ONE OF THE ANCESTORS OF CHRIST, OVER THE WINDOW INSCRIBED "IORAM"

(_Reproduced by permission from a photograph by Sig. D. Anderson, Rome_)

The early years of the Pontificate of Leo X. were wasted over the project for the facade of San Lorenzo. Michael Angelo was continually at Carrara.

In a letter, dated May 8, 1517, to Domenico Buoninsegna, Michael Angelo writes with enthusiasm about his new scheme, and undertakes to carry it out for 35,000 golden ducats in six years. Buoninsegna replied that the Cardinal expressed the highest satisfaction at "the great heart he had for conducting the work of the facade." The friendly relations of Michael Angelo with the natives of Carrara continued until the Pope obliged him to leave their quarries and open up those of Pietra Santa, in Tuscan territory, by which act Michael Angelo lost much time. He had positively to make roads down the mountains and over the marshes before he could get a single block to the river. The Marquis of Carrara became his enemy, and the contracts with the people of Carrara caused him much annoyance and great loss. The orders from Rome were peremptory and had to be obeyed.(122) Ten years of the best of Michael Angelo's working life were wasted; the numberless delays of this period, and the delays over the Tomb of Julius, positively seem to have changed the character of the artist from a man of action to a man of thought. Possibly advancing age had something to do with it; but the fact remains that the man who executed the bronze statue of Julius in two years, and painted the vault of the Sistine in less than three years, took seven years to finish the Last Judgment, which covers a surface about one-third the extent of the vault, and also is in a much more favourable position for painting.

There is a doc.u.ment shown in the rooms of the State Archives at the Uffizi that belongs to this period; it is a memorial addressed by the Florentine Academy to Pope Leo X., asking him to authorise the translation of the bones of Dante from Ravenna, where they still rest under "the little cupola, more neat than solemn," to Florence. It is dated October 20, 1518.

All but one of the signatures appended are written in Latin; that one is as follows:-"I, Michael Angelo, the sculptor, pray the like of your Holiness, offering my services to the divine poet for the erection of a befitting sepulchre to him in some honour-place in this city." Michael Angelo's devotion to Dante was well known to his contemporaries; he is known to have filled a book with drawings to ill.u.s.trate the "Divina Com media"; this volume perished at sea, whilst in the possession of the sculptor Antonio Montanti, who was shipwrecked on a journey from Leghorn to Rome.

On April 17, 1517, Michael Angelo bought some ground in the Via Mozza, now Via San Zan.o.bi, Florence, from the Chapter of Santa Maria del Fiore, to build a workshop for finishing his marbles; the purchase was completed on November 24, 1518. This studio remained in his possession until his death.

He describes it to Lionardo di Compago, the saddle-maker, as an excellent workshop, where twenty statues can be set up together.

Meanwhile he went on working at Pietra Santa for the facade. In August 1518, he writes:---

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ONE OF THE ANCESTORS OF CHRIST, OVER THE WINDOW INSCRIBED "ASA"

(_By permission of the Fratelli Alinari, Florence_)

"The place of quarrying is very rugged, and the workmen are very ignorant of this sort of work. So for some months I must be very patient until the mountains are tamed and the men are mastered.

Then we shall get on more quickly. Enough, what I have promised that will I do by some means, and I will make the most beautiful thing that has ever been done in Italy if G.o.d helps me."

The melancholy end of this scheme is told in a Ricordo in the Archivio Buonarroti, March 10, 1520.

"Now Pope Leo, perhaps, to carry out more quickly the above-mentioned facade of San Lorenzo than according to the agreement he made with me, and I consenting, sets me free, and for all the above-said money that I have received, are counted the road that I have made to Pietra Santa, and the marbles that were quarried there and rough-hewn as may be seen to-day; and he declares himself content and satisfied with me, as is said, about all the money received for the said facade of San Lorenzo, and every other work that I have had to do for him until this tenth day of March, 1519; and so he leaves me my freedom, and not obliged to render account to any one for anything that I have had to do for him or with others for him."(123)

We have a series of most interesting letters from Sebastiano del Piombo, Michael Angelo's favourite gossip in Rome; most of them are dated from 1520 to 1533, and give Michael Angelo at Carrara news of Sebastiano and the art world of Rome, They often relate to designs that Sebastiano wished to get from Michael Angelo in order that he might be entrusted with commissions from the Pope that would otherwise be given to the scholars of Raphael. In one, dated October 27, 1520, he says:-

"For I know how much the Pope values you, and when he speaks of you it is as if he were speaking of his own brother, almost with tears in his eyes; for he has told me that you were brought up together, and shows that he knows and loves you. But you frighten everybody, even Popes!"(124)

Michael Angelo seems to have taken exception to the remark, for Sebastiano in his next letter but one says:-

"As to what you reply to me about your terribleness, I for my part do not find you terrible; and if I have not written to you about this, do not wonder, for you do not appear to me terrible except only in art-that is to say, the greatest master that has ever been; so it seems to me if I am in error I am to blame. I have no more to say. Christ keep you safe. 9th day of November, 1520.

Remember me to friend Leonardo and to Master Pier Francesco.

"Your most faithful gossip,

"BASTIANO, Painter, in Rome.

"The Lord Michael Angelo de Bonarotis, the most worthy sculptor, Florence."(125)

After Michael Angelo had been dismissed from the work of the facade of San Lorenzo he appears to have remained quietly at Florence, possibly engaged upon the marbles for the Tomb of Julius II. About the same time, at the instigation of the Cardinal de' Medici, he began to design the new sacristy and the tombs at San Lorenzo.

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THE PROPHET JONAH

SISTINE CHAPEL, ROME (_By permission of the Fratelli Alinari, Florence_)

In the Ricordi, which run from April 9 to August 19, 1521, he says that on April 9 he received two hundred ducats from the Cardinal de' Medici to go to Carrara and lodge there, to quarry marbles for the tombs which are to be placed in the new sacristy at San Lorenzo. "And there I stayed about twenty days and made out drawings to scale, and measured models in clay for the said tombs." On August 16 the contractors for the blocks, all of which were excavated from the old Roman quarry of Polvaccio, came to Florence, and were paid on account.

The statue of the "Risen Christ" was forwarded to Rome during the summer.

The smaller detached, or more easily broken portions, were left in the rough to prevent accidents during the journey, and Pietro Urbino went to Rome with orders to complete the work there. Sebastiano del Piombo, like the good friend he was, kept Michael Angelo informed of the progress of the young scamp of a pupil, from whom his master had extracted a promise that he would avoid the company of dissolute Florentines in Rome more than he had previously done. On November 9, 1520, Sebastiano writes that his gossip, Giovanni da Reggio, "goes about saying that you have not done the figure yourself, but that it is the work of Pietro Urbino. Be sure that it may be seen to be from your hand, so that poltroons and babblers may burst." This was written whilst the work was still at Florence. On September 6, 1531, after it had arrived at Rome, Sebastiano says of Pietro: "Firstly, you sent him to Rome with the statue, to finish and erect it. What he did and did not do you know; but I must let you understand that wherever he has worked he has maimed it. Chiefly, he has shortened the right foot, and it is plainly seen that he has cut off the toes. He has shortened the fingers of the hands, too, more especially those of the one which holds the cross, the right; Frizzi says, it seems to have been worked by a cake-maker, not carved in marble. It looks as if it had been made by one who worked in dough, it is so stunted. I do not understand these things, not knowing the manner of working in marble; but I can very well tell you that those fingers look to me very stumpy. I can tell you, too, that it is easy to see he has been working on the beard. I believe a baby would have had more discretion; it looks as though he had done the hair with a knife without a point; but this can easily be remedied. He has also cut one of the nostrils, so that with a little more the whole nose would have been spoiled, so that no one but G.o.d could have mended it, and I believe G.o.d inspired you to write your last letter to Master Zovane da Reggio, my comrade, for if the figure had remained in the hands of Pietro he would undoubtedly have ruined it." Michael Angelo transferred the work of finishing from Pietro to Federigo Frizzi.

Sebastiano goes on to say: "Pietro is most malignant now that he is cast off by you. He does not seem to value you or any one else alive, but thinks he is a great master; he will find out what he is fast enough, for I believe the poor young man will never know how to make statues. He has forgotten the art. The knees of your statue are worth more than all Rome."

Frizzi mended up the mistakes and finished the work on the hair, face, hands, feet, cross, and the parts undercut. Michael Angelo was evidently anxious as to the result of this touching up, and as he was much attached to Vari, he offered to make a new statue, but the courtly Roman replied that he was entirely satisfied with the one he had received. He regarded it and esteemed it as a thing of gold, and said that Michael Angelo's offer proved his n.o.ble soul and generosity, inasmuch as when he had already made what could not be surpa.s.sed and was incomparable, he still wanted to serve his friend better.(126)

This Christ of the Minerva is like a late Greek embodiment of the Christian ideal; it is a work that has been a good deal criticised, particularly as to the details, which the letters just quoted prove to have been finished by a.s.sistants away from the supervision of the master.

The arms and torso, and, as Sebastiano justly says, the knees, are very splendid, and if the spoiled head and extremities were broken away the fragment, that is to say, the part really executed by the master, would be as famous as many a fine work of Greece or of Old Rome. As it stands near a column in the centre of the church in a subdued light it has a presence of great beauty and sweetness, never allied with so much power before, notwithstanding that brazen draperies and a sandal hide much of the reverent workmanship.

CHAPTER VIII

THE SACRISTY OF SAN LORENZO

After the death of Leo X., on December 1, 1521, Adrian IV. was elected to fill the seat of St. Peter. He was not an Italian and loved not the arts.

He is recorded to have called statues "idols of the Pagans," and he spent no money on pictures or frescoes. No wonder the artists who were accustomed to the patronage of the Popes rejoiced when he died, notwithstanding his goodness, and hailed his physician as saviour of the Fatherland. The Cardinal Giuliano de' Medici was elected in his stead, under the name of Clement VII., and Michael Angelo expressed the feelings of most of his countrymen and all the artists when he wrote to his friend, Topolino, at Carrara "You will have heard how the Medici is made Pope; it seems to me that all the world is glad of it, so I imagine that here (Florence) many things will soon be set going in art. Therefore, serve well and with faithfulness, so that we may have honour."(127)

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THE TOMB OF LORENZO DE' MEDICI, DUKE OF URBINO

THE NEW SACRISTY, SAN LORENZO, FLORENCE (_By permission of the Fratelli Alinari, Florence_)

In the year 1523 the Senate of Genoa banked 300 ducats towards the expenses of a colossal statue of Andrea Doria, the great sea-captain, to be carved by Michael Angelo. Unfortunately Michael Angelo was unable to execute this congenial task. There is a magnificent portrait of this prince, as Neptune, by Sebastiano del Piombo in the private rooms of the Doria Palace at Rome. The admiral points down with Michael Angelesque forefinger as though he were condemning his enemies to descend to the lowest depths of the sea. It looks as if it had been inspired by a drawing of Michael Angelo's, possibly for this statue, which may have been designed as a nude figure of Neptune; the parapet in front of the picture is decorated with a painted bas-relief of a Roman galley.

Michael Angelo's last known letter to his father is supposed to have been written in June 1523.(128) It is a bitter complaint of the testy manner in which his father always treated him, and the continual interruptions of his work. It must have been a great grief to Michael Angelo when the old man came to die if he had not made up this quarrel with him, for he loved him in a way that is marvellous to us when we consider the character of the old man as evidenced in the correspondence.

Clement VII. lost no time, after he was elected Pope, in setting Michael Angelo to work, but again it was against the inclination of the artist, who pa.s.sionately desired to complete the Tomb of Julius, partly for the love of his memory and partly to free himself from the importunity of the executors, who threatened him with a lawsuit. Michael Angelo replied to the agent of Clement, Francesco Fattucci, who requested plans for the Laurentian Library: "I understand from your last that his Holiness our Lord wishes that the design for the Library should be by my hand. I have heard nothing and do not know where he wishes it to be built. True, Stefano talked to me about it, but I did not give my mind to it. When he returns from Carrara I will inform myself about it from him, and will do all I can, although it is not my profession."