Michael Angelo Buonarroti

re generally subjects from Greek and Roman mythology, but for the Marchioness the drawings always represented episodes from the story of the Passion of our Lord. A Pietà, drawn for this lady, was

ong indeed in all his later work, just as in the later work of Titian. These artists had the near prospect of death in view, and thus they turned the

for his friend, Tomaso Cavalieri, are mentio

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IXION OF S

POPE PAUL, THE

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h; and verily I should have died if it had not revived me. Since then, thank God, I have been well. Messer Bartolomei has now brought me a sonnet by you, which has made it my duty to write. Some three days since I received my drawing of Ph?ton, which is exceedingly well done. The Pope, the Cardinal de' Medici, and every one, have seen it. I do not know what made them want to do so. The Cardinal expr

affect

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f the gem engraver. There are several of these drawings in existence

highly finished in execution and studied in grace of composition, but frigid, and too evidently the work of an old man. The skill of the drawing and foreshortening is masterly as ever, but he does not appear to have referred to nature for the forms; and even Michael Angelo without nature became stale. Vasari says, after descri

by his hand, and copies of the Pietà della Febbre, now in St. Peter's, and of the Christ holding

RSION OF

PEL OF

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hristian King

m; but, not having had the opportunity, [pg 233]because you have not been in Italy where my work is, I have not been able to do it. Now I am old, and have been occupied these many months with the work for Pope Paul. But if a little life is still left me after all these occupations, what I have desired is, as I have said, a little time to work

e day XXVI. of

force had to employ himself upon work in which the execution could be left to younger hands. He sought the help of scholars to overhaul and set to rights his poems, sonnets, and thoughts in words, as the masons and master-builders expressed his thoughts in architecture-the Dome of St. Peter's, and the cornice of the Farnese Palace. In the devotional drawings we have mentioned, and an unfinished group in sculpture, the Deposition from the Cross, now behind the High Alt

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he stuck a lighted candle to see by. The solitary figure of [pg 235]the old man in the vast and dimly lighted studio, groping round the inchoate marble; the stillness of the night, broken only by the sharp click of the mallet and the grating of the chisel, is a picture of many of the bravest hours of his old age. Vasari, observing all this, and wishing to do the revered artist a kindness, sent him 40 lbs. of candles made of goat's fat, knowing that they gutter less than ordinary dips of tallow. His servant carried them politely to the house two hours after night-fall, and presented them to Michael Angelo. He refused, and said he did not want them. The man answered: "Sir, they have almost broken my back carrying them all this long way from the bridge, and I will not carry them home again. There is a heap of mud opposite your door, thick and firm enough to hold them upright. Here then w

shed for a work by the master, and, with Michael Angelo's consent, bought it from Antonio for two hundred crowns. It was patched up, but apparently not worked upon, and remained in the garden of Bandini's heir at Monte Cavallo. It was afterwards taken to Florence and was finally placed in the Duomo in 1722 by the Grand Duke Cosimo III., where it may now be seen behind the high altar, well-placed, so that the great cross of the altar looks like the tree from which the body has just been lowered. So well does the line of the cross behind

easily; wooden steps also fit so closely to the marble that they injure the lines of the group. All the characteristics of Michael Angelo's impassioned period may be studied in this group; his favourite mannerisms are there also. Examine the hand of Joseph, with the middle finger touching the thumb, and compare it with the allegorical statues of the Medici Chapel. Vasari tells us that Michael Angelo

noa, attributed to Michael Angelo; it may have been begun by him during this long period o

angallesca" became his bitter enemies. The Pope [pg 238]himself was dissatisfied with Sangallo, and the design for the cornice was thrown open to competition. Perino del Vaga, Sebastiano del Piombo, Giorgio Vasari, and Michael Angelo all competed. Michael Angelo's design was eventually carried out after he had placed a wooden model of part of his cornice in position. Vasari, who is

ncients until now. He laid the first plan of Saint Peter's, not confused, but clear and simple, full of light and detached from surrounding buildings, so as not to injure any part of the palace. It was considered a fine [pg 239]thing, and, indeed, it is still manifest that it was so; and all the architects who have departed from the plan of Bramante, as Sangallo has done, have departed from the truth. And so it is, and all who have not prejudiced eyes can see it in his model. He, with his outer circle of chapels, in the first place takes all the light from the plan of Bramante; and not only this, but he has not provided any other means of lighting, and there are so many lurking places, both above and below, all dark, which would

lans of St. Peter's on two lines, the Greek and the Latin crosses. Bramante, and Baldassare Peruzzi used the Greek cross; Raphael, the Basilica form, the addition of a long nave made the plan like a Latin cross; and Sangallo, by adding a huge portico to Peruzzi's design, made his ground plan a Latin cross. Michael Angelo followed the lines of Bramante, the Greek cross, designed so that the cupola should be the dominant note of the building and its principal feature, whether from within or without, and from whichever side the building was approached. Michael Angelo's intentio

ngallo's construction, and by severely repressing all so

of the nude human figure is [pg 241]necessary to an architect. If he had also stated t

ut necessary to change the said adornments and likewise their counterparts. The intermediate parts are always as free as you like, just as the nose, which stands in the middle of the face, is not obliged to correspond with either of the eyes; but one hand is obliged to be like

Angelo Bu

hese he fortified in part, constructing a winding staircase at the side with gently sloping steps, up which beasts of burden ascend with building material, and one can ride on horseback to the level above the arches. He carried the first cornice, made of travertine, round the arches-a wonderful [pg 242]piece of work, full of

nst the aged architect, and though Michael Angelo brought their machinations to the notice

th, because I have received benefits from his Holiness, and hoped for even more. God's will be done. We must have patience. His death was beautiful, fully conscious to the last word.

ci, priest of Santa Maria del Fior

th all my heart and more, for the endless kindnesses I have received. As regards old age, which is upon us both alike, I should much like to know how yours treats you, for mine does not content me greatly, so I beg you will

Michael Angelo was "carrying on with a high hand, and letting them know nothing of the work, so that they do not like his ways, especially in what he keeps pulling down. The demolition has

1557, and is excellent

iati, the elder, and Marcello Cervini, who was afterwards Pope, believe that Saint Peter's would be badly lighted. When all were assembled the Pope told Michael Angelo 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: 'We are here.' Michael Angelo 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. Michael Angelo responded: 'I am not, nor do I mean to be, obliged to tell your lordships, or anybody

giving way, and it had to be rebuilt. Paul III. entrusted the work to Michael Angelo. Nanni got it transferred to him by the influence of his friends with the new Pope. The man laid his foundations badly. Michael Angelo, riding over the new bridge one da

ael Angelo began to think of accepting the oft-repeated invitations of the Duke of Tuscany, who had long pressed him to come and reside again in Florence, and dignify his native city with his presence during his remaining years; but Ma

o, Excellent Pain

y to spend, and I am about to turn the vault of the cupola, if I left Rome it would be the ruin of the edifice, and for me a great disgrace throughout all Christendom, and to my soul a grievous sin. Therefore, Messer Giorgio, m

nth day of

Angelo Buonarr

hip that he would concede me so much time that I could leave the works at St. Peter's at such a point that my plans could not be changed. As yet this point has not been reached; and more, I am now obliged to construct a large wooden model for the cupola and lantern, to secure its being finished as it was meant to be. All Rome, and especially the Cardinal of Carpi, prayed me to do this, so

tist in his office, and forbade any alteration of his design for Saint Peter's after his death. Nanni di Baccio Bigio managed to influence the deputi

e artist, and sent his relative, Gabrio Serbelloni to report on the works. It was found that

esent nave with closed eyes, or merely looking at the pavement, the eyes religiously kept down. Any one who will make this simple experiment (it is necessary to have a friend as guide to tell you when you have arrived at the right point of view) will see that Michael Angelo intended his building [pg 248]to have the effect of a coherent geometrical whole. The sublime concave of the dome, with the four arms of the great cross of equal size, will be all at once grasped by the ey

heir patron saint, San Giovanni. A letter to his nephew Lionardo mentions it.169 "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 here by the Duke's [pg 249]licence for the work at Saint Peter's, and that without his leave they will get nothing out of me." The Duke not only gave his permission but was enthusiastic about the scheme. Michael Angelo promised to send him his plan. "This I have had 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 Illustrious Lordship." Vasari tells us

the drapery; the face of the bust remains a magnificent specimen of the great sculptor's handiwork. This powerfully-conceived head is said to have been taken from a small intaglio cut in cornelian. It has been pointed out that the chisel marks are cut by both the right and left hand. The vi

emicians in completing the designs, and the meagreness of Michael Angelo's instructions to them, must give us pause when we attempt to attribute the faults of these monuments to the master mind. "About the staircase of the Library, of which so much has been said to me, believe that i

bronzes are excellent. In criticising the design we must remember that Michael Angelo had never seen the church where it was to be placed, and that Leone was not the man to hesitate

UT

USEUM, THE BAR

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restoration of the Baths of Diocletian. Michael Angelo was commissioned by Pius IV. to convert them into the Christian Church of Santa Maria degli Angeli. The design has been altered by Vansitelli in 1749, and horrible coloured imitations of clumsy marble altars have been painted on the walls. Churchwardens' whitewash would here be well applied.

ouse, to our country,172 and lastly to genius, that you will endeavour with all diligence and assiduity, so far as your years permit, to carry out this noble work, so that [pg 252]we may see and recognise my lord as in life by the accustomed excellence of your unique genius. Although you cannot add to your fame, yet you will at least augment your reputation for a most grateful and loving spirit toward myself and my ancestors, and will through centuries keep fresh the memory of my lawful and only love, for which I shall be ready and willing to reward you liberally

n old age. Vasari relates the incident: "At this time the Cavaliere Leone made a very lovely portrait of Michael Angelo

AS TVAS, ET IMPII

Marcello Venusti's copy of the Last Judgment, now in the Picture Gallery at Naples. The original study for it may be the portrait in the Casa Buonarroti, at Florence; it was frequently repeated by him. One replica may be the portrait, said to be by Michael Angelo's own hand, at the Capitol. The apostle in red on the spectator's right of the picture of the Assumption, by Daniele da Volterra, in the Church of the Trinità de' Monti, in Rome, is also said to be a portrait of Daniele's friend and master, who had supplied him with the design for his great Crucifixion in the same church. There is a life-size, full-fa

a brisk correspondence with his dutiful nephew Lionardo abo

Michael Angelo's surviving

, and before I died. God has willed it so. Patience! I should like to hear particularly how he died, and if he confessed and communicated with all the ordinances

or as he is, he gives his nephew advice, in another letter, as to the choice of a wife: "You ought not to look for a dower, but only to consider whether the girl is well brought up, healthy, of good ch

o. "I shall be very pleased if the name of Buonarroto does not die out of our family, it having lasted three hundred years with us."178 Vasari wrote to Michael A

ery pleasant reading. One of them is the most beautiful and touching letter b

had him with me twenty-six years, and always found him faithful and true. Now that I had made him rich, and thought to keep him as the staff and rest of my old age, he has departed, and the only hope left to me is that of seeing him again in Paradise, and of this God has given a sign in his most happy death. Even more than dying, it grieved him to leave me alive in this treac

Angelo Buona

y of Febru

oved after this fa

was Raphael's well-known pupil Il Fattore. Cornelia, Urbino's wife, corresponded about the children and other affairs. Michael Angel

les. Michael Angelo informed his nephew that he was making a pilgrimage to Loreto, but feeling tired stopped to rest at Spoleto. To Vasari he says: "I have in these days had a great pleasure, but

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