THE SACRISTY OF SAN LORENZO
XL. Now having returned to Florence, and finding, as was said before, that the fervour of Pope Leo was all spent, Michael Angelo, grieving, remained there doing nothing for a long while, having, first in one thing and then in another, thrown away much of his time, to his great annoyance.
Nevertheless, with certain blocks of marble that he had placed in his own house, he proceeded with the work of the Tomb. But Leo departing this life, Adrian was created Pope, and the work was interrupted again, for they charged Michael Angelo with having received from Julius for this work quite sixteen thousand scudi, and that he did not trouble himself to get on with it, but stayed at Florence for his own pleasure. All these accusations called for his presence in Rome; but the Cardinal de" Medici, who afterwards became Pope Clement VII., and who then had the government of Florence in his hand, did not wish him to go; and to keep him employed, and to have an excuse, he made him begin the Medici Library in San Lorenzo, and at the same time the sacristy with the tombs of his ancestors, promising to satisfy the Pope for him, and arrange matters.
Then Adrian living only a few months and Clement succeeding him in the Papacy, nothing more was said about the Tomb of Julius for some time. But Michael Angelo was advised that the Duke of Urbino, Francesco Maria, nephew of Pope Julius of happy memory, complained greatly of him, and menaced him with vengeance if he did not quickly come to Rome. Michael Angelo conferred with Pope Clement about the affair, and he counselled him to call the agents of the Duke and prepare an account with them of all that he had received from Julius and all the work he had done for him, knowing that if Michael Angelo"s work were properly estimated he would turn out to be the creditor rather than the debtor. Michael Angelo remained in Rome about this against his will; and having arranged affairs returned to Florence, princ.i.p.ally because he antic.i.p.ated the ruin that a little while afterwards came upon Rome.
XLI. In the meantime the House of Medici was driven out of Florence by the opposing faction, because they had taken more authority to themselves than could be suffered in a free city that ruled herself by her Republic. As the Signoria did not expect that the Pope would do anything to forego his family"s authority they expected certain war, and turned their minds to the fortifications of their city, and appointed Michael Angelo Commissary-General for that work. He then, accepting this preferment, besides many other preparations carried out by him on every side of the city, encircled with strong fortifications the hill of San Miniato, that stands above the city and overlooks the surrounding plain. If the enemy took this hill nothing could prevent him becoming master of the city also.
This fort was judged to be the saving of the country, and very dangerous to the enemy; being, as I have said, of high elevation, it menaced the hosts of their antagonists, especially from the bell-tower of the church, where two pieces of artillery were placed, which continually did great damage to the besiegers. Michael Angelo, notwithstanding that he had made provision beforehand for whatever might occur, posted himself upon the hill. After about six months the soldiers began to grumble amongst themselves of I know not what treachery; Michael Angelo partly knowing about this himself, and partly by the warnings of certain captains, his friends, betook himself to the Signoria and discovered to them what he had heard and seen, showing them in what danger the city stood, saying that there was yet time to provide against the danger, if they would. But instead of thanking him they abused him, and reproached him with being a timid man and too suspicious. He who replied to him thus had better have opened his ears to him, for the House of Medici entered into Florence and his head was cut off; whereas, if he had listened, he might have been yet alive.
XLII. When Michael Angelo saw how little his word was considered, and how the ruin of the city was certain, by the authority he had he caused a gate to be opened, and went out with two of his people, and betook himself to Venice. And certainly this notion of a treachery was no fable; but he who arranged it judged that it would pa.s.s over with less disgrace if it was not discovered just then, as time would achieve the same result by his merely failing in his duty and hindering others who wished to do theirs.
The departure of Michael Angelo was the occasion of many rumours, and he fell into great disgrace with the governors. All the same, he was recalled with many prayers, with appeals to his patriotism, and by those who urged that he must not abandon the responsibilities that he had taken upon himself, and that the matter was not at such an extremity as he had been given to understand, and many other things. Persuaded by all this, and by the authority of the personages who wrote to him, but chiefly by his love for his country, after he had received a safe conduct for ten days before the day of his arrival in Florence, he returned, not without danger to his life.
XLIII. Again in Florence the first thing he did was to protect the bell-tower of San Miniato, which was all broken by the continual cannonading of the enemy, and had become very dangerous to those within.
The method of defence was in this wise: a large number of mattresses, well filled with wool, were slung with stout cords from the top of the tower to the bottom, covering parts likely to be hit. And as the cornice projected considerably, the mattresses hung out from the main wall of the bell-tower more than six hands, so that the cannon-b.a.l.l.s of the enemy, partly on account of the distance from which they were fired, and partly by the opposition of these mattresses, did little or no damage, not even injuring the mattresses themselves, because they were so yielding. Thus he held that tower all the time of the siege, which lasted a year, without its suffering any injury, and rejoicing greatly in the salvation of the land and the damage he did to the enemy.
XLIV. But afterwards the enemy entered the city by treachery, and many of the citizens were taken and killed. The court sent to the house of Michael Angelo to seize him; all the rooms and the chests were searched by them, even to the chimney and closet; but Michael Angelo, afraid of what might follow, had taken refuge in the house of a great friend. Here he remained in hiding many days, no one knowing that he was there except the friend who saved him. When the fury was over, Pope Clement wrote to Florence that Michael Angelo must be sought out, and ordered that, when found, he should be set at liberty if he would go on with the work of the Medici tombs formerly begun, and that he must be used courteously. Michael Angelo, hearing this, came out; and, although it was some fifteen years since he had touched the chisel, yet he set himself so earnestly to his task that in a few months he carved all the statues now to be seen in the sacristy of San Lorenzo, urged on more by fear than by love.(50) It is true that none of these statues have received their last touches; nevertheless, they are carried so far that the excellence of the workmanship can be very well seen; nor does the lack of finish impair the perfection and the beauty of the work.
XLV. The statues are four, placed in a sacristy erected for this purpose on the left of the church opposite the old sacristy; and although each figure balances the other in design and general shape, nevertheless, they are quite different in form, idea, and action. The sarcophagi are placed against the side walls, and above their lids recline two figures, larger than life-that is to say, a man and a woman, signifying Day and Night; and by the two of them Time, that consumes all things. And in order that his idea might be better understood, he gave to the Night, who was made in the form of a woman of a marvellous beauty, an owl and other symbols suitable to her; similarly to the Day, his signs; and for the signification of Time he intended to carve a rat, because this little animal gnaws and consumes, just as Time devours, all things. He left a piece of marble on the work for it, which he did not carve, as he was afterwards prevented. There were besides other statues, which represented those for whom the tombs were erected. All, in conclusion, were more divine than human; but above all, the Madonna, with her little child straddling across her thigh, of this I judge it better to be silent than to say but little, and so I pa.s.s it by.(51) We owe thanks to Pope Clement for these masterpieces; and if he had done no other praiseworthy act in his life (but, of course, he did many), this one was enough to cancel all his faults, for through him the world possesses these n.o.ble statues. And much more we owe him in that he did not fail to respect the virtue of this man when Florence fell, just as in olden times Marcellus respected the virtue of Archimedes when he entered Syracuse, although in that case it was of no effect; in this case, thanks be to G.o.d, it availed much.
XLVI. For all that Michael Angelo lived in great fear, because he was greatly disliked by the Duke Alessandro, a young man, as every one knows, very fierce and vindictive. There is no doubt that, if it had not been for the fear of the Pope, he would have had him put away long ago; the more so, as this Duke of Florence, when erecting those fortresses of his, sent for Michael Angelo, by Signor Alessandro Vitelli, to ride out with him and indicate where they would most usefully be placed, and he would not, replying that he had received no such commission from Pope Clement. The Duke was much angered; so that for this reason, as well as for the old ill-will he bore him, and on account of the nature of the Duke, Michael Angelo had good reason to fear him. And truly it was a blessing of G.o.d that he was not in Florence at the time of the death of Clement; he was called to Rome by the Pontiff before he had quite finished the tombs at San Lorenzo. He was received gladly. Clement respected this man like one sacred, and talked with him familiarly, both on grave and trivial subjects, as he would have done with his equals. He sought to relieve him of the burden of the Tomb of Julius, so that he might settle in Florence permanently, not only to finish the works already begun, but that he might execute others no less worthy.
XLVII. But before I say any more about this it behoves me to write of another fact concerning Michael Angelo, which I have inadvertently omitted. After the violent departure of the Medici from Florence, the Signoria fearing, as I have said above, the coming war, and intending to fortify their city, sent for Michael Angelo, as they knew him to be a man of consummate ingenuity and most active in whatever he undertook; nevertheless, by the advice of certain citizens who favoured the cause of the Medici and wished covertly to hinder or delay the fortification of the city, they sent him to Ferrara, under pretext that he should study the system by which Duke Alfonso had armed and fortified his city, knowing that his Excellency was most expert in these matters and in everything else most prudent. The Duke received Michael Angelo gladly, not only for the great worthiness of the man, but also because Don Ercole, his son and now Duke in his stead, was Captain of the Signoria of Florence. The Duke riding with him in person there was nothing that he did not show him, even more than was needful, so many bastions, so many pieces of artillery, and, indeed, he opened to him his cabinet also and showed him everything with his own hands, especially certain works of painting and portraits of his ancestors, by masters excellent in their day.(52) But when Michael Angelo had to depart, the Duke said to him jestingly: "_Michael Angelo, you are my prisoner. If you want me to let you go free you must promise to do some work for me with your own hands, whatever suits you best, let it be what you will, sculpture or painting._" Michael Angelo agreed, and returned to Florence. Although much occupied in arming the country, yet he began a large easel picture, representing Leda and the Swan, and near by the egg from which Castor and Pollux were born, as is fabled by ancient writers.
When the Duke heard that the Medici had entered Florence, fearing to lose so great a treasure in the tumult, he immediately sent one of his own people. His man, when he came to the house of Michael Angelo and saw the picture, said: "_Why! this is but a small matter._" Michael Angelo asked him what his business was? Realising that every one thinks they know other people"s business best, he replied simpering, "_I am a merchant_;" perhaps disgusted by such a question, and not being taken for a gentleman, while at the same time despising the industry of the Florentine citizens, who for the most part are merchants, as if he had said: "_You ask what is my business, would you ever believe that I am a merchant?_" Michael Angelo heard what he said, and replied: "_You have done bad business for your lord; leave my sight._" So having dismissed the Ducal messenger, he gave the picture shortly afterwards to one of his a.s.sistants, who had two sisters to marry off. It was sent into France, where it still is,(53) and was bought by King Francis.
XLVIII. Now to return, Michael Angelo having been called to Rome by Pope Clement, thereupon began the affair with the Duke of Urbino"s agents concerning the Tomb of Julius. Clement, who wished to employ him in Florence, tried by every means to free him, and gave him for his attorney one Messer Tommaso, of Prato, who afterwards became Datario. But Michael Angelo, who knew and feared the ill-will of Duke Alessandro towards him, and at the same time loved and revered the bones of Pope Julius, and all the ill.u.s.trious House della Rovere, did all he could to remain in Rome and work at the Tomb; the more so because he was accused by every one of having received from Pope Julius for that purpose fully sixteen thousand scudi, and of having enjoyed it without doing what he had undertaken. As he held his honour dear he could not bear the disgrace, and desired that the affair should be cleared up, not refusing, although he was old, the heavy task he had begun. It came to this pa.s.s: the adversaries were unable to prove payments that came within a long way of the sum they had at first stated; on the contrary, more than two-thirds were wanting of the entire sum agreed upon by the two Cardinals. Clement thought this a fine opportunity to get rid of the business, and to leave Michael Angelo free to serve him. He called him and said: "_Come, tell me, you wish to complete this tomb; but you want to know who is to pay for the rest of it._" Michael Angelo, who knew the Pope"s mind, and that he wished to make use of him himself, replied: "_And what if some one were found who would pay me?_" Pope Clement said to him: "_You are quite mad if you imagine that any one is likely to come forward to offer you a penny._" So when Messer Tommaso, his attorney, appeared in court making his proposition to the agents of the Duke, they began to look one another in the face, and determined together that some sort of tomb should be made for the money that had already been advanced. Michael Angelo, thinking well of it, consented willingly, moved chiefly by the influence of the Cardinal of Montevecchio, a follower of Julius II. and uncle to Julius III., now, thanks be to G.o.d, our Pontiff. The agreement was: That Michael Angelo should make a tomb with one _facade_ only, and that he should use the marbles already carved for the quadrangular tomb, arranging them as best he could; and that he should supply six statues from his own hand. It was conceded to Pope Clement that Michael Angelo should serve him in Florence, or wheresoever he pleased, four months in the year, his Holiness requiring this for the work in Florence. Such was the contract agreed upon between his Excellency the Duke and Michael Angelo.
XLIX. But now it must be understood that these accounts being settled Michael Angelo, to appear more indebted to the Duke of Urbino and to give Pope Clement less hope of sending him to Florence (where he did not by any means wish to go), secretly agreed with the counsel and agent of his Excellency that it should be said that he had received some thousand scudi more on this account than he really had. This was done not only by word of mouth, but without his knowledge and consent it was inserted in the written contract, not when it was sealed but when it was written out, at which he was much disturbed. Nevertheless, the counsel persuaded him that it would not prejudice his case, for it did not matter whether the contract specified twenty thousand or one thousand scudi, since they were agreed that the scheme of the Tomb should now be reduced in scale according to the amount of money actually received, adding that n.o.body but themselves would question the proceeding, and his interests were secured by the understanding that was between them. So with this Michael Angelo was pacified, because it appeared to him that he might put his trust in them, as also because he desired that this excuse should serve him with the Pope for the purpose mentioned above. And thus the matter ended for the time; but it was not nearly over yet, because after he had served the four months at Florence and returned to Rome, the Pope sought to use him in another way, by making him paint the end wall of the Sistine Chapel.
And as one who had a good wit, he thought of one thing after another until finally he resolved to have the Day of the Last Judgment painted, considering that the variety and grandeur of the subject would give a wide field for this man to prove the power that was in him. Michael Angelo, knowing the obligation he was under to the Duke of Urbino, endeavoured to free himself from this new charge, but as he could not he put it off as much as possible; whilst pretending to busy himself with the cartoon, as he partly did, he was secretly working at the statues for the Tomb.
CHAPTER IX
THE LAST ACT OF THE TRAGEDY OF THE TOMB, AND THE DAY OF JUDGMENT
L. Meanwhile Pope Clement died and Paul III. was elected. He sent for Michael Angelo and requested him to serve him. Michael Angelo, fearing that he would be hindered in the work of the Tomb, replied that he could not, for he was engaged by contract to the Duke of Urbino until he had finished the work that he had in hand. The Pope was much annoyed, and said: "_It is some thirty years that I have had this wish, shall I not satisfy it now I am Pope? Where is the contract that I may tear it up?_"
Michael Angelo, seeing it had come to this, was for leaving Rome and betaking himself to the country about Genoa, to an abbey of the Bishops of Aleria, to a follower of Julius, very much his friend, and there bring his work to an end. This place was conveniently near Carrara and good for carrying the marbles by sea. He thought also of going to Urbino, where he had formerly designed to live, as a quiet resting-place, and where, for the sake of Julius, he would be welcomed cordially. For this reason he had sent one of his men some months before to buy a house and some land; but fearing the greatness of the Pontiff, with good reason, he did not go, and hoped with soft words to satisfy the Pope.
LI. But the Pope continued firm in his proposals. One day he came to visit Michael Angelo in his house, bringing with him eight or ten Cardinals. He wished to see the cartoon for the wall of the Sistine Chapel made for Clement, and the statues already carved for the Tomb, and minutely examined everything. Then the Most Reverend Cardinal of Mantua, who was present, seeing the Moses, of which we have already written, and of which we will write more copiously by-and-bye, said: "_This statue alone is enough to do honour to the Tomb of Pope Julius._" When Pope Paul had seen everything he again asked Michael Angelo, in the presence of the Cardinals, including the before-mentioned Most Reverend and Ill.u.s.trious of Mantua, to come and work for him, but finding Michael Angelo obdurate, he said: "_I will arrange that the Duke of Urbino shall be satisfied with these statues by your hand, and that the three remaining ones shall be given to others to do._" He obtained a new contract from the agents, confirmed by his Excellency the Duke, who did not wish to displease the Pope. Although Michael Angelo might have avoided paying for these three statues, this contract freeing him from the obligation, nevertheless he wished to bear the expense himself, and he deposited for these and the remaining works of the Tomb one thousand five hundred and eighty ducats.
Thus the agents of the Duke allowed it, and the Tragedy of the Tomb and the Tomb itself had an end at last. To-day it may be seen in the Church of San Pietro ad Vincula, not according to the first design with four sides, but with one side, and that one of the lesser, not detached all round and isolated, but built up against a wall on account of the hindrances mentioned above. It is yet true that, although it is botched and patched up, it is the most worthy monument to be found in Rome, or, perhaps, anywhere else; if for nothing else, at least, for the three statues that are by the hand of the master: among them that most marvellous Moses, leader and captain of the Hebrews, who is seated in an att.i.tude of thought and wisdom, holding under his right arm the tables of the law, and supporting his chin with his left hand, like one tired and full of cares.
Between the fingers of that hand escape long waves of his beard-a very beautiful thing to see. And his face is full of life and thought, and capable of inspiring love and terror, which, perhaps, was the truth. It has, according to the usual descriptions, the two horns on his head a little way from the top of the forehead. He is robed and shod in the manner of the antique, with his arms bare. A work most marvellous and full of art, and much more so because all the form is apparent beneath the beautiful garments with which it is covered. The dress does not hide the shape and beauty of the body, as, in a word, may be seen in all Michael Angelo"s clothed figures, whether in painting or sculpture. The statue is more than twice the size of life. At the right hand of this statue, under a niche, is one that represents Contemplative Life-a woman, larger than life and of rare beauty, with bent knee, not to the ground but on a plinth, with her face and both her hands raised to heaven, so that she seems to breathe love in every part. On the other side, that is to say on the left of Moses, is Active Life, with a mirror in her right hand, into which she gazes attentively, meaning by this that our actions should be governed by forethought; and in her left hand a garland of flowers. In this Michael Angelo followed Dante, of whom he was always a great student, for in his Purgatorio he feigns to have the Countess Matilda, whom he takes to represent Active Life, in a field full of flowers. The Tomb is altogether beautiful, especially the binding of the several parts together by the great cornice, to which no one could take exception.
LII. Now that is enough for this work; indeed, I fear it is only too much, and that instead of giving pleasure it will have been tedious to the reader. Nevertheless, it appeared to me necessary, in order to remove those unfortunate and false scandals, rooted in men"s minds, that Michael Angelo had received sixteen thousand scudi, and then would not carry out the work he had undertaken. Neither the one nor the other was true, because he had from Julius for the Tomb only one thousand ducats, spent in those months of quarrying marble at Carrara. How then could Michael Angelo have received money for it from him, since he changed his purpose and would hear no more of the Tomb? As to the money Michael Angelo received, after the death of Pope Julius, from the two cardinals, his executors, Michael Angelo possesses a written public acknowledgment-by the hand of a notary, from Bernardo Bini, Florentine citizen, who was trustee, and payed out the money-that the payments amounted to about three thousand ducats.
Never was man more anxious about his work than Michael Angelo in this, as much because he knew how great fame it would bring him as for the loving memory in which he always held the blessed spirit of Pope Julius, for that reason he has always honoured and loved the House della Rovere, and especially the Dukes of Urbino, for that reason he has contended with two Popes, as has been said, who wished to withdraw him from the undertaking.
But what grieved Michael Angelo the most, is that instead of thanks all he got was odium and disgrace.
LIII. But returning to Pope Paul. I must tell you that after the last agreement made between his Excellency the Duke and Michael Angelo, the Pope took Michael Angelo into his service, and desired him to carry out what he had begun in the time of Clement, to paint the end wall of the Sistine Chapel, which he had already covered with rough-cast and screened off with boards from floor to ceiling. As this work was instigated by Pope Clement, and begun in his time, it does not bear the arms of Paul, although he desired it; but Pope Paul so loved and reverenced Michael Angelo that however much he desired it he would never have vexed him. In this work Michael Angelo expressed all that the human figure is capable of in the art of painting, not leaving out any pose or action whatsoever. The composition is careful and well thought out, but lengthy to describe; perhaps it is unnecessary, as so many engravings and such a variety of drawings of it have been dispersed everywhere. Nevertheless, for those who have not seen the real thing, and into whose hands the engravings have not come, let us say, briefly, that the whole is divided into parts, right and left, upper and lower, and central. In the central part, near to the earth, are seven angels, described by Saint John in the Apocalypse, with trumpets to their lips, calling the dead to judgment from the four corners of the earth. With them are two others having an open book in their hands, in which every one reads and recognises his past life, having almost to judge himself. At the sound of these trumpets the graves open and the human race issues from the earth, all with varied and marvellous gestures; while in some, according to the prophecy of Ezekiel, the bones only have come together, in some they are half clothed with flesh, and in others entirely covered; some naked, some clothed in the shrouds and grave-clothes in which they were wrapped when buried, and of which they seek to divest themselves. Among these are some who are not yet fully risen, and looking up to heaven in doubt as to whither Divine justice shall call them. It is a delightful thing to see them with labour and pains issue forth from the earth, and, with arms out-stretched to heaven, take flight; those who are already risen lifted up into the air, some higher and some lower, with different gestures and characters. Above the angels of the trumpets is the Son of G.o.d in majesty, in the form of a man, with arm and strong right hand uplifted. He wrathfully curses the wicked, and drives them from before his face into eternal fire. With His left hand stretched out to those on the right, He seems to draw the good gently to Himself. The angels are seen between heaven and earth as executors of the Divine commands. On the right they rush to aid the elect, whose flight is impeded by malignant spirits; and on the left to dash back to earth the d.a.m.ned, who in their audacity attempt to scale the heavens. Evil spirits drag down these wicked ones into the abyss, the proud by the hair of the head, and so also every sinner by the member through which he sinned.
Beneath them is seen Charon with his black boat, just as Dante described him in the "Inferno," on muddy Acheron, raising his oar to strike some laggard soul. As the bark touches the bank, pushed on by Divine justice, all these souls strive to fling themselves ash.o.r.e, so that fear, as the poet says, is changed into longing. Afterwards they receive from Minos their sentence, to be dragged by demons to the bottomless pit, where are marvellous contortions, grievous and desperate as the place demands. In the middle of the composition, on the clouds of heaven, the Blessed already arisen form a crown and circle around the Son of G.o.d. Apart, and beside the Son, appears His Mother, timorous and seeming hardly secure herself from the wrath and mystery of G.o.d; she draws as near as possible to the Son. Next to her the Baptist, the Twelve Apostles, and all the saints of G.o.d, each one showing to the tremendous Judge the symbol of the martyrdom by which he glorified G.o.d: St. Andrew the cross, St. Bartholomew his skin, St. Lawrence the gridiron, St. Sebastian the arrows, San Biagio the combs of iron, St. Catherine the wheel, and others other things whereby they are known. Above these on the right and left, on the upper part of the wall, are groups of angels, with actions gracious and rare, raising in heaven the Cross of the Son of G.o.d, the Sponge, the Crown of Thorns, the Nails, and the Column of the Flagellation, to reproach the wicked with the blessings of G.o.d of which they have been so heedless, and for which they have been so ungrateful, and to comfort and give confidence to the good. There are infinite details which I pa.s.s over in silence. It is enough that, besides the divine composition, all that the human figure is capable of in the art of painting is here to be seen.
CHAPTER X
THE CHAPEL OF POPE PAUL AND THE PIETa OF SANTA MARIA DEL FIORE
LIV. Finally, Pope Paul having built a chapel on the same floor as the before-mentioned Sistine, he desired to decorate it in his own memory, and he made Michael Angelo paint the frescoes on the side walls. In one is represented the crucifixion of St. Peter; in the other the story of St.
Paul-how he was converted by the apparition of Jesus Christ-both stupendous in general composition as in the individual figures. And this is the last work of painting by Michael Angelo that has been seen to this day; he finished it in his seventy-fifth year. At present he has in hand a group in marble, which he works at for his pleasure, as one who full of ideas and powers must produce something every day. It is a group of four figures, larger than life-a Deposition. The dead Christ is held up by His Mother; she supports the body on her bosom with her arms and with her knees, a wonderfully beautiful gesture. She is aided by Nicodemus above, who is erect and stands firmly-he holds her under the arms and sustains her with manly strength-and on the left by one of the Marys, who, although exhibiting the deepest grief, does not omit to do those offices that the Mother, by the extremity of her sorrow, is unable to perform. The Christ is dead, all His limbs fall relaxed, but withall in a very different manner from the Christ Michael Angelo made for the Marchioness of Pescara or the Christ in the Madonna della Febbre. It is impossible to speak of its beauty and its sorrow, of the grieving and sad faces of them all, especially of the afflicted Mother. Let it suffice; I tell you it is a rare thing, and one of the most laborious works that he has yet done, princ.i.p.ally because all the figures are distinct from each other, the folds of the draperies of one figure not confused with those of the others.
LV. Michael Angelo has done infinitely more things of which I have not spoken, such as the Christ that is in the Church of the Minerva, a St.
Matthew in Florence; when he began it he designed to carve all the twelve Apostles to be placed near twelve pilasters in the Duomo. His cartoons for several works of paintings, and of designs for buildings, both public and private, are infinite in number; and, lastly, for a bridge to span the Grand Ca.n.a.l of Venice, of a new shape and style of which the like was never seen; and many other things never to be seen. It would be long to describe them, so I make an end. He intends to give the Deposition from the Cross to some church, and to be buried at the foot of the altar where it is placed. The Lord G.o.d in His goodness long preserve him to us, for without doubt the same day will end his life and his labours, as is written of Socrates. His active and vigorous old age gives me firm hope that he has many years to live, as also the long life of his father, who lived to ninety-two years without knowing what it was to have a fever, and then dying more for lack of resolution than for any illness; so that when he was dead, as Michael Angelo relates, his face retained the same colour that he had when living, appearing rather asleep than dead.
LVI. From a child Michael Angelo was a hard worker, and to the gifts of nature added study, not using the labours and industry of others, but, desiring to learn from nature herself, he set her up before him as the true example. There is no animal whose anatomy he did not desire to study, much more than that of man; so that those who have spent all their lives in that science, and who make a profession of it, hardly know so much of it as he. I speak of such knowledge as is necessary to the arts of painting and sculpture, not of other minutiae that anatomists observe. And thus it is that his figures show so much art and learning, so that they are inimitable by any painter whatever. I have always been of this opinion, that the forces and efforts of nature have a prescribed end, fixed and ordained by G.o.d, which it is impossible for ordinary powers to pa.s.s; and this is so not only in painting and sculpture, but universally in all arts and sciences; and that she gives power to one person that he may be a rule and example in a particular art, giving him the first place; so that afterwards, if any one desires to bring forth a great work in that art, worthy to be read or seen, he must work in the same way as the first great example, or, at least, similarly, and go by his road; for if he does not his work will be much inferior, the worse the more he diverges from the direct path. After Plato and Aristotle, how many philosophers have we seen who, not following them, have been worth anything? How many orators after Demosthenes and Cicero? How many mathematicians after Euclid and Archimedes? How many doctors after Hypocrates and Galen? Or poets after Homer and Virgil? And if there has been any one who has been able by his own abilities to arrive at the first place in any one of these sciences and finds it already occupied, he either acknowledges the first one to have arrived at perfection, and gives up the attempt, or if he has sense he follows him as the ideal of the perfect. This has been exemplified in our own day in Bembo, in Sanazzaro, in Caro, in Guidoccione, in the Marchioness of Pescara, and in other writers and lovers of the Tuscan rhyme, who, although gifted with the highest and most singular genius, none the less, not being able of themselves to do better than nature exemplifies in Petrarca, they set themselves to follow him, but so happily that they are judged worthy to be read and counted with the best.
CHAPTER XI
CONCLUSION OF THE LIFE BY CONDIVI
LVII. Now to consider my remarks. I say, that it seems to me, that nature has endowed Michael Angelo so largely with all her riches in these arts of painting and sculpture, that I am not to be reproached for saying that his figures are almost inimitable. Nor does it appear that I have allowed myself to be too much carried away, for until now he alone has worthily taken up both chisel and brush. Of the painting of the ancients there is no memorial, and to whom does he yield in their sculpture (of which, indeed, much remains)? In the judgment of men learned in the art, to no one, unless we stoop to the opinion of the vulgar, who admire the antique for the sole reason that they envy the genius and industry of their own times. All the same, I have not yet heard any one say the contrary; this man is so far above envy. Raffael da Urbino, although he desired to compete with Michael Angelo, was often constrained to say that he thanked G.o.d he was born in his time as he acquired from him a style very different from that which he learnt from his father, who was a painter, and from his master Perugino. But what greater and clearer sign can we ever have of the excellence of this man than the contention of the Princes of the world for him? From the four Pontiffs, Julius, Leo, Clement, and Paul, to the Grand Turk, father of him who to-day holds the Empire. As I have said above, the Sultan sent certain monks of the Order of Saint Francis with letters begging Michael Angelo to come and stay with him; arranging by letters of credit for the bank of the Gondi, in Florence, to advance the amount of money necessary for his journey, and also that from Cossa, near Ragusi, he should be accompanied to Constantinople most honourably by one of his grandees. Francesco(54) Valesio, King of France, tried every means to get him, crediting him with three thousand scudi for his journey whenever he should go. Il Bruciolo was sent to Rome by the Signoria of Venice to invite him to come and dwell in that city, and to offer him a provision of six hundred scudi a year, not binding him to anything, only that he should honour the Republic with his presence; with the condition also that if he did any work in her service he should be paid for it as if he received no pension from them at all. These are not ordinary doings that happen every day, but new and out of the common use, and would only happen to singular and most excellent worth, as was that of Homer, for whom many cities contested, each one appropriating him as her own.
LVIII. He is held of no less account, than by those already named, by the present Pontiff, Julius III., a Prince of supreme wisdom and a lover and patron of all the arts; but particularly inclined to painting, sculpture, and architecture, as may be clearly known by the works he has done in the Palazzo and the Belvedere, and now has ordered for his villa Giulia (a memorial and scheme worthy of a n.o.ble and generous soul like his). It is filled with so many statues, ancient and modern, so great variety of beautiful stones, precious columns, plaster work, paintings, and every other kind of ornament, of which I will write another time, as a unique work, not yet in its perfection, requires. He does not ask Michael Angelo to work for him. Having respect for his age, he understands well and appreciates his greatness; but wishes not to overburden him. This regard, in my judgment, brings Michael Angelo more honour than all his employment under the other Popes. It is, however, true, that in the paintings and architecture that his Holiness is continually having done, he almost always seeks Michael Angelo"s advice and judgment, frequently sending the artists to seek him at his house. It grieves me, and it grieves also his Holiness, that by reason of a certain natural timidity, or let us say respect and reverence, which some call pride, Michael Angelo does not profit by the goodwill, kindness, and liberality of so great a Pontiff and so much his friend. As I first heard from the most Reverend Monsignor di Forl, his chamberlain, the Pope has often said that (if it were possible) he would willingly take from his own years and his own blood to add to the life of Michael Angelo, that the world might not so soon be deprived of such a man. I also, having access to his Holiness, heard it from his lips with my own ears, and more also, that if he survives him, as in the natural course of life is probable, he will have Michael Angelo"s body embalmed and keep it near him, so that it should be as lasting as his works. He said this at the beginning of his Pontificate to Michael Angelo himself in the presence of many. I do not know what could be more honourable to Michael Angelo than these words, or a greater proof of the esteem in which the Pope holds him.
LIX. Again the Pope showed his esteem plainly when Pope Paul died and he was created Pontiff, in a consistory, all the Cardinals then in Rome being present. He defended Michael Angelo and protected him from the overseers of the fabric of St. Peter"s, who, for no fault of his, as they said, but of his servants, wished to deprive him of, or at least to restrain, that authority given him by Pope Paul by a _moto proprio_, of which more will be said below. He defended him, and not only confirmed the _moto proprio_ but honoured him by many kind words, not lending his ears to the quarrels of the overseers or anybody else. Michael Angelo knows (as many times he has told me) the love and kindness of his Holiness towards him, and how he respects him; and because he cannot requite the Pope with his services, and show his love, he will regret all the rest of his life that he seems useless and appears ungrateful to his Holiness. One thing comforts him somewhat (as he is accustomed to say); knowing the wisdom of his Holiness he hopes to be excused, and being unable to give more, that his good will may be accepted. Nor does he refuse, as far as he has the power, and for all he may be worth, to spend his life in his service; this I have from his own mouth. Nevertheless, at the request of his Holiness, Michael Angelo designed the facade of a palace that the Pope had a mind to build in Rome, a thing new and original to those who have seen it-not bound to any laws, ancient or modern, as in many other works of his in Florence and in Rome-proving that architecture has not been so arbitrarily handled in the past that there is not room for fresh invention no less delightful and beautiful.
LX. Now to return to anatomy. He gave up dissection because it turned his stomach so that he could neither eat nor drink with benefit. It is very true that he did not give up until he was so learned and rich in such knowledge that he often had in his mind the wish to write, for the sake of sculptors and painters, a treatise on the movements of the human body, its aspect, and concerning the bones, with an ingenious theory of his own, devised after long practice. He would have done it had he not mistrusted his powers, lest they should not suffice to treat with dignity and grace of such a subject, like one practised in the sciences and in rhetoric. I know well that when he reads Alberto Duro he finds him very weak, seeing in his own mind how much more beautiful and useful his own conception would be. To tell the truth, Alberto only treats of the proportions and diversities of the body, for which one cannot make fixed rules, making figures as regular as posts; and what matters more, says nothing of human movements and gestures. And because Michael Angelo has now reached a ripe old age, he thinks of putting his ideas in writing and giving them to the world. With great devotion he has explained everything minutely to me; he also conferred with Messer Realdo Colombo, an anatomist and most excellent surgeon, a great friend of Michael Angelo"s and mine. He sent to Michael Angelo for study the body of a Moor, a very fine young man, and very suitable to the purpose; he was sent to Santa Agata, where I then lived and still live, as it is a quiet place. On this corpse Michael Angelo showed me many rare and recondite facts, perhaps never before understood, all of which I noted down, and hope one day, with the help of some learned man, to publish for the advantage and use of painters and sculptors; but enough of this.
LXI. He devoted himself to perspective and to architecture, his works show with what profit. Michael Angelo did not content himself with knowing only the main features of architecture, but wished also to know about everything that could be useful in any way in that profession, such as ties, platforms, scaffolding, and such like, he knew as much of these things as those who profess nothing else, which was exemplified in the time of Julius II. in this wise. When Michael Angelo had to paint the ceiling of the Sistine Chapel the Pope ordered Bramante to erect the scaffolding. For all the architect he was he did not know how to do it, but pierced the vault in many places, letting down certain ropes through these holes to sling the platform. When Michael Angelo saw it he smiled, and asked Bramante what was to be done when he came to those holes?
Bramante had no defence to make, only replied that it could not be done any other way. The matter came before the Pope, and Bramante replied again to the same effect. The Pope turned to Michael Angelo and said: _"As it is not satisfactory go and do it yourself."_ Michael Angelo took down the platform, and took away so much rope from it, that having given it to a poor man that a.s.sisted him, it enabled him to dower and marry two daughters. Michael Angelo erected his scaffold without ropes, so well devised and arranged that the more weight it had to bear the firmer it became. This opened Bramante"s eyes, and gave him a lesson in the building of a platform, which was very useful to him in the works of St. Peter"s.
For all that, Michael Angelo, although he had no equal in all these things, would not make a profession of architecture. On the contrary, when at last Antonio da San Gallo, the architect of St. Peter"s, died, and Pope Paul wished to put Michael Angelo in his place, he refused the post, saying that architecture was not his art. He refused it so earnestly that the Pope had to command him to take it, and issue an ample _moto proprio_, which was afterwards confirmed by Pope Julius III., now, as I have said, by the grace of G.o.d, our Pontiff. For these, his services, Michael Angelo received no payment; so he wished it to be stated in the _moto proprio_.
One day, when Pope Paul sent him a hundred scudi of gold by Messer Pier Giovanni, then Gentleman of the Wardrobe to his Holiness, now Bishop of Forl, as his month"s salary on account of the building, Michael Angelo would not accept it, saying it was not in the agreement they had between them, and he sent them back. The Pope was very angry, as I have been told by Messer Alessandro Ruffini, a gentleman of Rome, then Groom to the Chambers and Carver before his Holiness; but this did not move Michael Angelo from his resolution. When he had accepted this charge he made a new model, both because certain parts of the old one did not please him in many respects, and, besides, if it was followed one would sooner expect to see the end of the world than St. Peter"s finished. This model, praised and approved by the Pope, is now being followed to the great satisfaction of those who have judgment, although there be certain persons who do not approve of it.
LXII. Michael Angelo gave himself, then, whilst still young, not only to sculpture and painting, but to all the kindred arts, with such devotion that for a time he almost withdrew from the fellowship of men, only consorting with a few. So that by some he was held to be proud, and by others odd and eccentric, though he had none of these vices; but (like many excellent men) a love of knowledge and continued exercise in the learned arts made him solitary, and he was so satisfied and took such a delight in them that company not only did not please him but even annoyed him, as interrupting his meditations he was never less solitary than when alone (as the great Scipio used to say of himself).
LXIII. Nevertheless, he willingly kept the friendship of those from whose wise and learned conversation he could gather any fruit and in whom shone some ray of excellence, such as the Most Reverend and Ill.u.s.trious Monsignor Polo,(55) for his rare learning and singular goodness; and similarly my Most Reverend patron the Cardinal Crispo, finding in him besides his many good qualities a rare and excellent judgment. He had also a great affection for the Most Reverend Cardinal Santa Croce, a man of great weight and most prudent, of whom I have heard him speak more than once with the highest esteem; and the Most Reverend Maffei, whose goodness and learning he always speaks of; and generally loves and honours all the House of the Farnese, for the lively memory he cherishes of Pope Paul, recalling him with the utmost reverence, speaking of him constantly as a good and holy old man. And so, too, the Most Reverend Patriarch of Jerusalem, formerly Bishop of Cesena, with whom he has often conversed familiarly, as one whose open and liberal nature much pleased him. He had also a close friendship with my Most Reverend patron, the Cardinal Ridolfi, of happy memory, the refuge of all men of talent. There are others whom I leave out, so as not to be tedious, as Monsignor Claudio Tolemei, Messer Lorenzo Ridolfi, Messer Donato Giannotti, Messer Lionardo Malaspini, Il Lottino, Messer Tomaso de" Cavalieri, and other honourable gentlemen, of whom I will not write at length. Finally, he has a great affection for Annibal Caro. He has told me that he is sorry not to have known him before, as he is so much to his taste. More particularly he loved greatly the Marchioness of Pescara, of whose divine spirit he was enamoured, being in return loved tenderly by her. He still possesses many letters of hers, full of an honest and most sweet love, such as issued from her heart. He has written to her also many and many sonnets, full of wit and sweet desire. She often returned to Rome from Viterbo and other places, where she had gone for her pastime and to spend the summer, for no other reason than to see Michael Angelo; and he bore her so much love that I remember to have heard him say: Nothing grieved him so much as that when he went to see her after she pa.s.sed away from this life he did not kiss her on the brow or face, as he did kiss her hand. Recalling this, her death, he often remained dazed as one bereft of sense. He made at the wish of his lady a naked Christ, when He was taken down from the Cross, and His dead body would have fallen at the feet of His most holy Mother, if it were not supported by the arms of two angels; but she, seated under the Cross with a tearful and sorrowful face, raises to heaven both hands with her arms out-stretched, with this cry, which one reads inscribed on the stem of the cross:
NON VI SI PENSA QUANTO SANGUE COSTA!