The Life of Michelangelo Buonarroti Part 24

Michelangelo had good reason to rejoice over this event, for Julius III. felt a real attachment to his person, and thoroughly appreciated both his character and his genius. Nevertheless, the enemies he had in Rome now made a strong effort to dislodge Buonarroti from his official position at S. Peter's. It was probably about this time that the Superintendents of the Fabric drew up a memorial expressive of their grievances against him. We possess a doc.u.ment in Latin setting forth a statement of accounts in rough. "From the year 1540, when expenditures began to be made regularly and in order, from the very commencement as it were, up to the year 1547, when Michelangelo, at his own will and pleasure, undertook partly to build and partly to destroy, 162,624 ducats were expended. Since the latter date on to the present, during which time the deputies have served like the pipe at the organ, knowing nothing, nor what, nor how moneys were spent, but only at the orders of the said Michelangelo, such being the will of Paul III. of blessed memory, and also of the reigning Pontiff, 136,881 ducats have been paid out, as can be seen from our books. With regard to the edifice, what it is going to be, the deputies can make no statement, all things being hidden from them, as though they were outsiders. They have only been able to protest at several times, and do now again protest, for the eas.e.m.e.nt of their conscience, that they do not like the ways used by Michelangelo, especially in what he keeps on pulling down. The demolition has been, and to-day is so great, that all who witness it are moved to an extremity of pity. Nevertheless, if his Holiness be satisfied, we, his deputies, shall have no reason to complain." It is clear that Michelangelo was carrying on with a high hand at S. Peter's. Although the date of this doc.u.ment is uncertain, I think it may be taken in connection with a general meeting called by Julius III., the incidents of which are recorded by Vasari.

Michelangelo must have demonstrated his integrity, for he came out of the affair victorious, and obtained from the Pope a brief confirming him in his office of architect-in-chief, with even fuller powers than had been granted by Paul III.

VIII

Vasari at this epoch becomes one of our most reliable authorities regarding the life of Michelangelo. He corresponded and conversed with him continuously, and enjoyed the master's confidence. We may therefore accept the following narrative as accurate: "It was some little while before the beginning of 1551, when Vasari, on his return from Florence to Rome, found that the sect of Sangallo were plotting against Michelangelo; they induced the Pope to hold a meeting in S.

Peter's, where all the overseers and workmen connected with the building should attend, and his Holiness should be persuaded by false insinuations that Michelangelo had spoiled the fabric. He had already walled in the apse of the King where the three chapels are, and carried out the three upper windows. But it was not known what he meant to do with the vault. They then, misled by their shallow judgment, made Cardinal Salviati the elder, and Marcello Cervini, who was afterwards Pope, believe that S. Peter's would be badly lighted.

When all were a.s.sembled, the Pope told Michelangelo that the deputies were of opinion the apse would have but little light. He answered: 'I should like to hear these deputies speak.' The Cardinal Marcello rejoined: 'Here we are.' Michelangelo then remarked: 'My lord, above these three windows there will be other three in the vault, which is to be built of travertine.' 'You never told us anything about this,'

said the Cardinal. Michelangelo responded: 'I am not, nor do I mean to be obliged to tell your lords.h.i.+p or anybody what I ought or wish to do. It is your business to provide money, and to see that it is not stolen. As regards the plans of the building, you have to leave those to me.' Then he turned to the Pope and said: 'Holy Father, behold what gains are mine! Unless the hards.h.i.+ps I endure prove beneficial to my soul, I am losing time and labour.' The Pope, who loved him, laid his hands upon his shoulders and exclaimed: 'You are gaining both for soul and body, have no fear!' Michelangelo's spirited self-defence increased the Pope's love, and he ordered him to repair next day with Vasari to the Vigna Giulia, where they held long discourses upon art."

It is here that Vasari relates how Julius III. was in the habit of seating Michelangelo by his side while they talked together.

Julius then maintained the cause of Michelangelo against the deputies.

It was during his pontificate that a piece of engineering work committed to Buonarroti's charge by Paul III. fell into the hands of Nanni di Baccio Bigio. The old bridge of Santa Maria had long shown signs of giving way, and materials had been collected for rebuilding it. Nanni's friends managed to transfer the execution of this work to him from Michelangelo. The man laid bad foundations, and Buonarroti riding over the new bridge one day with Vasari, cried out: "George, the bridge is quivering beneath us; let us spur on, before it gives way with us upon it." Eventually, the bridge did fall to pieces, at the time of a great inundation. Its ruins have long been known as the Ponte Rotto.

On the death of Julius III. in 1555, Cardinal Cervini was made Pope, with the t.i.tle of Marcellus II. This event revived the hopes of the sect, who once more began to machinate against Michelangelo. The Duke of Tuscany at this time was exceedingly anxious that he should take up his final abode at Florence; and Buonarroti, feeling he had now no strong support in Rome, seems to have entertained these proposals with alacrity. The death of Marcellus after a few weeks, and the election of Paul IV., who besought the great architect not to desert S.

Peter's, made him change his mind. Several letters written to Vasari and the Grand Duke in this and the next two years show that his heart was set on finis.h.i.+ng S. Peter's, however much he wished to please his friends and longed to end his days in peace at home. "I was set to work upon S. Peter's against my will, and I have served now eight years gratis, and with the utmost injury and discomfort to myself. Now that the fabric has been pushed forward and there is money to spend, and I am just upon the point of vaulting in the cupola, my departure from Rome would be the ruin of the edifice, and for me a great disgrace throughout all Christendom, and to my soul a grievous sin.

Pray ask his lords.h.i.+p to give me leave of absence till S. Peter's has reached a point at which it cannot be altered in its main features.

Should I leave Rome earlier, I should be the cause of a great ruin, a great disgrace, and a great sin." To the Duke he writes in 1557 that his special reasons for not wis.h.i.+ng to abandon S. Peter's were, first, that the work would fall into the hands of thieves and rogues; secondly, that it might probably be suspended altogether; thirdly, that he owned property in Rome to the amount of several thousand crowns, which, if he left without permission, would be lost; fourthly, that he was suffering from several ailments. He also observed that the work had just reached its most critical stage (i.e., the erection of the cupola), and that to desert it at the present moment would be a great disgrace.

The vaulting of the cupola had now indeed become the main preoccupation of Michelangelo's life. Early in 1557 a serious illness threatened his health, and several friends, including the Cardinal of Carpi, Donato Giannotti, Tommaso Cavalieri, Frances...o...b..ndini, and Lottino, persuaded him that he ought to construct a large model, so that the execution of this most important feature of the edifice might not be impeded in the event of his death. It appears certain that up to this date no models of his on anything like a large intelligible scale had been provided for S. Peter's; and the only extant model attributable to Michelangelo's own period is that of the cupola. This may help to account for the fact that, while the cupola was finished much as he intended, the rest of his scheme suffered a thorough and injurious remodelling.

He wrote to his nephew Lionardo on the 13th of February 1557 about the impossibility of meeting the Grand Duke's wishes and leaving Rome. "I told his Lords.h.i.+p that I was obliged to attend to S. Peter's until I could leave the work there at such a point that my plans would not be subsequently altered. This point has not been reached; and in addition, I am now obliged to construct a large wooden model for the cupola and lantern, in order that I may secure its being finished as it was meant to be. The whole of Rome, and especially the Cardinal of Carpi, puts great pressure on me to do this. Accordingly, I reckon that I shall have to remain here not less than a year; and so much time I beg the Duke to allow me for the love of Christ and S. Peter, so that I may not come home to Florence with a p.r.i.c.king conscience, but a mind easy about Rome." The model took about a year to make. It was executed by a French master named Jean.

All this while Michelangelo's enemies, headed by Nanni di Baccio Bigio, continued to calumniate and backbite. In the end they poisoned the mind of his old friend the Cardinal of Carpi. We gather this from a haughty letter written on the 13th of February 1560: "Messer Frances...o...b..ndini informed me yesterday that your most ill.u.s.trious and reverend lords.h.i.+p told him that the building of S. Peter's could not possibly go on worse than it is doing. This has grieved me deeply, partly because you have not been informed of the truth, and also because I, as my duty is, desire more than all men living that it should proceed well. Unless I am much deceived, I think I can a.s.sure you that it could not possibly go on better than it now is doing. It may, however, happen that my own interests and old age expose me to self-deception, and consequently expose the fabric of S. Peter's to harm or injury against my will. I therefore intend to ask permission on the first occasion from his Holiness to resign my office. Or rather, to save time, I wish to request your most ill.u.s.trious and reverend lords.h.i.+p by these present to relieve me of the annoyance to which I have been subject seventeen years, at the orders of the Popes, working without remuneration. It is easy enough to see what has been accomplished by my industry during this period. I conclude by repeating my request that you will accept my resignation. You could not confer on me a more distinguished favour."

Giovanni Angelo Medici, of an obscure Milanese family, had succeeded to Paul IV. in 1559. Pius IV. felt a true admiration for Michelangelo.

He confirmed the aged artist in his office by a brief which granted him the fullest authority in life, and strictly forbade any departure from his designs for S. Peter's after death. Notwithstanding this powerful support, Nanni di Baccio Bigio kept trying to eject him from his post. He wrote to the Grand Duke in 1562, arguing that Buonarroti was in his dotage, and begging Cosimo to use his influence to obtain the place for himself. In reply the Grand Duke told Nanni that he could not think of doing such a thing during Michelangelo's lifetime, but that after his death he would render what aid was in his power. An incident happened in 1563 which enabled Nanni to give his enemy some real annoyance. Michelangelo was now so old that he felt obliged to leave the personal superintendence of the operations at S. Peter's to a clerk of the works. The man employed at this time was a certain Cesare da Castel Durante, who was murdered in August under the following circ.u.mstances, communicated by Tiberio Calcagni to Lionardo Buonarroti on the 14th of that month: "I have only further to speak about the death of Cesare, clerk of the works, who was found by the cook of the Bishop of Forli with his wife. The man gave Cesare thirteen stabs with his poignard, and four to his wife. The old man (i.e., Michelangelo) is in much distress, seeing that he wished to give the post to that Pier Luigi, and has been unable to do so owing to the refusal of the deputies." This Pier Luigi, surnamed Gaeta, had been working since November 1561 as subordinate to Cesare; and we have a letter from Michelangelo to the deputies recommending him very warmly in that capacity. He was also the house-servant and personal attendant of the old master, running errands for him and transacting ordinary business, like Pietro Urbano and Stefano in former years. The deputies would not consent to nominate Pier Luigi as clerk of the works. They judged him to be too young, and were, moreover, persuaded that Michelangelo's men injured the work at S. Peter's. Accordingly they appointed Nanni di Baccio Bigio, and sent in a report, inspired by him, which severely blamed Buonarroti. Pius IV., after the receipt of this report, had an interview with Michelangelo, which ended in his sending his own relative, Gabrio Serbelloni, to inspect the works at S. Peter's. It was decided that Nanni had been calumniating the great old man. Accordingly he was dismissed with indignity. Immediately after the death of Michelangelo, however, Nanni renewed his applications to the Grand Duke. He claimed nothing less than the post of architect-in-chief. His pet.i.tion was sent to Florence under cover of a despatch from the Duke's envoy, Averardo Serristori. The amba.s.sador related the events of Michelangelo's death, and supported Nanni as "a worthy man, your va.s.sal and true servant."

IX

Down to the last days of his life, Michelangelo was thus worried with the jealousies excited by his superintendence of the building at S.

Peter's; and when he pa.s.sed to the majority, he had not secured his heart's desire, to wit, that the fabric should be forced to retain the form he had designed for it. This was his own fault. Popes might issue briefs to the effect that his plans should be followed; but when it was discovered that, during his lifetime, he kept the builders in ignorance of his intentions, and that he left no working models fit for use, except in the case of the cupola, a free course was opened for every kind of innovation. So it came to pa.s.s that subsequent architects changed the essential features of his design by adding what might be called a nave, or, in other words, by subst.i.tuting the Latin for the Greek cross in the ground-plan. He intended to front the ma.s.s of the edifice with a majestic colonnade, giving externally to one limb of the Greek cross a rectangular salience corresponding to its three semicircular apses. From this decastyle colonnade projected a tetrastyle portico, which introduced the people ascending from a flight of steps to a gigantic portal. The portal opened on the church, and all the glory of the dome was visible when they approached the sanctuary. Externally, according to his conception, the cupola dominated and crowned the edifice when viewed from a moderate or a greater distance. The cupola was the integral and vital feature of the structure. By producing one limb of the cross into a nave, destroying the colonnade and portico, and erecting a huge facade of _barocco_ design, his followers threw the interior effect of the cupola into a subordinate position, and externally crushed it out of view, except at a great distance. In like manner they dealt with every particular of his plan. As an old writer has remarked: "The cross which Michelangelo made Greek is now Latin; and if it be thus with the essential form, judge ye of the details!" It was not exactly their fault, but rather that of the master, who chose to work by drawings and small clay models, from which no accurate conception of his thought could be derived by lesser craftsmen.

We cannot, therefore, regard S. Peter's in its present state as the creation of Buonarroti's genius. As a building, it is open to criticism at every point. In spite of its richness and overwhelming size, no architect of merit gives it approbation. It is vast without being really great, magnificent without touching the heart, proudly but not harmoniously ordered. The one redeeming feature in the structure is the cupola; and that is the one thing which Michelangelo bequeathed to the intelligence of his successors. The curve which it describes finds no phrase of language to express its grace. It is neither ellipse nor parabola nor section of the circle, but an inspiration of creative fancy. It outsoars in vital force, in elegance of form, the dome of the Pantheon and the dome of Brunelleschi, upon which it was actually modelled. As a French architect, adverse to Michelangelo, has remarked: "This portion is simple, n.o.ble, grand. It is an unparalleled idea, and the author of this marvellous cupola had the right to be proud of the thought which controlled his pencil when he traced it." An English critic, no less adverse to the Italian style, is forced to admit that architecture "has seldom produced a more magnificent object" than the cupola, "if its bad connection with the building is overlooked." He also adds that, internally, "the sublime concave" of this immense dome is the one redeeming feature of S. Peter's.

Michelangelo's reputation, not only as an imaginative builder, but also as a practical engineer in architecture, depends in a very large measure upon the cupola of S. Peter's. It is, therefore, of great importance to ascertain exactly how far the dome in its present form belongs to his conception. Fortunately for his reputation, we still possess the wooden model constructed under his inspection by a man called Giovanni Franzese. It shows that subsequent architects, especially Giacomo della Porta, upon whom the task fell of raising the vaults and lantern from the point where Michelangelo left the building, that is, from the summit of the drum, departed in no essential particular from his design. Della Porta omitted one feature, however, of Michelangelo's plan, which would have added greatly to the dignity and elegance of the exterior. The model shows that the entablature of the drum broke into projections above each of the b.u.t.tresses. Upon these projections or consoles Buonarroti intended to place statues of saints. He also connected their pedestals with the spring of the vault by a series of inverted curves sweeping upwards along the height of the shallow attic. The omission of these details not only weakened the support given to the arches of the dome, but it also lent a stilted effect to the cupola by abruptly separating the perpendicular lines of the drum and attic from the segment of the vaulting. This is an error which could even now be repaired, if any enterprising Pope undertook to complete the plan of the model. It may, indeed, be questioned whether the omission was not due to the difficulty of getting so many colossal statues adequately finished at a period when the fabric still remained imperfect in more essential parts.

Vasari, who lived in close intimacy with Michelangelo, and undoubtedly was familiar with the model, gives a confused but very minute description of the building. It is clear from this that the dome was designed with two sh.e.l.ls, both of which were to be made of carefully selected bricks, the s.p.a.ce between them being applied to the purpose of an interior staircase. The dormer windows in the outer sheath not only broke the surface of the vault, but also served to light this pa.s.sage to the lantern. Vasari's description squares with the model, now preserved in a chamber of the Vatican basilica, and also with the present fabric.

It would not have been necessary to dwell at greater length upon the vaulting here but for difficulties which still surround the criticism of this salient feature of S. Peter's. Gotti published two plans of the cupola, which were made for him, he says, from accurate measurements of the model taken by Cavaliere Cesare Castelli, Lieut.-Col. of Engineers. The section drawing shows three sh.e.l.ls instead of two, the innermost or lowest being flattened out like the vault of the Pantheon. Professor Josef Durm, in his essay upon the Domes of Florence and S. Peter's, gives a minute description of the model for the latter, and prints a carefully executed copperplate engraving of its section. It is clear from this work that at some time or other a third semi-spherical vault, corresponding to that of the Pantheon, had been contemplated. This would have been structurally of no value, and would have masked the two upper sh.e.l.ls, which at present crown the edifice. The model shows that the dome itself was from the first intended to be composed of two solid vaults of masonry, in the s.p.a.ce between which ran the staircase leading to the lantern. The lower and flatter sh.e.l.l, which appears also in the model, had no connection with the substantial portions of the edifice. It was an addition, perhaps an afterthought, designed possibly to serve as a ground for surface-decoration, or to provide an alternative scheme for the completion of the dome. Had Michelangelo really planned this innermost sheath, we could not credit him with the soaring sweep upwards of the mighty dome, its height and lightness, luminosity and s.p.a.ce. The roof that met the eye internally would have been considerably lower and tamer, superfluous in the construction of the church, and bearing no right relation to the external curves of the vaulting. There would, moreover, have been a long dark funnel leading to the lantern. Heath Wilson would then have been justified in certain critical conclusions which may here be stated in his own words.

"According to Michelangelo's idea, the cupola was formed of three vaults over each other. Apparently the inner one was intended to repeat the curves of the Pantheon, whilst the outer one was destined to give height and majesty to the building externally. The central vault, more pyramidal in form, was constructed to bear the weight of the lantern, and approached in form the dome of the Cathedral at Florence by Brunelleschi. Judging by the model, he meant the outer dome to be of wood, thus antic.i.p.ating the construction of Sir Christopher Wren." Farther on, he adds that the architects who carried out the work "omitted entirely the inner lower vault, evidently to give height internally, and made the external cupola of brick as well as the internal; and, to prevent it expanding, had recourse to encircling chains of iron, which bind it at the weakest parts of the curve." These chains, it may be mentioned parenthetically, were strengthened by Poleni, after the lapse of some years, when the second of the two sh.e.l.ls showed some signs of cracking.

From Dr. Durm's minute description of the cupola, there seems to be no doubt about the existence of this third vault in Michelangelo's wooden model. He says that the two outer sh.e.l.ls are carved out of one piece of wood, while the third or innermost is made of another piece, which has been inserted. The sunk or hollow compartments, which form the laquear of this depressed vault, differ considerably in shape and arrangement from those which were adopted when it was finally rejected. The question now remains, whether the semi-spherical sh.e.l.l was abandoned during Michelangelo's lifetime and with his approval.

There is good reason to believe that this may have been the case: first, because the tambour, which he executed, differs from the model in the arching of its windows; secondly, because Fontana and other early writers on the cupola insist strongly on the fact that Michelangelo's own plans were strictly followed, although they never allude to the third or innermost vault. It is almost incredible that if Della Porta departed in so vital a point from Michelangelo's design, no notice should have been taken of the fact. On the other hand, the tradition that Della Porta improved the curve of the cupola by making the spring upward from the attic more abrupt, is due probably to the discrepancy between the internal aspects of the model and the dome itself. The actual truth is that the cupola in its curve and its dimensions corresponds accurately to the proportions of the double outer vaulting of the model.

Taking, then, Vasari's statement in conjunction with the silence of Fontana, Poleni, and other early writers, and duly observing the care with which the proportions of the dome have been preserved, I think we may safely conclude that Michelangelo himself abandoned the third or semi-spherical vault, and that the cupola, as it exists, ought to be ascribed entirely to his conception. It is, in fact, the only portion of the basilica which remains as he designed it.

CHAPTER XIV

I

There is great difficulty in dealing chronologically with the last twenty years of Michelangelo's life. This is due in some measure to the multiplicity of his engagements, but more to the tardy rate at which his work, now almost wholly architectural, advanced. I therefore judged it best to carry the history of his doings at S. Peter's down to the latest date; and I shall take the same course now with regard to the lesser schemes which occupied his mind between 1545 and 1564, reserving for the last the treatment of his private life during this period.

A society of gentlemen and artists, to which Buonarroti belonged, conceived the plan of erecting buildings of suitable size and grandeur on the Campidoglio. This hill had always been dear to the Romans, as the central point of urban life since the foundation of their city, through the days of the Republic and the Empire, down to the latest Middle Ages. But it was distinguished only by its ancient name and fame. No splendid edifices and majestic squares reminded the spectator that here once stood the shrine of Jupiter Capitolinus, to which conquering generals rode in triumph with the spoils and captives of the habitable world behind their laurelled chariots. Paul III.

approved of the design, and Michelangelo, who had received the citizens.h.i.+p of Rome on March 20, 1546, undertook to provide a scheme for its accomplishment. We are justified in believing that the disposition of the parts which now compose the Capitol is due to his conception: the long steep flight of steps leading up from the Piazza Araceli; the irregular open square, flanked on the left hand by the Museum of Sculpture, on the right by the Palazzo dei Conservatori, and closed at its farther end by the Palazzo del Senatore. He also placed the equestrian statue of Marcus Aurelius Antoninus on its n.o.ble pedestal, and suggested the introduction of other antique specimens of sculpture into various portions of the architectural plan. The splendid double staircase leading to the entrance hall of the Palazzo del Senatore, and part of the Palazzo dei Conservatori, were completed during Michelangelo's lifetime. When Vasari wrote in 1568, the dead sculptor's friend, Tommaso dei Cavalieri, was proceeding with the work. There is every reason, therefore, to a.s.sume that the latter building, at any rate, fairly corresponds to his intention. Vignola and Giacomo della Porta, both of them excellent architects, carried out the scheme, which must have been nearly finished in the pontificate of Innocent X. (1644-1655).

Like the cupola of S. Peter's, the Campidoglio has always been regarded as one of Michelangelo's most meritorious performances in architecture. His severe critic, M. Charles Garnier, says of the Capitol: "The general composition of the edifice is certainly worthy of Buonarroti's powerful conception. The bal.u.s.trade which crowns the facade is indeed bad and vulgar; the great pilasters are very poor in invention, and the windows of the first story are extremely mediocre in style. Nevertheless, there is a great simplicity of lines in these palaces; and the porticoes of the ground-floor might be selected for the beauty of their leading motive. The opposition of the great pilasters to the little columns is an idea at once felicitous and original. The whole has a fine effect; and though I hold the proportions of the ground-floor too low in relation to the first story, I consider this facade of the Capitol not only one of Michelangelo's best works, but also one of the best specimens of the building of that period. Deduction must, of course, be made for heaviness and improprieties of taste, which are not rare."

Next to these designs for the Capitol, the most important architectural work of Michelangelo's old age was the plan he made of a new church to be erected by the Florentines in Rome to the honour of their patron, S. Giovanni. We find him writing to his nephew on the 15th of July 1559: "The Florentines are minded to erect a great edifice--that is to say, their church; and all of them with one accord put pressure on me to attend to this. I have answered that I am living here by the Duke's permission for the fabric of S. Peter's, and that unless he gives me leave, they can get nothing from me." The consul and counsellors of the Florentine nation in Rome wrote upon this to the Duke, who entered with enthusiasm into their scheme, not only sending a favourable reply, but also communicating personally upon the subject with Buonarroti. Three of Michelangelo's letters on the subject to the Duke have been preserved. After giving a short history of the project, and alluding to the fact that Leo X. began the church, he says that the Florentines had appointed a building committee of five men, at whose request he made several designs. One of these they selected, and according to his own opinion it was the best. "This I will have copied and drawn out more clearly than I have been able to do it, on account of old age, and will send it to your Most Ill.u.s.trious Lords.h.i.+p." The drawings were executed and carried to Florence by the hand of Tiberio Calcagni. Vasari, who has given a long account of this design, says that Calcagni not only drew the plans, but that he also completed a clay model of the whole church within the s.p.a.ce of two days, from which the Florentines caused a larger wooden model to be constructed. Michelangelo must have been satisfied with his conception, for he told the building-committee that "if they carried it out, neither the Romans nor the Greeks ever erected so fine an edifice in any of their temples. Words the like of which neither before nor afterwards issued from his lips; for he was exceedingly modest." Vasari, who had good opportunities for studying the model, p.r.o.nounced it to be "superior in beauty, richness and variety of invention to any temple which was ever seen." The building was begun, and 5000 crowns were spent upon it. Then money or will failed. The model and drawings perished. Nothing remains for certain to show what Michelangelo's intentions were. The present church of S. Giovanni dei Fiorentini in Strada Giulia is the work of Giacomo della Porta, with a facade by Alessandro Galilei.

Of Tiberio Calcagni, the young Florentine sculptor and architect, who acted like a kind of secretary or clerk to Michelangelo, something may here be said. The correspondence of this artist with Lionardo Buonarroti shows him to have been what Vasari calls him, "of gentle manners and discreet behaviour." He felt both veneration and attachment for the aged master, and was one of the small group of intimate friends who cheered his last years. We have seen that Michelangelo consigned the shattered Pieta to his care; and Vasari tells us that he also wished him to complete the bust of Brutus, which had been begun, at Donato Giannotti's request, for the Cardinal Ridolfi. This bust is said to have been modelled from an ancient cornelian in the possession of a certain Giuliano Ceserino.

Michelangelo not only blocked the marble out, but brought it nearly to completion, working the surface with very fine-toothed chisels. The sweetness of Tiberio Calcagni's nature is proved by the fact that he would not set his own hand to this masterpiece of sculpture. As in the case of the Pieta, he left Buonarroti's work untouched, where mere repairs were not required. Accordingly we still can trace the fine-toothed marks of the chisel alluded to by Vasari, hatched and cross-hatched with right and left handed strokes in the style peculiar to Michelangelo. The Brutus remains one of the finest specimens of his creative genius. It must have been conceived and executed in the plenitude of his vigour, probably at the time when Florence fell beneath the yoke of Alessandro de' Medici, or rather when his murderer Lorenzino gained the name of Brutus from the exiles (1539). Though Vasari may be right in saying that a Roman intaglio suggested the stamp of face and feature, yet we must regard this Brutus as an ideal portrait, intended to express the artist's conception of resolution and uncompromising energy in a patriot eager to sacrifice personal feelings and to dare the utmost for his country's welfare. Nothing can exceed the spirit with which a violent temperament, habitually repressed, but capable of leaping forth like sudden lightning, has been rendered. We must be grateful to Calcagni for leaving it in its suggestively unfinished state.

II

During these same years Michelangelo carried on a correspondence with Ammanati and Vasari about the completion of the Laurentian Library.

His letters ill.u.s.trate what I have more than once observed regarding his unpractical method of commencing great works, without more than the roughest sketches, intelligible to himself alone, and useless to an ordinary craftsman. The Florentine artists employed upon the fabric wanted very much to know how he meant to introduce the grand staircase into the vestibule. Michelangelo had forgotten all about it. "With regard to the staircase of the library, about which so much has been said to me, you may believe that if I could remember how I had arranged it, I should not need to be begged and prayed for information. There comes into my mind, as in a dream, the image of a certain staircase; but I do not think this can be the one I then designed, for it seems so stupid. However, I will describe it." Later on he sends a little clay model of a staircase, just enough to indicate his general conception, but not to determine details. He suggests that the work would look better if carried out in walnut. We have every reason to suppose that the present stone flight of steps is far from being representative of his idea.

He was now too old to do more than furnish drawings when asked to design some monument. Accordingly, when Pius IV. resolved to erect a tomb in Milan Cathedral to the memory of his brother, Giangiacomo de'

Medici, Marquis of Marignano, commonly called Il Medeghino, he requested Michelangelo to supply the bronze-sculptor Leone Leoni of Menaggio with a design. This must have been insufficient for the sculptor's purpose--a mere hand-sketch not drawn to scale. The monument, though imposing in general effect, is very defective in its details and proportions. The architectural scheme has not been comprehended by the sculptor, who enriched it with a great variety of figures, excellently wrought in bronze, and faintly suggesting Michelangelo's manner.

The grotesque _barocco_ style of the Porta Pia, strong in its total outline, but whimsical and weak in decorative detail, may probably be ascribed to the same cause. It was sketched out by Michelangelo during the pontificate of Pius IV., and can hardly have been erected under his personal supervision. Vasari says: "He made three sketches, extravagant in style and most beautiful, of which the Pope selected the least costly; this was executed much to his credit, as may now be seen." To what extent he was responsible for the other sixteenth-century gates of Rome, including the Porta del Popolo, which is commonly ascribed to him, cannot be determined; though Vasari a.s.serts that Michelangelo supplied the Pope with "many other models"

for the restoration of the gates. Indeed it may be said of all his later work that we are dealing with uncertain material, the original idea emanating perhaps from Buonarroti's mind, but the execution having devolved upon journeymen.

Pius IV. charged Michelangelo with another great undertaking, which was the restoration of the Baths of Diocletian in the form of a Christian church. Criticism is reduced to silence upon his work in this place, because S. Maria degli Angeli underwent a complete remodelling by the architect Vanvitelli in 1749. This man altered the ground-plan from the Latin to the Greek type, and adopted the decorative style in vogue at the beginning of the eighteenth century.

All that appears certain is that Michelangelo had very considerable remains of the Roman building to make use of. We may also perhaps credit tradition, when it tells us that the vast Carthusian cloister belongs to him, and that the three great cypress-trees were planted by his hand.

Henri the Second's death occurred in 1559; and his widow, Catherine de' Medici, resolved to erect an equestrian statue to his memory. She bethought her of the aged sculptor, who had been bred in the palace of her great-grandfather, who had served two Pontiffs of her family, and who had placed the mournful image of her father on the tomb at San Lorenzo. Accordingly she wrote a letter on the 14th of November in that year, informing Michelangelo of her intention, and begging him to supply at least a design upon which the best masters in the realm of France might work. The statue was destined for the courtyard of the royal chateau at Blois, and was to be in bronze. Ruberto degli Strozzi, the Queen's cousin, happened about this time to visit Rome.

Michelangelo having agreed to furnish a sketch, it was decided between them that the execution should be a.s.signed to Daniele da Volterra.

After nearly a year's interval, Catherine wrote again, informing Michelangelo that she had deposited a sum of 6000 golden crowns at the bank of Gianbattista Gondi for the work, adding: "Consequently, since on my side nothing remains to be done, I entreat you by the affection you have always shown to my family, to our Florence, and lastly to art, that you will use all diligence and a.s.siduity, so far as your years permit, in pus.h.i.+ng forward this n.o.ble work, and making it a living likeness of my lord, as well as worthy of your own unrivalled genius. It is true that this will add nothing to the fame you now enjoy; yet it will at least augment your reputation for most acceptable and affectionate devotion toward myself and my ancestors, and prolong through centuries the memory of my lawful and sole love; for the which I shall be eager and liberal to reward you." It is probable that by this time (October 30, 1560) Michelangelo had forwarded his sketch to France, for the Queen criticised some details relating to the portrait of her husband. She may have remembered with what idealistic freedom the statues of the Dukes of Nemours and Urbino had been treated in the Medicean Sacristy. Anyhow, she sent a picture, and made her agent, Baccio del Bene, write a postscript to her letter, ordering Michelangelo to model the King's head without curls, and to adopt the rich modern style for his armour and the trappings of his charger. She particularly insisted upon the likeness being carefully brought out.

Michelangelo died before the equestrian statue of Henri II. was finished. Cellini, in his Memoirs, relates that Daniele da Volterra worked slowly, and caused much annoyance to the Queen-mother of France. In 1562 her agent, Baccio del Bene, came to Florence on financial business with the Duke. He then proposed that Cellini should return to Paris and undertake the ornamental details of the tomb. The Duke would not consent, and Catherine de' Medici did not choose to quarrel with her cousin about an artist. So this arrangement, which might have secured the completion of the statue on a splendid scale, fell through. When Daniele died in 1566, only the horse was cast; and this part served finally for Biard's statue of Louis XIII.

III

The sculptor Leone Leoni, who was employed upon the statue of Giangiacomo de' Medici in Milan, wrote frequently to Michelangelo, showing by his letters that a warm friends.h.i.+p subsisted between them, which was also shared by Tommaso Cavalieri. In the year 1560, according to Vasari, Leoni modelled a profile portrait of the great master, which he afterwards cast in medal form. This is almost the most interesting, and it is probably the most genuine contemporary record which we possess regarding Michelangelo's appearance in the body. I may therefore take it as my basis for inquiring into the relative value of the many portraits said to have been modelled, painted, or sketched from the hero in his lifetime. So far as I am hitherto aware, no claim has been put in for the authenticity of any likeness, except Bonasoni's engraving, anterior to the date we have arrived at. While making this statement, I pa.s.s over the prostrate old man in the Victory, and the Nicodemus of the Florentine Pieta, both of which, with more or less reason, have been accepted as efforts after self-portraiture.

After making due allowance for Vasari's too notorious inaccuracies, deliberate misstatements, and random jumpings at conclusions, we have the right to accept him here as a first-rate authority. He was living at this time in close intimacy with Buonarroti, enjoyed his confidence, plumed himself upon their friends.h.i.+p, and had no reason to distort truth, which must have been accessible to one in his position.

He says, then: "At this time the Cavaliere Leoni made a very lively portrait of Michelangelo upon a medal, and to meet his wishes, modelled on the reverse a blind man led by a dog, with this legend round the rim: DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE CONVERTENTUR.

It pleased Michelangelo so much that he gave him a wax model of a Hercules throttling Antaeus, by his own hand, together with some drawings. Of Michelangelo there exist no other portraits, except two in painting--one by Bugiardini, the other by Jacopo del Conte; and one in bronze, in full relief, made by Daniele da Volterra: these, and Leoni's medal, from which (in the plural) many copies have been made, and a great number of them have been seen by me in several parts of Italy and abroad."

Leoni's medal, on the obverse, shows the old artist's head in profile, with strong lines of drapery rising to the neck and gathering around the shoulders. It carries this legend: MICHELANGELUS BUONARROTUS, FLO.