1 the fame of the great works which he had accomplished in ,rome had already preceded him1 and he was generally admitted to be the first sculptor of the day4 ,commissions came pouring in upon him1 including one from ,cardinal ,francesco ,piccolomini1 who afterwards became ,pope ,pius ,,iii41 for fifteen statues of saints to adorn the ,piccolomini ,chapel in the ,duomo of ,siena4 ,but he completely neglected this work in order to devote himself with characteristic ardour to a more congenial task1 that of carving a colossal statue of ,david out of a huge block of marble which had been previously spoiled by an inferior artist and abandoned as useless in the ,opera del ,duomo4 ,surmounting the enormous technical difficulties which he had to contend with1 ,michelangelo succeeded1 after nearly two years of hard work1 in evolving from the crippled block of marble one of the greatest masterpieces of modern art4 ,on the #adth of ,may1 #aejd1 ,il ,gigante1 as it was called by the ,florentines1 left ,michelangelo's workshop and was dragged with much difficulty to the ,piazza della ,signoria1 where it stood until the year #ahgc1 when it was removed to the hall of the ,accademia delle ,belle ,arti4 ,it has fortunately suffered very little from its exposure in the mild ,florentine air1 but the left arm was shattered by a stone during the tumults of #aebg4 ,the broken pieces were carefully collected1 however1 by ,vasari and a young sculptor1 ,cecchino ,de' ,rossi1 who restored the arm in #aedc4 ,another giant ,david in bronze was commissioned to ,michelangelo in #aejb by the ,republic1 who wished to make a present of it to a ,french statesman1 ,florimond ,robertet1 but although this work is known to have remained for more than a hundred years in the chteau of ,bury1 near ,blois1 it has since disappeared4 ,while wrestling with the difficulties of his ,david1 ,michelangelo found time to accomplish many other important works1 including two marble tondi in bas-relief1 the first of which is now in the ,national ,museum at ,florence and the other in the ,royal ,academy1 ,london4 ,both represent the ,madonna and ,child with the ,infant ,st4 ,john1 and although lacking in finish they deserve to rank among the finest of ,michelangelo's works4 ,the composition is beautiful and simple1 the modelling bold and the expression of the ,madonna singularly noble and striking4 ,in ,april1 #aejc1 ,michelangelo was commissioned by the ,operai of the ,duomo to carve out of ,carrara marble twelve colossal statues of the ,apostles1 one to be finished each year1 and a workshop was specially built for the sculptor in the ,borgo ,pinti1 but the contract could not be carried out1 the unfinished ,st4 ,matthew1 now in the courtyard of the ,accademia1 in ,florence1 being the only work which resulted from this commission3 ,and in order not altogether to give up painting1 says ,condivi1 he executed a round panel of ,our ,lady for ,messer ,agnolo ,doni1 a ,florentine citizen1 for which he received seventy ducats4 ,this tondo1 representing ,the ,holy ,family1 with nude figures in the background1 is now in the ,uffizi ,gallery1 and apart from its originality and artistic merit1 it is especially interesting as being the only easel picture which may be attributed with absolute certainty to ,michelangelo4 ,in ,august1 #aejd1 ,michelangelo was commissioned by his friend and protector1 ,piero ,soderini1 ,gonfaloniere of the ,republic1 to decorate a wall in the ,sala del ,gran ,consiglio in the ,palazzo ,vecchio1 a most flattering compliment to the young artist1 as ,leonardo da ,vinci1 then at the height of his fame1 was already engaged in preparing cartoons for the opposite wall4 ,leonardo's designs represented the famous ,fight for the ,standard1 an episode of the battle of ,anghiari1 fought in #addj1 when the ,florentines defeated ,niccol ,piccinino4 ,michelangelo selected for his subject an episode in the war with ,pisa1 which gave him an opportunity to display his wonderful draughtsmanship and his profound knowledge of the human frame4 ,benvenuto ,cellini1 who copied the cartoon in #aeac1 just before its mysterious disappearance1 describes it as follows3 ,michelangelo portrayed a number of foot soldiers who1 the season being summer1 had gone to bathe in the ,arno4 ,he drew them at the moment the alarm is sounded1 and the men1 all naked1 rush to arms4 ,so splendid is their action that nothing survives of ancient or of modern art which touches the same lofty point of excellence2 and1 as ,i have already said1 the design of the great ,leonardo was itself most admirably beautiful4 ,these two cartoons stood1 one in the ,palace of the ,medici1 the other in the hall of the ,pope4 ,so long as they remained intact they were the school of the world4 ,though the divine ,michelangelo in later life finished that great chapel of ,pope ,julius1 he never rose halfway to the same pitch of power2 his genius never afterwards attained to the force of those first studies4 ,leonardo1 after having begun painting a group of horsemen on the wall1 abandoned the task with characteristic fickleness1 and ,michelangelo having been summoned to ,rome in the beginning of #aeje by ,pope ,julius ,,ii41 left his work unfinished4 ,it is said that a worthless rival named ,baccio ,bandinelli1 envious of ,michelangelo's greatness1 destroyed the famous cartoon of ,pisa4 ,a sketch of the whole composition may be seen in the ,albertina ,gallery at ,vienna1 but perhaps the most complete copy of the cartoon is the monochrome painting belonging to the ,earl of ,leicester1 at ,holkham ,hall4 ,,the ,,tragedy ,,of ,,the ,,tomb ,michelangelo little suspected when he left ,florence that he was bidding adieu for ever to his happiness and peace of mind4 ,hitherto he had had to deal with generous tyrants1 such as the ,medici1 with rivals whose envy was shorn of dangers by their cowardice1 and with a protector such as ,piero ,soderini1 whom ,machiavelli taunted with being a weakling only fit for the ,limbo of ,infants4 ,it was not until he came to ,rome that he was brought face to face with a man blessed or cursed with indomitable energy1 boundless ambition and a morbid restlessness which was probably the resultant of these two forces4 ,both ,julius ,,ii4 and ,michelangelo were what their contemporaries called uomini terribili1 proud1 passionate1 given to sudden bursts of fury1 yet generous withal and truly great4 ,for two such men to live together in uninterrupted peace and goodwill would have been a sheer impossibility4 ,after some months of hesitation1 ,julius ,,ii4 finally decided upon the best way of employing ,michelangelo's talents4 ,he resolved to have a magnificent monument erected during his lifetime1 and confided the task to the young sculptor4 ,in an incredibly short time ,michelangelo prepared his great design1 which pleased the ,pope so much that he at once sent him to ,carrara to quarry the necessary marble4 ,during the eight months which he spent at ,carrara1 ,michelangelo blocked out two of the figures for the tomb1 so anxious was he to begin his colossal work4 ,in ,november ,michelangelo returned to ,rome1 where a house and spacious workshop were as signed to him near the ,vatican1 and in ,january1 #aejf1 most of the marble1 which had come by water1 was spread all over the ,piazza of ,st4 ,peter's3 ,this immense quantity of marble1 says ,condivi1 was the admiration of all and a joy to the ,pope1 who heaped immeasurable favours upon ,michelangelo1 and was so interested in his work that he ordered a drawbridge to be thrown across from the ,corridore to the rooms of ,michelangelo1 by which he might visit him in private4 ,michelangelo's original project of the tomb subsequently underwent so many modifications and reductions1 that ,condivi's account of what the monument should have been is deeply interesting3 ,the tomb was to have had four faces1 two of eighteen braccia1 that served for the flanks1 so that it was to be a square and a half in plan4 ,all round about the outside were niches for statues1 and between niche and niche terminal figures2 to these were bound other statues1 like prisoners1 upon certain square plinths1 rising from the ground and projecting from the monument4 ,they represented the liberal arts1 each with her symbol1 denoting that1 like ,pope ,julius1 all the virtues were the prisoners of ,death1 because they would never find such favour and encouragement as he gave them4 ,above these ran the cornice that tied all the work together4 ,on its plane were four great statues2 one of these1 the ,moses1 may be seen in ,san ,pietro ad ,vincula4 ,so the work mounted upward until it ended in a plane4 ,upon it were two angels who supported an arc2 one appeared to be smiling as though he rejoiced that the soul of the ,pope had been received amongst the blessed spirits1 the other wept1 as if sad that the world had been deprived of such a man4 ,above one end was the entrance to the sepulchre in a small chamber1 built like a temple2 in the middle was a marble sarcophagus1 where the body of the ,pope was to be buried2 everything worked out with marvellous art4 ,briefly1 more than forty statues went to the whole work1 not counting the subjects in mezzo rilievo to be cast in bronze1 all appropriate in their stories and proclaiming the acts of this great ,pontiff4 ,as the monument would have covered an area of about #cd feet by #bc feet1 the church of ,st4 ,peter1 although restored by ,nicholas ,v41 was found to be too small to contain it1 and ,julius ,,ii4 decided to rebuild the whole church on a more magnificent scale1 after designs prepared by ,bramante4 ,the eager enthusiasm with which ,michelangelo attacked his colossal task was not destined to last long4 ,one day a quantity of marble arrived from ,carrara1 and ,michelangelo1 desiring at once to pay the freight and porterage1 went to ask the ,pope for money1 but found his ,holiness occupied4 ,he paid the men out of his own pocket1 but when he returned on several succeeding days he found access to the ,vatican more difficult than usual1 and finally learned that the ,pope had given orders that he should not be admitted4 ,julius ,,ii41 always entangled in warlike adventures1 was evidently short of money and could not or would not pay ,michelangelo at the time4 ,the proud and short-tempered sculptor flew into a passion1 and exclaiming that henceforward the ,pope must look for him elsewhere if he wanted him1 took horse at once and returned to ,florence1 vainly pursued by five messengers from the ,pope4 ,it was thus that the gigantic work on which he had set his heart was interrupted for the first time1 and the curtain rose on the first act of that tragedy of the tomb1 as ,condivi appropriately calls it1 by which the rest of ,michelangelo's life was darkened4 ,he had no sooner arrived in ,florence than he received an imperative order from the ,pope to return immediately to ,rome under pain of his displeasure1 but ,michelangelo's blood was up1 and he disregarded alike the threats of the ,pope and the exhortations of ,piero ,soderini1 who was greatly embarrassed1 having received three official ,briefs from ,julius ,,ii41 demanding that the artist should be sent back either by fair means or by force4 ,fearing actual violence1 ,michelangelo had made up his mind to go to ,constantinople1 but the ,gonfaloniere dissuaded him1 saying that it was better to die with the ,pope than to live with the ,turk4 ,in the meantime1 ,julius ,,ii41 after subduing ,perugia1 had entered ,bologna in triumph on ,november #aath1 #aejf1 and he had not been many days in the town before he despatched another urgent message to the ,signoria asking for ,michelangelo to be sent to him4 ,the artist finally gave in1 and proceeded to ,bologna1 armed with a most flattering letter from the ,signoria1 but feeling like a man with a halter round his neck4 ,his misgivings1 however1 were unfounded1 for ,julius ,,ii41 who was only too glad to have won his artist back1 welcomed ,michelangelo most cordially and commissioned him to make a great portrait statue of him in bronze1 to be placed in front of the church of ,san ,petronio4 ,and thus were these two men1 who had so many points in common that they regarded each other with mutual fear1 like giants conscious of their strength1 reconciled for the time4 ,illustration3 ,,the ,,creation ,,of ,,man4 ,the ,pope returned to ,rome in very good spirits1 leaving ,michelangelo in ,bologna to finish the colossal statue1 which was only completed on ,february #bast1 #aejh1 after much hard work and many disappointments1 chiefly caused by the ignorance of the bronze-founder1 who cast it faultily4 ,it is greatly to be regretted that this work1 which cost ,michelangelo over a year of unremitting labour1 should have been destroyed in #aeaa1 when the ,bentivogli returned to ,bologna and drove out the ,papal ,legate4 ,a huge cannon1 ironically called ,la ,giulia1 was cast out of the broken fragments4 ,michelangelo1 having completed his task1 hurried back to ,florence1 and three days after his arrival ,messer ,lodovico emancipated his son from parental control1 as we learn from a document dated ,march #acth1 #aejh4 ,it appears that ,michelangelo intended to settle down for several years in his native city in order to decorate the ,sala del ,consiglio1 for which he was to receive three thousand ducats1 and to carry out other important commissions1 including that of twelve statues of the ,apostles for ,santa ,maria del ,fiore1 but his ,medusa1 as he called ,julius ,,ii41 would not suffer him to remain in peace1 and summoned him to ,rome4 ,,the ,,sistine ,,chapel ,the artist obeyed1 hoping that the ,pope would allow him to go on with the tomb1 but1 during his absence1 ,michelangelo's rivals had persuaded ,julius ,,ii4 that it was unlucky to have a monument erected during his lifetime1 and that it would be much better to set ,michelangelo to work on the vault of the ,sistine ,chapel4 ,this they did maliciously1 because they never suspected that ,michelangelo was as great a painter as he was a sculptor1 and hoped that he would prove himself inferior to the task1 and thus lose the ,pontiff's favour4 ,all the disagreements which ,i have had with ,pope ,julius1 wrote ,michelangelo to ,marco ,vigerio1 have been brought about by the envy of ,bramante and of ,raphael of ,urbino1 who were the cause that his monument was not finished during his lifetime4 ,bitter1 unscrupulous rivalry was the leper-spot that marked the ,italian ,renaissance1 especially at the ,papal ,court4 ,michelangelo would gladly have declined the commission1 for which he considered himself unfit1 but1 seeing the ,pope's obstinacy1 he reluctantly set to work on ,may #ajth1 #aejh4 ,the difficulties which he had to surmount were enormous1 but he was not a man to be frightened by obstacles1 however formidable4 ,knowing little or nothing of the technicalities of fresco painting1 ,michelangelo at first called six ,florentine painters to his aid1 including his old friends ,francesco ,granacci and ,giuliano ,bugiardini4 ,but he was too exacting1 and aimed at an ideal of perfection which his assistants could never attain1 so that in ,january1 #aeji1 he sent them all away1 and destroying the work done by them1 shut himself alone in the chapel to wrestle single-handed with his gigantic task4 ,the result fully justified his confidence in his own powers4 ,to attempt an adequate description of the vault of the ,sistine ,chapel in this little book would be a hopeless task4 ,the stupendous frescoes which adorn it1 although described in hundreds of volumes1 still afford material for much original study and research1 but we must here content ourselves with a mere enumeration of the principal motives which go to make up this grand pictorial symphony4 ,michelangelo chose for his subject the ,story of the ,creation1 the ,fall of ,man1 the ,flood1 and the ,second ,entry of ,sin into the ,world1 illustrated by a series of nine compositions on the central space of the ceiling4 ,twenty magnificent nude figures1 representing ,athletes1 decorate the corners of these central compositions1 and support bronze medallions held in place by oak garlands and draperies4 ,the shape of the ceiling is what is commonly called a barrel vaulting resting on lunettes1 six to the length and two to the width of the building4 ,the second part of the decoration demonstrates the need for a scheme of ,salvation1 promised by the ,prophets and ,sibyls1 whose majestic figures are painted alternately in the triangular spaces between the lunettes1 in the lower part of which is a series of wonderful groups representing the ancestors of ,christ4 ,michelangelo1 although engaged on a great pictorial work1 never considered himself as anything but a sculptor1 and followed in painting the same systems that he would have adopted in his own art4 ,sir ,charles ,holroyd1 in his recent most valuable contribution to ,michelangelesque literature1 very justly remarks3 ,when ,pope ,julius prevented ,michelangelo from going on with his beloved project of the tomb and made him paint the vault1 the master set to work to produce a similar conception to the tomb in a painted form4 ,the vault became a great temple of painted marble and painted sculptures raised in mid air above the walls of the chapel4 ,the cornices and pilasters are of simple ,renaissance architecture1 the only ornaments he allowed himself to use being similar to those he would have used as a sculptor4 ,acorns1 the family device of the della ,rovere1 rams' skulls1 and scallop shells1 and the one theme of decoration that ,michelangelo always delighted in--the human figure4 ,the ,prophets and ,sibyls took the positions occupied by the principal figures designed for the tomb1 like the great statue of ,moses4 ,the ,athletes at the corner of the ribs of the roof were in place of the bound captives1 two of which are now in the ,louvre1 and the nine histories of the ,creation and the ,flood fill the panels like the bronze reliefs of the tomb4 ,michelangelo must have toiled with almost superhuman energy at his great work4 ,in a letter to his favourite brother1 ,buonarroto1 dated ,october #agth1 #aeji1 he writes3 ,i live here in great distress and with the greatest fatigue of body1 and have not a friend of any sort1 and do not want one1 and have not even enough time to eat necessary food4 ,this is not surprising when we remember that as early as the #ast of ,november1 #aeji1 the first and most important part of this colossal work1 which comprises three hundred and ninety-four figures1 the majority ten feet high1 was exposed to view1 and greatly admired by the ,pope1 who1 being vehement by nature and impatient of delay1 insisted upon having it uncovered1 although it was still incomplete4 ,such was the impatience of ,julius ,,ii4 that on one occasion he threatened to have ,michelangelo thrown down off the scaffolding if he did not hasten the completion of the work1 and even went so far as to strike the artist with a stick4 ,thus urged1 ,michelangelo uncovered his work on the #ast of ,november1 #aeab1 although he used to say in after years that he had been prevented by the hurry of the ,pope from finishing it as he would have wished4 ,michelangelo's fame and the expectation they had of him1 says ,condivi1 drew the whole of ,rome to the chapel1 whither the ,pope also rushed1 even before the dust raised by the taking down the scaffolding had settled4 ,,second ,,florentine ,,period ,julius ,,ii4 died on ,february #bast1 #aeac1 four months after the completion of the great work with which his name will remain as indelibly associated as that of ,michelangelo4 ,shortly before his death he had ordered that the tomb which ,michelangelo had begun should be finished1 and had instructed his nephew1 ,cardinal ,aginense1 and ,cardinal ,santi ,quattro1 to see that everything should be carried out according to the original designs4 ,but his executors1 finding the project far too grand and expensive1 had it altered1 so that ,michelangelo began all over again4 ,he set to work with great energy and goodwill1 determined to finish the monument now that its completion appeared to him almost as a sacred debt to the memory of his dead patron4 ,but the strange fatality that presided over the tragedy of the tomb again interfered4 ,cardinal ,giovanni de' ,medici1 who had been ,michelangelo's friend and fellow-pupil at the ,medicean ,court1 succeeded ,julius ,,ii4 on the pontifical throne and assumed the name of ,leo ,x4 ,no sooner were the magnificent festivities over with which he celebrated his accession1 than he sent for ,michelangelo and ordered him to proceed to ,florence to ornament the faade of ,san ,lorenzo with sculpture and marble work4 ,it was in vain that ,michelangelo protested1 saying that he was bound by contract to finish the tomb before undertaking any other commission1 for ,leo ,x4 was as self-willed and imperious as his predecessor1 and in this fashion1 says ,condivi1 ,michelangelo left the tomb and betook himself weeping to ,florence4 ,it is not surprising that the artist should have wept tears of bitter disappointment1 for we learn from a letter to his brother ,buonarroto1 dated ,june #aeth1 #aeae1 that at this time not only had he completed the ,moses and the ,captives in marble1 but the panels in relief were ready for casting4 ,had he been left in peace1 ,michelangelo would certainly have finished the monument to ,pope ,julius in its modified form in half the time which he wasted quarrying marble from ,carrara and ,pietrasanta for the faade of ,san ,lorenzo4 ,for over two years ,michelangelo was engaged in the tedious work of roadmaking and quarrying4 ,in ,august1 #aeah1 he wrote3 ,i must be very patient until the mountains are tamed and the men are mastered4 ,then we shall get on more quickly4 ,but what ,i have promised1 that will ,i do by some means1 and ,i will make the most beautiful thing that has ever been done in ,italy if ,god helps me4 ,he had evidently warmed to his work1 and it is melancholy to think that ,fate again interposed to prevent its completion4 ,giuliano de' ,medici1 the ,pope's only brother1 and ,lorenzo1 his nephew1 having died at this time1 ,leo ,x4 ordered ,michelangelo to interrupt the faade of ,san ,lorenzo and to build a new sacristy in which he proposed to erect a monument to their memory4 ,the document exonerating ,michelangelo from all duties and obligations in connection with the faade is dated ,march #ajth1 #aebj4 ,michelangelo only now found time to carry out a commission which he had received seven years previously from a ,roman gentleman1 ,metello ,vari1 namely a nude statue of ,christ bearing the cross4 ,it was finished in the summer of #aeba and sent to ,rome1 the extremities being left in rough to prevent their being broken during the journey4 ,pietro ,urbino accompanied the statue to ,rome1 with orders to complete it1 and very nearly spoiled it by his careless and inferior workmanship4 ,the ,risen ,christ1 now in the church of the ,minerva1 is one of the most noble and majestic of religious statues in existence2 the torso and arms are particularly fine1 but the hands and feet1 which were spoiled by ,urbino1 are stumpy and defective4 ,leo ,x4's pontificate1 which1 although short1 was one of the most glorious and eventful in the history of art1 came to an abrupt conclusion on ,december #ast1 #aeba4 ,by a strange irony of fate1 the magnificent patron of art and letters was succeeded by a pious and simple-minded ,dutch prelate1 who regarded statues as pagan idols1 and said that the ,sistine ,chapel was nothing but a room full of naked people4 ,there is little doubt that he secretly longed to have it whitewashed4 ,fortunately for art and artists1 his pontificate was of brief duration1 and in #aebc ,cardinal ,giulio de' ,medici was elected in his stead1 under the name of ,clement ,,vii4 ,in the following year ,michelangelo finished the new sacristy of ,san ,lorenzo1 and immediately set to work on the ,medicean tombs4 ,but he was constantly worried and interrupted by new commissions from the ,pope1 who wanted him1 among other things1 to build a library in which to place the famous collection of books and manuscripts begun by ,cosimo de' ,medici3 ,i cannot work at one thing with my hands and at another with my brain6 exclaimed the artist in despair4 ,nevertheless he undertook to build the library1 and carried on both works at the same time1 constantly urged on by ,pope ,clement1 who wrote to him in an autograph letter3 ,thou knowest that ,popes have no long lives1 and we cannot yearn more than we do to behold the chapel with the tombs of our kinsmen1 and so also the library4 ,these were troublous times for ,italy4 ,after the disastrous battle of ,pavia1 in which he had lost everything except honour1 ,francis ,i4 concluded with the ,sforza of ,milan1 with ,venice1 ,florence1 and ,pope ,clement ,,vii4 a league against ,charles ,v41 which proved fatal to all who took part in it4 ,in #aebg1 a rabble of ,german and ,spanish soldiers of fortune1 led by the renegade ,conntable de ,bourbon1 took and pillaged ,rome1 and the ,pope himself was besieged in the ,castle of ,saint ,angelo for nine months4 ,the ,florentines availed themselves of this opportunity to shake off the despotic yoke of the ,medici1 but two years later1 ,charles ,v4 concluded the peace of ,barcelona with ,clement ,,vii41 one of the conditions being that he should re-establish the ,medicean rule in ,florence4 ,but the citizens would not give up their newly-acquired liberty without a struggle1 and prepared for a desperate resistance4 ,michelangelo was appointed ,commissary-,general of defence1 and showed himself worthy of the confidence placed in him by his fellow-citizens4 ,it was in a great measure due to the skill with which he fortified the town1 and more especially the hill of ,san ,miniato1 that ,florence was enabled to withstand the attacks of the ,imperial troops for twelve months4 ,but the treachery of ,malatesta ,baglioni1 who commanded the troops of the ,republic1 paralyzed the efforts of ,michelangelo and of its other brave defenders1 and in ,august1 #aecj1 the city fell4 ,alessandro de' ,medici returned in triumph to ,florence1 and would certainly have beheaded ,michelangelo1 who only saved himself by hiding in the bell-tower of ,san ,nicol beyond the ,arno1 until the first fury of his enemies was over4 ,in spite of his important military duties1 ,michelangelo continued working at the ,medicean tombs during the siege1 and also painted a panel picture1 representing ,leda and the ,swan1 originally intended for the ,duke of ,ferrara1 but which he afterwards gave to his pupil ,antonio ,mini1 together with many cartoons and drawings1 that he might dower two sisters with the proceeds4 ,it was sold to the ,king of ,france and hung at ,fontainebleau until the time of ,louis ,,xiii41 one of whose ministers ordered it to be destroyed as an improper picture4 ,according to another version1 however1 it was only hidden1 and afterwards brought to ,england4 ,the ,leda and the ,swan now in the ,national ,gallery is regarded by some as the damaged and much restored original of ,michelangelo's famous picture4 ,clement ,,vii4's anger soon abated1 and ,michelangelo was able to return to his work1 thanks chiefly to the kind offices of ,baccio ,valori1 the ,papal envoy in ,florence1 to whom the sculptor presented1 out of gratitude1 the fine statue of ,apollo1 now in the ,national ,museum at ,florence4 ,illustration3 ,,tomb ,,of ,,lorenzo ,,de' ,,medici4 ,the ,medicean tombs progressed but slowly1 for all this time ,michelangelo was worried almost to death by the ,duke of ,urbino1 a nephew of ,julius ,,ii41 who insisted upon his finishing the famous tomb1 while ,clement ,,vii41 on the other hand1 threatened the artist with excommunication if he neglected his work in the new sacristy for anything else4 ,probably the first statue to be finished was the beautiful ,madonna suckling the ,child ,jesus1 represented as a strong boy straddling across her knee4 ,it is one of ,michelangelo's noblest works1 possessing all the majestic simplicity of his earlier ,madonnas enhanced by greater power4 ,to give an adequate description of the tombs of ,giuliano and ,lorenzo de' ,medici would be impossible within the narrow limits of this little book4 ,suffice it to say that the princes are represented in the garb of ancient warriors1 each seated in a niche above a sarcophagus1 on which two allegorical figures recline4 ,lorenzo appears to be plunged in sorrowful meditation2 at his feet recline the colossal statues of ,evening1 represented by a powerful male figure1 apparently on the point of falling asleep1 and ,dawn1 symbolized by a beautiful young woman in the act of awaking1 not to joy and hope1 but to another day of sorrow4 ,the beauty of this last figure cannot be described2 it is such as the imagination of the ancient ,greeks might have endowed a goddess with4 ,the statue of ,dawn was finished in #aeca1 soon after the fall of ,florence and the return of the ,medici1 and there is little doubt that ,michelangelo intended his mournful figures to express sorrow at the loss of ,florentine liberty1 rather than at the death of the two young princes4 ,the same idea is evident in the tomb of ,giuliano1 with the two figures of ,night1 symbolized by a sleeping woman of singular beauty and power1 and ,day1 a vigorous bearded giant just rising to his work and looking over his shoulder as if dazzled by the glare of the rising sun4 ,although the head of ,day is unfinished1 it is a striking example of how ,michelangelo was able to give life and expression to his work from the first stroke of his chisel4 ,,the ,,last ,,judgment ,in #aecd ,michelangelo left ,florence for the last time4 ,his proud and independent spirit was unable to tolerate ,alessandro's petty tyranny4 ,the unfinished bust of ,brutus1 now in the ,bargello1 a vigorous and striking piece of work1 is another proof of his intense longing for liberty4 ,on arriving in ,rome he found that ,clement ,,vii4 had died two days previously1 and that ,paul ,,iii41 ,farnese1 had been elected ,pope4 ,michelangelo had finally come to an understanding with the executors of ,julius ,,ii41 the agreement being that he should make a tomb with one faade only1 using the marbles already carved for the quadrangular tomb and supplying six statues from his own hand1 the rest of the work to be completed by other artists under his supervision4 ,he therefore hoped to finish the tomb which had embittered thirty years of his life1 but once more he was doomed to disappointment1 for ,paul ,,iii4 immediately appointed him chief architect1 sculptor and painter of the ,vatican1 with a pension of #a1bjj golden crowns1 and ordered him to carry out a commission which ,clement ,,vii4 had given him shortly before his death4 ,it was no less a task than to paint the end wall of the ,sistine ,chapel4 ,prayers and remonstrance were alike unavailing1 and the doors of the ,sistine closed once more upon the master1 not to be opened again until the ,christmas of #aeda1 when his ,last ,judgment was uncovered to the admiration of ,rome and of the whole world4 ,thirty years earlier ,michelangelo had depicted the ,creation on the vault of this same chapel2 he now took for his subject the final doom of all things created4 ,the colossal work which cost him eight years' labour is a magnificent but almost terrifying pictorial rendering of the ,dies ,irae1 the ,day of ,wrath1 when even the just shall not feel secure4 ,awe and terror are equally apparent among the spirits of the blessed crowding round the dread ,judge1 and on the despairing countenances of the condemned souls dragged down by hideous demons towards the infernal river1 where ,charon in his boat beckons to them with eyes of fire and beats the delaying souls with uplifted oar4 ,the rendering of the subject is thoroughly ,dantesque1 and very different from the conventional treatment of the same theme by all preceding artists4 ,the composition1 however1 and indeed several individual groups and figures1 remind us forcibly of the ,campo ,santo at ,pisa4 ,although all true artists received this work with enthusiasm1 as ,vasari says1 and came from every part of ,italy to study it1 ,michelangelo's enemies1 including ,pietro ,aretino1 the most immoral writer of his age1 criticised it as a highly improper painting1 because most of the figures were nude4 ,so incensed was ,michelangelo at this that he revenged himself by painting one of his critics1 ,messer ,biagio da ,cesena1 as ,minos surrounded by a crowd of devils4 ,some years later ,paul ,,iv4 obtained ,michelangelo's consent to partly drape most of the figures1 and the work was done with commendable discretion by ,daniele da ,volterra1 who thereby earned the nickname of ,il ,braghettone1 or the breeches-maker4 ,unfortunately the smoke from the altar candles and censers1 and the dust of centuries have darkened and almost completely destroyed the original colour of this fresco2 ominous cracks have also appeared in several places1 but it is to be hoped that time will spare one of the greatest masterpieces of modern art for many centuries to come4 ,no sooner had ,michelangelo finished the ,last ,judgment1 than ,paul ,,iii4 set him to work on the side walls of the chapel which ,antonio da ,san ,gallo had just completed1 and which is now known as the ,cappella ,paolina4 ,michelangelo was nearly seventy years old at this time1 and fresco painting over a large surface is a fatiguing task even for a young man1 but the veteran artist obeyed1 and in #aedi he completed what was to be his last pictorial work1 the two frescoes representing the ,conversion of ,st4 ,paul and the ,martyrdom of ,st4 ,peter4 ,the composition of these pictures is as masterly as ever1 and the drawing1 especially in the fore-shortened figures1 faultless1 but for the first time we are aware of something cold and unnatural1 very different from the glorious life and power with which the frescoes of the ,sistine literally glow4 ,michelangelo was getting old1 and even his ,titanic frame could not withstand the insidious attacks of time4 ,he was seventy-five years of age when he carried these frescoes to completion1 and he himself confessed to ,vasari that he did so with great effort and fatigue4 ,nevertheless he found sufficient time and strength to complete the famous monument of ,pope ,julius ,,ii4 during the intervals of his fresco painting1 and in #aede the tragedy of the tomb finally came to an end4 ,it must have been with feelings of mingled relief and bitterness that ,michelangelo surveyed the much modified tomb in the church of ,san ,pietro in ,vincoli4 ,the mighty design which had fired his youthful ambition forty years previously had dwindled down to a comparatively unimposing monument1 but everybody will agree with ,condivi when he says that although botched and patched up1 it is the most worthy monument to be found in ,rome1 or perhaps in the world2 if for nothing else1 at least for the three statues that are by the hand of the master4 ,of the central figure1 representing ,moses1 we shall have occasion to speak later on2 the remaining statues by ,michelangelo to which ,condivi alludes are two female figures of rare beauty1 representing ,active and ,contemplative ,life4 ,the rest of the tomb was finished by ,raffaello da ,montelupo and by other assistants under the master's supervision4 ,having1 as best he could1 fulfilled his sacred pledge to the memory of ,julius ,,ii41 ,michelangelo appeared to consider his artistic career as practically at an end4 ,he was always inclined to sadness1 but a cloud of deeper melancholy seemed to settle over him1 and like ,titian1 ,tintoretto1 and other artists who attained to great old age1 he turned his thoughts almost exclusively to religious speculation4 ,in one of his sonnets he beautifully expresses the yearning for peace and rest which had taken possession of his storm-tossed soul3 ,painting nor sculpture now can lull to rest ,my soul1 that turns to ,his great love on high1 ,whose arms to clasp us on the ,cross were spread4#b #b ,the ,sonnets of ,michelangelo4 ,by ,j4 ,a4 ,symonds1 ,no4 lxv4 ,henceforward he regarded his art as a devotional exercise more than anything else4 ,the unfinished marble group of the ,deposition1 now in the ,duomo at ,florence1 and which he intended should be placed over his tomb1 was carved by the master during these years of serene preparation for his approaching end4 ,throughout his long and laborious career1 devoted to the threefold worship of ,god1 art and his country1 ,michelangelo had constantly refused to think of other ties1 remarking that he had espoused the affectionate fantasy which makes of art an idol4 ,from some of his sonnets1 however1 it would appear that while at the court of ,lorenzo the ,magnificent he had secretly cherished a deep and hopeless passion for the beautiful ,luigia de' ,medici1 who died in #adid4 ,forty years were to elapse ere in his heart1 yet youthful at the approach of age1 another woman1 and she the first of her era1 ,vittoria ,colonna1 occupied the place left vacant by ,luigia de' ,medici4 ,the friendship between these two lofty spirits1 based upon mutual admiration and esteem1 is one of the most beautiful romances in history1 and inspired ,michelangelo with some of his finest poems4 ,it was brought to a close in #aedg by ,vittoria ,colonna's death1 which left ,michelangelo dazed as one bereft of sense4 ,nothing1 says ,condivi1 grieved him so much in after years as that when he went to see her on her death-bed he did not kiss her on the brow or face1 as he did kiss her hand4 ,,st4 ,,peter',s ,it will be remembered that ,pope ,julius ,,ii4 had ordered ,bramante to rebuild the church of ,st4 ,peter's on a more magnificent scale1 in order that his tomb should derive additional grandeur from its stately surroundings4 ,bramante was succeeded by ,raphael1 ,peruzzi and ,antonio da ,sangallo1 and when the latter died in ,october1 #aedf1 ,paul ,,iii4 conferred the post of architect-in-chief upon ,michelangelo4 ,but the aged master at first refused1 saying that architecture was not his art1 and it was only when the ,pope issued a peremptory motu proprio that he set to work1 on condition that he should receive no payment for his services4 ,michelangelo returned to ,bramante's original design of the ,greek cross1 which had undergone considerable alterations1 his object being to erect a perfectly symmetrical building in such a manner that its dominant feature1 both from within and without1 should be the cupola4 ,he began by demolishing most of ,sangallo's work1 and severely putting a stop to all jobbery1 thereby creating a number of enemies who did all in their power to have him removed from his post4 ,but ,julius ,,iii41 who succeeded ,paul ,,iii4 in #aedi1 had implicit faith in ,michelangelo1 and the colossal work proceeded so rapidly1 in spite of intrigues and opposition1 that in #aeeg the great cupola was commenced4 ,the master was now unable1 owing to his extreme old age1 to personally superintend the building1 so that he constructed a wooden model1 still preserved at the ,vatican1 after which his assistants carried on the work4 ,from the window of his house ,michelangelo used to watch for hours together the huge cupola slowly rounding itself against the sky1 and wondered1 perhaps1 in how many years after his death it would be finished4 ,the evening of ,michelangelo's long life was saddened by the loss of nearly all who were near and dear to him4 ,his two remaining brothers 7for ,buonarroto had died of the plague in #aebh7 passed away in ,florence1 and the only representative of the family1 besides the aged artist1 was his nephew ,leonardo1 only son of his favourite brother1 ,buonarroto4 ,although a confirmed bachelor himself1 ,michelangelo prevailed upon his nephew to marry1 and ,leonardo became the head of the still existing branch of the ,buonarroti family4 ,another terrible loss to ,michelangelo was the death of his faithful servant ,francesco ,urbino1 of whom he wrote to ,vasari3 ,while ,urbino living kept me alive1 in dying he has taught me to die1 not unwillingly1 but rather with a desire for death4 ,the better part of me has gone with him1 and nothing is left to me now but endless sorrow4 ,in spite of old age1 illness and afflictions1 ,michelangelo's last years were perhaps the busiest of a life of uninterrupted work4 ,to this period must be attributed the plan for the improvements upon the ,capitol2 the design for the church of ,san ,giovanni del ,fiorentini2 the drawing for the monument to ,giangiacomo de' ,medici which ,leone ,leoni erected in the ,milan ,cathedral2 the plans for the conversion of the ,baths of ,diocletian into the church of ,santa ,maria degli ,angeli1 and a number of other drawings and sketches for palaces1 statues1 monuments1 which other artists carried out4 ,he found time for all these things while actively superintending the construction of ,st4 ,peter's1 and yet his restless spirit was not satisfied4 ,in a beautiful sonnet1 beginning with the words ,giunto gia' il corso della vita mia1 he laments the loss of his former creative power1 and says that he has already felt the pangs of one death1 while another is fast approaching4 ,nothing could be more pathetic than the spectacle of this strong creative spirit1 already imprisoned in the iron embrace of death1 yet struggling1 like a ,laocoon1 against inevitable dissolution4 ,although nearly ninety years of age1 ,michelangelo would still walk abroad in all weathers1 taking no precaution whatever4 ,on ,february #adth1 #aefd1 a friend of the master1 ,tiberio ,calcagni1 met him in the street on foot4 ,it was raining hard1 and ,calcagni affectionately upbraided the old man for going about in such weather3 ,leave me alone1 cried ,michelangelo fiercely1 ,i am ill1 and cannot find rest anywhere4 ,he spent the next four days in an armchair near the fire1 not complaining of any particular suffering1 quite composed and fully conscious1 as ,diomede ,leoni wrote to ,leonardo1 but oppressed with continual drowsiness4 ,in order to shake it off1 the brave old man tried to mount his horse and go for a ride1 but he was too weak4 ,without a word he sat down again in his armchair1 and on the afternoon of ,february #ahth1 #aefd1 a little before five o'clock1 ,michelangelo peacefully breathed his last4 ,he made his will in three words1 says ,vasari1 committing his soul into the hands of ,god1 his body to the earth1 and his goods to his nearest relatives4 ,leonardo arrived in ,rome three days after his uncle's death4 ,he had some difficulty in fulfilling ,michelangelo's wish to be buried in his native town1 as the ,romans1 who had conferred the citizenship on the artist1 would not allow his body to be removed4 ,at last the remains were smuggled out of ,rome in a bale of merchandise and conveyed to ,florence1 where they were buried with great pomp and solemnity in the church of ,santa ,croce4 ,for some unaccountable reason the group of the ,piet which ,michelangelo had intended for his monument1 was not placed over his tomb4 ,the present very ugly monument was designed by ,vasari at ,leonardo's request4 ,it bears the following inscription3 ,d4 ,o4 ,m4 ,,michaeli ,,angelo ,,bonarotio ,,vetusta 4 ,,simoniorum 4 ,,familia ,,sculptori 4 ,,pictori 4 ,,et 4 ,,architecto ,,fama 4 ,,omnibus 4 ,,notissimo ,,leonardus 4 ,,patruo 4 ,,amantiss 4 ,,et 4 ,,de 4 ,,se 4 ,,optime 4 ,,merito ,,translatis 4 ,,roma 4 ,,ejus 4 ,,ossibus 4 ,,atque 4 ,,in 4 ,,hoc 4 ,,templo ,,majorum 4 ,,suorum 4 ,,sepulcro 4 ,,conditis ,,cohortante4 ,,seren4 ,,cosmo4 ,,med4 ,,magno4 ,,etrur4 ,,duce4 ,p4 ,c4 ,,ann4 ,,sal4 ,m4 ,d4 ,,lxx ,,vixit4 ,,ann4 ,,lxxxviii4 ,m4 ,,xi4 ,d4 ,,xv4 ,other monuments to ,michelangelo exist in the church of the ,santissimi ,apostoli at ,rome1 and on the hill of ,san ,miniato1 overlooking ,florence1 which he so bravely defended4 ,but the noblest monument of ,michelangelo the artist are his undying works1 and the highest praise of ,michelangelo the man and the ,christian is contained in these simple words of a contemporary1 ,scipione ,ammirato1 ,during the ninety years of his life1 and in spite of numberless temptations1 ,michelangelo never did or said anything that was not pure and great4 ,,the ,,art ,,of ,,michelangelo ,in the history of ,art1 ,michelangelo stands isolated1 a colossal figure looming terrible and majestic1 a ,titan towering far above the sons of men4 ,yet his was an age of giants4 ,when ,michelangelo came before the world the glorious tide of the ,renaissance was still rising2 sculpture and architecture had been brought to an unprecedented degree of excellence by such men as ,lorenzo ,ghiberti1 ,donatello and ,brunelleschi1 and following in ,masaccio's footsteps1 a host of great painters had successfully striven to renovate and perfect their art until it culminated in a ,raphael4 ,leonardo da ,vinci was already famous before ,michelangelo had touched chisel or brush1 but neither ,leonardo's encyclopaedic achievements nor ,raphael's meteorlike career can be regarded as the ultimate expression1 the high-water mark of the ,italian ,renaissance4 ,in ,michelangelo we behold the giant embodiment of the true spirit of that wonderful period1 the synthesis of its various forms of beauty and perfection1 the final manifestation of its aesthetic possibilities4 ,when ,art first shook off the trammels of mediaevalism1 she was content to worship at the shrine of ,truth2 with ,botticelli and ,leonardo she passed into vague regions of poetry4 ,raphael touched a more human note1 often soaring to sublime harmonies3 with ,michelangelo the ,renaissance reached its fullest development1 attaining to a spiritual height1 an almost superhuman loftiness hitherto undreamt of4 ,other men had excelled in painting1 in sculpture1 or in architecture before him1 but ,michelangelo was the first to attain perfection in every branch of ,art1 and such was his strong creative individuality that he left nothing to which he applied himself at the same stage where he had found it1 bringing every manifestation of ,art to the highest degree of perfection of which it was capable1 and crowning all with that glorious aureola of spiritual grandeur which is the most awe-inspiring characteristic of his works4 ,we have said that ,michelangelo stands alone4 ,of other artists it is easy to trace the aesthetic derivation1 but he is the product of no school1 the result of no external influence4 ,michelangelo1 the most perfect emanation of the ,renaissance1 came before an astonished world like ,minerva leaping from the head of ,jove1 all armed and beautiful in her strength and wisdom4 ,although he lived in an age when tradition was almost an artistic canon1 and when the pupil felt in duty bound to follow his master's methods1 even his early works reveal a singular originality and freedom from all imitative tendencies4 ,take for instance his ,battle of the ,centaurs and ,lapithae1 which he carved when working under ,bertoldo at the court of ,lorenzo the ,magnificent3 it has nothing in common with the school of ,donatello1 but is instinct with the spirit of antique art1 showing that the young sculptor derived infinitely more profit from the close study of the antique masterpieces which ,lorenzo had collected in the gardens of ,san ,marco than from ,bertoldo's precepts4 ,that he succeeded in mastering the style and manner of the ancients to perfection is proved by such works as the ,sleeping ,cupid1 now unfortunately lost1 but which was bought by ,cardinal ,riario as an antique1 and was the cause of ,michelangelo's first coming to ,rome2 the ,bacchus1 hardly inferior to the ,dancing ,faun of the ,capitol1 and the beautiful statues of the ,medicean tombs1 which might easily be mistaken for the work of a ,greek chisel4 ,it is certain that during the first years of his long sojourn in ,rome he gave himself up enthusiastically to the study of its ancient monuments and works of art4 ,when the famous group of the ,laocoon was discovered in #aejf1 ,michelangelo greeted it as a miracle of art1 affirming that the only statue worthy of being compared with it was the torso of ,hercules1 which he was never tired of drawing1 and evidently had before his mind when painting the magnificent ignudi of the ,sistine ,chapel4 ,in the ,wicar ,museum at ,lille there are several copies by ,michelangelo of various decorative motives in the ,baths of ,titus1 showing how deeply he studied ancient art even in minor details4 ,but he was far from being a servile imitator2 indeed his powerful originality is never so strikingly manifest as in those of his masterpieces which appear to be conceived in a purely classical spirit4 ,although deeply religious1 even to the point of regarding his art1 especially during the latter part of his life1 more as a devotional exercise than as a stepping-stone to glory1 ,michelangelo had one essential point in common with ,pagan artists1 namely1 a boundless and reverent cult for beauty in all its forms1 and especially in its highest and most wonderful manifestation1 the human frame4 ,he loved the beauty of the human body1 says ,condivi1 as one who best understands it1 and likewise every beautiful thing--a beautiful horse1 a beautiful dog1 a beautiful country1 a beautiful plant1 and every place and thing beautiful and rare after its kind1 admiring them all with a marvellous love2 thus choosing beauty in nature as the bees gather honey from the flowers1 and using it afterwards in his works4 ,in one of his sonnets ,michelangelo thus expressed his highest idea of beauty--man created in the image of ,god3 ,nor hath ,god deigned to show ,himself elsewhere ,more clearly than in human forms sublime1 ,which1 since they image ,him1 alone ,i love4#a #a ,j4 ,a4 ,symonds1 ,the ,sonnets of ,michelangelo and ,campanella1 n4 lvi4 p4 #ij4 ,it is certain that he studied anatomy far more deeply than any of his contemporaries1 not excluding ,leonardo da ,vinci1 and devoted so much time to dissecting that it turned his stomach so that he could neither eat nor drink with benefit4 ,nevertheless1 adds ,condivi1 he did not give up until he was so learned and rich in such knowledge that he intended to write a treatise on the movements of the human body1 its aspect1 and concerning the bones1 with an ingenious theory of his own1 devised after long practice4 ,michelangelo has been accused by some critics1 not wholly without reason1 of having somewhat ostentatiously availed himself of his anatomical knowledge4 ,in some figures of his ,last ,judgment1 for instance1 the muscular masses1 the bones and tendons and other anatomical details are hardly concealed by the skin1 as if he had painted from the subject on the dissecting-table rather than from the living model4 ,the result is undoubtedly striking and terrible1 and we may even hazard the conjecture that the master purposely exaggerated his efforts in a picture representing the final resuscitation of the flesh1 the awesome reconstruction and starting back into life of bodies long since reduced to dust4 ,this stupendous defect1 if such it may be called1 is far more apparent in ,michelangelo's frescoes than in his works of sculpture4 ,having taken the human frame as the highest possible standard of beauty1 ,michelangelo made use of it in all his works not only as the principal theme1 but as a decorative element4 ,the ceiling of the ,sistine ,chapel1 with its magnificent nude ,athletes and allegorical figures1 is the apotheosis of the human frame as the noblest means of decoration4 ,by introducing nude figures in his tondo of the ,holy ,family and by his powerful but utterly unconventional treatment of the angels and saints in the ,last ,judgment1 ,michelangelo once more affirmed his faith in the beauty and purity of the human form divine as a decorative element of religious art4 ,he went even further1 for in a letter to ,cardinal ,ridolfo da ,carpi1 which he wrote when engaged on the construction of ,st4 ,peter's1 ,michelangelo hazards the strange theory that the study of the human figure is indispensable not only to sculptors and painters1 but to architects as well3 ,for it is very certain that the members of architecture depend upon the members of man4 ,who is not a good master of the figure1 and especially of anatomy1 cannot understand it4 ,michelangelo's system of working was as powerful and original as his art4 ,before he began a statue he could already discern the finished masterpiece lurking within the rough-hewn block of marble1 which he would attack with reckless assurance1 great splinters flying in all directions as he feverishly cut away the waste stone1 and saw the figure spring slowly into life under his magic chisel4 ,a contemporary1 writing in #aeej1 when ,michelangelo1 then seventy-five years of age1 was carving the ,piet which he intended for his tomb1 thus describes the master at his work3 ,i have seen him1 although over seventy years of age and no longer strong1 cut away more splinters from a block of very hard marble in fifteen minutes than three young men could have done in a couple of hours1 and with such fierce recklessness that ,i thought the whole work must fall to pieces4 ,for he knocked off splinters the size of a hand1 following the line of his figures so closely1 that the slightest mistake would have irreparably spoilt the whole group4 ,in one of his finest sonnets ,michelangelo mentions this wonderful gift of the true artist to penetrate dull marble and to perceive1 as through a veil1 the perfect work of art within3 ,non ha l' ottimo artista alcun concetto ,ch' un marmo solo in se' non circoscriva ,col suo soverchio2 e solo a quello arriva ,la mano che ubbidisce all' intelletto4 ,even such colossal works as the ,david were carved by ,michelangelo directly from the marble1 without previously modelling a full-size clay figure4 ,in none of his finished masterpieces1 however1 is it possible to observe ,michelangelo's methods better than in the unfinished statue of ,saint ,matthew1 now in the ,academy1 ,florence1 which1 although little more than a rough-hewn block of marble1 already reveals all the power and beauty of the perfect work of art4 ,when quarrying marble at ,carrara for the faade of ,san ,lorenzo1 he could tell to a nicety the exact measurements of the blocks required1 although he had not yet prepared a model or even accurate drawings to guide him in his work4 ,the whole monument was already complete1 even to its minor details1 in his mind4 ,michelangelo followed the same strenuous methods in painting4 ,we have seen that the first part of his most colossal work1 the vault of the ,sistine ,chapel1 comprising three hundred and ninety-four figures1 the majority ten feet high1 was begun on ,may #ajth1 #aejh1 and finished on ,november #ast1 #aeji4 ,indeed1 as ,michelangelo may be said to have only commenced work in earnest about the beginning of ,january #aeji1 after dismissing his incapable assistants1 it is far more probable that the stupendous fresco was painted in two hundred and thirty-four days1 at the rate of more than one figure a day4 ,the artist could only paint on the plaster while it was wet1 so that it is easy to tell in how many days he finished the larger figures by observing the divisions of the separate days' plasterings4 ,for instance1 ,sir ,c4 ,holroyd1 whose judgment is thoroughly to be depended upon1 maintains that one of the largest and most prominent figures1 as well as one of the finest and most finished1 the ,adam in the ,creation of ,man1 was painted in three sittings only4 ,the lines of the junctions of the plaster may be seen in a photograph2 one is along the collar bone1 and one across the junction of the body and the thighs4 ,there is also a division all round the figure1 an inch or so from the outline1 so we know that the beautiful and highly finished head and neck were painted in one day2 the stupendous torso and arms in another2 and the huge legs1 finished in every detail1 in a third4 ,such power of work and of finish is utterly inconceivable to any artist of to-day4 ,michelangelo rightly attributed his capacity for rapid and finished work to the great pains he had taken in thoroughly mastering the difficult art of drawing4 ,there is a sketch in the ,british ,museum with the following piece of advice in ,michelangelo's own hand1 to his pupil1 ,antonio ,mini3 ,disegna ,antonio1 disegna ,antonio1 disegna1 e non perder tempo4 ,draw ,antonio1 draw ,antonio1 draw1 and do not lose time4 ,illustration3 ,,central ,,group ,,of ,,the ,,last ,,judgement4 ,like ,donatello1 he used to say to his pupils3 ,i give you the whole art of sculpture when ,i tell you--draw6 ,although it would be difficult to decide whether he excelled most in painting or in sculpture1 ,michelangelo1 with singular modesty1 persisted in regarding himself as exclusively a sculptor4 ,even when engaged on his greatest pictorial works1 such as the frescoes of the ,sistine ,chapel1 he invariably signed his letters with the words3 ,michelangelo1 ,scultore4 ,it is1 therefore1 not surprising that his paintings1 and more especially his earlier works1 were conceived in a purely sculptorial spirit1 and carried out according to the methods of his favourite art4 ,the ,holy ,family1 now in the ,uffizi1 for instance1 differs but little in treatment and composition1 from the two marble tondi in the ,bargello1 and in the ,royal ,academy1 and from what we know of the famous ,cartoon of ,pisa1 it is evident that ,michelangelo1 when composing that famous masterpiece1 was influenced by the antique bas-reliefs1 representing battle scenes1 which he had seen and admired during his first visit to ,rome4 ,that he did not consider himself a painter is further shown by his utter disregard for colour1 so apparent in his earlier paintings1 such as the ,holy ,family4 ,but in the ,sistine ,chapel he ceases to regard perfection of form as all sufficient1 and the sculptor suddenly becomes the greatest colour-painter of any age4 ,for in these stupendous frescoes1 remarkable for their imposing1 yet extremely simple colour scheme1 ,michelangelo has succeeded in making colour serve a higher purpose than that of merely clothing his inspiration with beautiful tints4 ,colour is no longer an accessory1 but an integral factor as important as the mighty figures1 the inner meaning of which it helps to bear out1 and the result of as much thought and care4 ,in no other work of art has such perfect harmony of form and colour ever been attained4 ,michelangelo was so entirely absorbed in his art1 to the exclusion of every other thought or passion1 that it is possible to trace in his works not only the gradual development of his genius1 but also the vicissitudes of his long and stormy career4 ,of his youthful works only two1 the bas-relief of the ,madonna and ,child in the ,buonarroti ,collection and the ,st4 ,john in the ,berlin ,museum1 bear evident traces of ,donatello's influence2 in the ,battle of the ,centaurs and ,lapithae the young artist already asserts his powerful individuality1 and the ,bacchus shows how thoroughly he had become imbued with the spirit of antique art4 ,it was not until he carved the deeply religious group of the ,piet that he revealed his spiritual personality1 while in the ,david we are first confronted with that terribilita which is the most striking characteristic of his subsequent works4 ,all ,michelangelo's masterpieces1 whether of sculpture or painting1 are instinct with power and strength1 like combatants in some fierce1 mysterious battle2 but whereas the youthful ,david appears to breathe forth a triumphant defiance1 his later conceptions1 such as the brooding athletes of the ,sistine ,chapel1 the ,louvre captives writhing in their bonds1 the sombre giants of the ,medicean tombs1 and the terror-stricken figures of the ,last ,judgment1 appear to be weighed down and overshadowed by the consciousness of inevitable doom4 ,what was formerly a brave1 fearless fight becomes a hopeless struggle of ,titans against ,fate4 ,sublimity of conception1 grandeur of form1 and breadth of manner are the elements of ,michelangelo's style4 ,as painter1 as sculptor1 as architect he attempted--and above any other man succeeded--to unite magnificence of plan and endless variety of subordinate parts with the utmost simplicity and breadth4 ,his line is uniformly grand2 character and beauty are admitted only as far as they can be made subservient to grandeur4 ,the child1 the female1 even meanness and deformity1 are by him indiscriminately stamped with grandeur4 ,a beggar rises from his hand the patriarch of poverty2 the hump of his dwarf is impressed with dignity2 his women are moulds of generations2 his infants teem with the man2 his men are a race of giants4 ,in that sublime circle of the ,sistine ,chapel which exhibits the origin1 the progress and the final dispensations of theocracy1 he may be regarded as the inventor of ,epic painting4 ,among the glorious titles which have borne the name of ,michelangelo to so high a pitch of celebrity1 the least popular is that derived from the composition of his poetical works4 ,the best judges1 however1 regard these productions with profound esteem4 ,for ,michelangelo lived during the golden age of the ,lingua ,toscana1 and among the poets who filled the interval between the publication of the ,orlando and that of the ,aminta--first1 in order of date1 of the poems of ,torquato ,tasso--not one has raised himself above1 nor1 perhaps1 to the level of ,michelangelo4 ,michelangelo's architectural works reveal the same characteristics which excite our admiration when contemplating his paintings or his marbles1 namely1 simplicity and grandeur4 ,although he always protested that architecture1 like painting1 was not his profession1 he stood head and shoulders above ,bramante or any other architect of his time1 and the majestic cupola of the greatest temple in ,christendom is a sufficient proof of his genius4 ,although ,michelangelo left no school in the narrower sense of the word1 his influence upon art1 and1 what is even more important1 on the minds of men1 has undoubtedly been greater than that of any other master1 and successive generations will agree with an illustrious contemporary1 ,ariosto1 in proclaiming him ,michel1 pi che mortal1 ,angel divino4 ,,our ,,illustrations ,it is difficult to grasp all the sublime significance of ,michelangelo's works1 even when we find ourselves face to face with the actual masterpieces1 such as the frescoes of the ,sistine ,chapel or the beautiful statues which adorn the ,medicean tombs4 ,to attempt an accurate description of his principal works within the narrow limits at our disposal would be indeed a hopeless task1 especially as the size of these pictures will only allow of their conveying a somewhat remote idea of the grandeur and awe-inspiring dignity which are the principal characteristics of ,michelangelo's art4 ,in selecting the following eight illustrations1 we have endeavoured not only to give an idea of ,michelangelo's gradual artistic development1 but also to throw some light on his powerful and most interesting personality4 ,although the ,portrait now in the ,capitol ,museum is in many respects inferior to the one in the ,uffizi1 and has even fewer claims to the honour of being regarded as by the master's own hand1 we have selected it because it tallies perfectly with the descriptions which ,michelangelo's contemporaries1 and more especially ,condivi and ,vasari1 have left us of the master's rugged and expressive features4 ,there is an aspect of profound melancholy1 almost of discouragement1 in the wan face1 disfigured by the flattened nose2 the eyes are sunk deep under the massive and somewhat slanting brow1 and the whole picture has an indescribably mournful1 hopeless expression4 ,it was probably painted when ,michelangelo was about fifty-five years of age1 and the tragedy of the tomb was causing him bitter grief and disappointment4 ,in the ,uffizi portrait the most interesting feature is the hand1 strangely resembling an eagle's talon and immediately giving the impression of strong individuality and creative power1 which were ,michelangelo's most striking characteristics4 ,it has been rightly observed that nothing closes the fifteenth century so fitly as the magnificent marble group of ,the ,piet1 which1 although carved by ,michelangelo in #adih1 already prophesied the power of sixteenth-century art4 ,numerous other artists had already been attracted by the pathetic theme of the ,virgin ,mother mourning over her dead ,son1 their principal aim1 however1 being almost invariably to convey as forcibly as possible to the beholder the grief and despair of the bereaved ,mother4 ,with characteristic originality ,michelangelo departed from the traditional manner1 successfully endeavouring to give the theme a simpler but far more dignified and lofty interpretation4 ,the ,madonna is seated on the stone upon which the ,cross is erected1 with her dead ,son on her lap4 ,her beautiful face is not contracted with grief1 but wears an expression of sublime peace and resignation1 and the graceful head reclines slightly on her right shoulder1 as if pitying ,heaven had sent sleep to temper the extremity of her grief1 and sweet dreams of the past1 when the ,virgin ,mother fondled her ,infant ,son1 had mercifully cancelled the horrible vision of the ,redeemer's lifeless body now lying on her lap4 ,michelangelo's contemporaries criticised the figure of the ,madonna1 remarking that the ,mother is far too young compared with the ,son4 ,one day1 writes ,condivi1 as ,i was talking to ,michelangelo of this objection1 ',do you not know1' he said1 'that chaste women retain their fresh looks much longer than those who are not chaste8 ,and ,i tell you1 moreover1 that such freshness and flower of youth1 besides being maintained in her by natural causes1 it may possibly be that it was ordained by the ,divine ,power to prove to the world the virginity and perpetual purity of the ,mother4 ,it was not necessary in the ,son1 but rather the contrary1 wishing to show that the ,son of ,god took upon himself a true human body subject to all the ills of man1 excepting only sin4 ,do not wonder then that ,i have1 for all these reasons1 made the most ,holy ,virgin1 ,mother of ,god1 a great deal younger in comparison with her ,son than she is usually represented4 ,to the ,son ,i have allotted ,his full age4' ,this grave theological statement gives us an interesting insight into ,michelangelo's pious and meditative character1 showing how earnestly he took his art and how reverently he thought out every detail1 especially when interpreting some religious theme4 ,the figure of the dead ,redeemer is1 if possible1 even more admirable than that of the ,mother4 ,he is of so great and so rare a beauty1 exclaims ,condivi1 that no one beholds it but is moved to pity4 ,a figure truly worthy of the humanity which belonged to the ,son of ,god4 ,no other sculptor has ever succeeded in giving marble the absolute abandon of death quite so pathetically as ,michelangelo has done in this ,dead ,christ4 ,here it was that his profound knowledge of anatomy1 and the long hours spent over the dissecting table at ,santo ,spirito1 first stood him in good stead4 ,in the ,albertina ,gallery at ,vienna there is a magnificent study of a subject placed in almost exactly the same position as the ,dead ,christ1 which the sculptor evidently transferred to ,the ,piet1 if indeed he did not make the sketch expressly for this group4 ,although ,michelangelo always professed to be a sculptor and nothing else1 he shows all a true painter's sensitive appreciation of light and shade in this work1 having so arranged the graceful1 but somewhat complicated folds of the ,madonna's draperies1 as to form a comparatively dark background which enhances the whiteness of the lifeless body lying on her lap4 ,to students of ,michelangelo's art this work is especially interesting as it shows the master equally free from the influence of his ,florentine predecessors1 and from that of the antique4 ,michelangelo was conscious of the merit and of the originality of this group1 for it is the only one which he considered worthy of bearing his great name4 ,illustration3 ,,the ,,piet4 ,the ,david1 now in the ,accademia at ,florence1 inaugurates the series of ,michelangelo's colossal statues4 ,it will be remembered that the master undertook to utilize a huge block of marble already rough-hewn by an unskilful sculptor1 and that he succeeded in hewing this magnificent statue1 without adding any other piece at all1 so exactly to the size that the old surface of the marble may still be seen on the top of the head and in the base4 ,what most surprises the modern artist when studying not only this1 but all ,michelangelo's colossal works1 both in painting and in sculpture1 is the perfect finish of every detail4 ,the fearless eyes1 the shapely ear1 the firm set mouth1 the powerful hand nervously grasping the death-dealing missile1 could not have been more carefully modelled in a statuette1 and casts of each individual limb are still set before students to copy and admire in every studio of the world4 ,in #aeja1 when ,michelangelo began this work1 he was still free and unfettered1 justly proud of the fame which his ,piet had brought him1 and with the world literally at his feet4 ,this young giant boldly taking aim at an unknown but formidable enemy1 might well be regarded as an allegorical representation of the artist himself1 on the eve of grappling with his fate4 ,it may be taken for certain that a quarter of a century later he would have interpreted the same theme very differently1 and would perhaps have given us ,david the ,king1 or ,david the ,psalmist and the ,prophet1 instead of this magnificent embodiment of conscious power and hope4 ,the fierce frown1 the expression of strenuous force victoriously struggling against overwhelming odds1 all those characteristics1 in short1 which have been summed up in the word terribilit by his contemporaries1 would have been replaced by the sombre majesty of the ,moses1 or the despairing expression of conquered1 impotent strength which is the key-note to such works as the ,medicean ,tombs1 the ,louvre ,captives1 and the ,last ,judgment4 ,critics casting about for an artistic derivation of ,michelangelo's earlier works maintain that the ,david's face bears a resemblance to the features of ,donatello's ,saint ,george in ,or ,san ,michele1 but the type is far more virile and energetic1 recalling1 if anything1 the masterpieces of ancient art4 ,the tondo representing ,the ,holy ,family1 now in the ,tribuna of the ,uffizi1 is doubly interesting as a work of art and as an instance of ,michelangelo's fearless originality4 ,it was painted about the year #aejc for that ,florentine merchant prince1 ,angelo ,doni1 who sat for his portrait to the divine ,raphael4 ,although ,signorelli had once before introduced nude figures as a decorative element in a ,madonna and ,child which he painted for ,lorenzo de' ,medici 7and it is possible that ,michelangelo saw this picture71 no other artist of the ,renaissance had ever dared to interpret a sacred subject such as the ,holy ,family in so ,pagan a spirit4 ,an ancient ,greek would quite naturally have supposed the beautiful group in the foreground to represent ,juno playing with the infant ,bacchus1 only wondering1 perhaps1 why the artist had neglected to place a garland of vine leaves and clustering grapes round the ,wine ,god's curly head4 ,st4 ,joseph might easily be taken for a momentarily uxorious ,jupiter or for a sober ,silenus1 and the nude shepherds idling in the background place the scene in a pleasant corner of ,arcadia1 while a grinning little ,faun does duty for ,st4 ,john the ,baptist4 ,nevertheless there is not the slightest hint at irreverence2 it is merely a ,pagan translation1 by a master hand1 of an oft-repeated ,christian theme1 a transposition as beautiful and as harmonious in its way as the original score4 ,indeed1 ,vasari tells us that ,michelangelo painted this strikingly original tondo merely to show his skill1 and the magnificent modelling and foreshortening of the ,madonna's arms1 the masterful composition1 and the wonderfully accurate drawing more than achieve his object4 ,as to the colouring1 he entirely disregarded it in his sculptor's pride4 ,he might as well have carved this remarkable work in marble4 ,before painting the ceiling of the ,sistine ,chapel1 ,michelangelo appeared to be wilfully colour-blind1 as if afraid that painting would wile him away from the sister art1 to which he had plighted his troth4 ,there is very little doubt that the original design of the ,creation of ,man was inspired in ,michelangelo by one of the antique gems which he admired as a boy in ,lorenzo de' ,medici's collection4 ,a similar origin may be assigned to the group of ,judith and her maid1 also in the ,sistine ,chapel1 to several of the ,athletes1 and to the ,leda and the ,swan which he painted for the ,duke of ,ferrara4 ,but this magnificent recumbent figure of ,adam far surpasses anything in ancient as well as in modern art1 and is indeed a worthy centre round which the remaining stupendous compositions appear to gravitate like planets round the sun4 ,it is here1 more than in any other of his works1 that we can appreciate ,michelangelo's wonderful gift of interpreting the highest and most inaccessible themes in a simple yet imposing manner4 ,resting heavily on the curved surface of the globe1 his powerful limbs and finely modelled flesh clearly outlined against the indigo blue of the sky and the solemn lines of the landscape1 ,adam gives one the impression of a huge primeval being instinct with strength which he is as yet unable to understand or to use1 and just awaking into life1 a divine spark of which he receives from the ,deity4 ,michelangelo's conception of ,god the ,father1 as an old but powerful and majestic figure1 has ever since remained the only possible pictorial symbol of so lofty a subject4 ,illustration3 ,,the ,,holy ,,family4 ,apart from its great artistic merit1 a pathetic interest attaches to the statue of ,moses because it represents the last act of that tragedy of the tomb which darkened the greater part of ,michelangelo's life1 and influenced his art more than any other circumstance of his eventful career4 ,the leader and law-giver of the ,hebrews is seated in an attitude of thought and wisdom1 holding under his right arm the tables of the law1 and supporting his chin with his left hand1 like one tired and full of cares4 ,his beard escapes in long waves between the fingers of his right hand4 ,the hands and strong bare arms of the ,moses are magnificent1 beyond comparison the finest ever modelled by ,michelangelo4 ,the expression of the face is one of commanding power and almost fierce energy1 a face capable of inspiring terror rather than love1 a veritable embodiment of the cruel1 uncompromising ,hebrew legislation4 ,the powerful1 massive form is clearly apparent beneath the beautiful folds of the draperies1 for here1 as in all ,michelangelo's clothed figures1 whether in painting or in sculpture1 dress does not hide but almost enhances the shape and beauty of the body4 ,this statue alone1 exclaimed the ,cardinal of ,mantua1 when he saw the finished work1 is enough to honour the memory of ,pope ,julius4 ,illustration3 ,,the ,,moses4 ,in the ,medicean tombs ,michelangelo may be said to have equalled if not surpassed the masterpieces of ancient sculpture4 ,we have selected the tomb of ,lorenzo de' ,medici for our illustration1 as the statues which adorn it1 symbolizing ,evening and ,dawn1 although conceived in the same spirit of profound melancholy1 are1 if possible1 even more beautiful than the ,day and ,night of ,giuliano's tomb4 ,evening is represented by an old man1 brooding and dejected1 but hardly less powerful and muscular than the giant ,day4 ,it is evident that he is not suffering from bodily fatigue1 but that he is sinking under the weight of some unbearable1 irremediable calamity4 ,the virgin ,dawn is perhaps the most beautiful female figure of modern or of ancient art4 ,she is represented as only half awake and almost unable to rise from her couch1 while there is a suggestion of ineffable bitterness in the expression of the face with its half-closed eyes wearily greeting another day of sorrow4 ,the powerful yet graceful limbs are magnificently modelled1 and the whole figure may be regarded as the perfection of the female form1 redeemed from any breath of sensuality by a commanding loftiness of expression1 such as the ,greeks gave to the statues of their goddesses4 ,michelangelo's ,last ,judgment is a work of so colossal a nature that it would be impossible to give even a remote idea of the whole composition in this unpretentious little book4 ,we have therefore selected for our illustration the central group representing ,christ the ,judge1 a dread figure enthroned on clouds1 with hand upraised in an attitude of stern command1 surrounded by the ,blessed1 who press round the ,son of ,god with eager1 frightened looks and gestures1 as if hardly secure of their final salvation in that terrible day of retribution1 cum vix ,justus sit securus4 ,nestling timorously close to her ,son1 half sitting1 half crouching1 with head averted1 as if to avoid seeing the coming wrath1 and arms crossed on her bosom1 is the ,mother of ,god1 a wonderfully sweet and pathetic figure1 full of pity and sorrow for the condemned souls1 and contrasting strangely with the inexorable ,judge rising in his stern majesty to pronounce sentence on the frightened1 shuddering mass of humanity4 ,the action of the ,judge1 and indeed every part of the composition1 forcibly remind us of the ,last ,judgment in the ,campo ,santo of ,pisa1 but there is not a figure or a detail in the whole of this colossal work which does not bear the imprint of that powerful originality and that wonderful gift to express the most varied emotion and to interpret the loftiest themes1 which were the principal characteristics of ,michelangelo's genius4 ,,list ,,of ,,chief ,,works ,,austria-,,hungary ,,vienna1 ,,albertina ,,gallery4 ,several drawings and sketches4 ,,belgium ,,bruges1 ,,church ,,of ,,st4 ,,bavon4 ,marble group of ,virgin and ,child4 7,executed at ,carrara in #aejf for two ,flemish merchants47 ,,british ,,isles ,,london1 ,,national ,,gallery4 ,no4 #gij1 ,entombment4 ,unfinished painting on wood4 7,between #aeja-aejd47 ,,royal ,,academy1 ,,diploma ,,gallery4 ,madonna and ,child4 ,tondo bas-relief 7#aeja-aejd74 ,,london1 ,,british ,,museum4 ,several drawings4 ,,oxford1 ,,taylor ,,collection4 ,drawings4 ,,france ,,paris1 ,,louvre4 ,two colossal statues of ,captives1 originally intended for the tomb of ,julius ,,ii4 7#aeac74 ,numerous drawings1 including ,head of ,faun4 ,,lille1 ,,mus,e ,,wicar4 ,drawings4 ,,germany ,,berlin ,,museum4 ,statue of youthful ,st4 ,john the ,baptist 7about #adie74 ,,weimar ,,museum4 ,drawings and studies for the ,last ,judgment4 ,,holland ,,haarlem1 ,,teyler ,,museum4 ,many important drawings4 ,,italy ,,bologna1 ,,church ,,of ,,san ,,domenico4 ,statue of kneeling ,angel 7#adid74 ,,florence1 ,,accademia4 ,colossal statue of ,david 7#aeja-aejd74 ,statue of ,st4 ,matthew 7unfinished74 ,,buonarroti ,,collection4 ,madonna and ,child 7bas-relief71 #adhi-adib4 ,fight between ,centaurs and ,lapithae 7bas-relief71 #adhi-adib4 ,numerous sketches1 studies1 architectural drawings and three hundred autograph letters4 ,,duomo4 ,unfinished group representing ,the ,deposition from the ,cross4 ,,museo ,,nazionale4 ,statue of ,bacchus 7executed in #adig for ,jacopo ,galli74 ,dying ,adonis 7#aeja-aejd74 ,apollo 7unfinished statue1 executed in #aecj for ,baccio ,valori74 ,victory 7group intended for ,julius ,,ii4's ,tomb1 #aeba74 ,bust of ,brutus 7#aedd874 ,,church ,,of ,,san ,,lorenzo4 ,medicean ,tombs 7begun #aeba74 ,new ,sacristy and ,library of ,san ,lorenzo4 ,,uffizi ,,gallery4 ,the ,holy ,family 7tondo in oil-colours1 painted for ,angelo ,doni in #aejc74 ,numerous drawings1 including ,the ,resurrection of ,lazarus1 ,prudence1 the ,last ,judgment4 ,,boboli ,,gardens4 ,four ,slaves 7unfinished statues74 ,,rome1 ,,st4 ,,peter',s4 ,group of ,la ,piet 7#adii74 ,,church ,,of ,,santa ,,maria ,,sopra ,,minerva4 ,statue of the ,saviour 7#aeba74 ,,church ,,of ,,san ,,pietro ,,in ,,vincoli4 ,tomb of ,julius ,,ii4 and statue of ,moses 7completed #aede74 ,,vatican1 ,,sistine ,,chapel4 ,the ,creation and ,fall of ,man 7#aejh-aeab74 ,frescos4 ,the ,last ,judgment 7#aece-aeda74 ,,pauline ,,chapel4 ,the ,conversion of ,st4 ,paul4 ,frescoes 7#aedb-di74 ,the ,martyrdom of ,st4 ,peter4 ,,chiswick ,,press3 ,,printed ,,by ,,charles ,,whittingham ,,and ,,co4 ,,tooks ,,court1 ,,chancery ,,lane1 ,,london4