_1531, 24th February._

"MY DEAREST COMRADE,-By Master Domenico, called Menich.e.l.la, who has been to see me on your behalf. G.o.d knows how dear it was to me. After so many sorrows, hardships, and dangers, Almighty G.o.d has left us alive and well in His mercy and pity. A fact truly miraculous when I think over it; everlasting thanks to His Divine Majesty, and if I could express to you with my pen the anxiety and worry I have had on your account you would marvel at it. The Signor Fernando di Gonzaga will bear me witness, and G.o.d knows what sorrow I had when I heard you had been to Venice. If you had found me at Venice things would have been very different; but enough. Now gossip mine, now that we have been through fire and water, and experienced things one could never have imagined, let us thank G.o.d for all things, and for the little life that is left to us; at least, let us spend it in what quiet we may. Verily, we must put no faith in fortune, she is so perverse and sad. I am come to this; for aught I care the universe may be ruined. I should laugh at everything. Menich.e.l.la will tell you by word of mouth of my life and how I am. I do not as yet seem to myself to be the same Bastiano that I was before the sack. I cannot collect my thoughts. I say no more. Christ keep you well.

"The 24th day of February, 1531, in Rome.

"About your coming here, according to what Master Menich.e.l.la tells me, it does not seem to be necessary, unless you come for a jaunt or to put your house in order; which, in truth, is going to the bad in more ways than one, as in the roofs and other things. I suppose you know that the workshop, with the carved marbles in, has tumbled to pieces; it is a great pity. You will be able to remedy this and make some arrangements. As for me I should dearly love to enjoy your company for a while; truly I am dying to see you. I am all impatience; but do as you think best.

"Your very faithful gossip,

"SEBASTIANO LUCIANIS.

"LORD MICHAEL ANGELO DE BONAROTIS,

"Most rare Sculptor, in Florence."

[Image #39]

APOLLO

THE NATIONAL MUSEUM, THE BARGELLO, FLORENCE (_By permission from the photograph by Sig. G. Brugi, Florence_)

Sebastiano continued his good services to his friend with regard to the Tomb of Julius all through 1531. The course of events may be followed in his letters. The Pope was interested, and always consulted, in the affair, and most favourably disposed to Michael Angelo. All this anxiety preyed upon the master and injured his health. Paolo Mini, the father of Antonio, Michael Angelo's a.s.sistant, wrote to Baccio Valori on September 29(142): "Michael Angelo will not live long unless some measures are taken for his benefit. He works very hard, eats little and poorly, and sleeps less. In fact, he is afflicted with two kinds of disorder: the one in his head, the other in his heart. Neither is incurable, since he has a robust const.i.tution; but, for the good of his head, he ought to be restrained by our Lord the Pope from working through the winter in the sacristy, the air of which is bad for him;(143) and for his heart, the best remedy would be if his Holiness could accommodate matters with the Duke of Urbino." On November 21 Clement addressed a brief to his sculptor, whereby Buonarroti was ordered, under pain of excommunication, to lay aside all work, except what was strictly necessary for the Medician monuments, and to take better care of his health. On the 26th Benvenuto Valpaio added that his Holiness desired Michael Angelo to select some workshop more convenient than the cold and cheerless sacristy.

Sebastiano's letters during 1533 often refer to an edition of some madrigals written by Michael Angelo and set to music by Bartolomeo Tromboncino, Giacomo Arcadelt, and Constanzo Festa.(144) Gottif(145) publishes an essay by Leto Puliti on this music with the score of three of the madrigals. Many of Michael Angelo's poetical compositions may be referred to this period of comparative inaction as to painting and sculpture. All through his life he wrote sonnets and poems when his other work did not proceed quickly.

In 1535 Michael Angelo finally left Florence. His father and his favourite brother were dead, and so he left the shadow of the great Duomo, all Florentines love, for ever. At Rome he dreamed a dream of another Dome, that has given to that city the feature by which we know it best, and to Romans a possession not less beloved than Bruneleschi's gift to the Florentines.

[Image #40]

THE HEAD OF THE NIGHT

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

When Michael Angelo left, the works at San Lorenzo were all unfinished; the facade was not begun, the Sagrestia Nuova, the ground plan of which is similar to Bruneleschi's Sagrestia Vecchia, was left in the rough, and the Library he designed to hold the priceless Medician ma.n.u.scripts, collected by Cosimo Pater Patriae and Lorenzo the Magnificent, now known as the "Biblioteca Laurenziana," was only begun. As Michael Angelo's designs and working drawings were of the roughest description, and he usually left a great deal to be settled after he had seen the effect of the earlier part of his works, we cannot blame him only for certain faults, such as, for instance, the awkward approach to the Library. If he had completed the work he very likely would have made an entrance from the piazza, as roomy and convenient, as the curious staircase in the corner of the cloister is awkward and cramped. It was completed by Giorgio Vasari, whose letters to Michael Angelo about this difficult work, and Michael Angelo's chaotic replies, belong to a much later period. The curious manner of cutting up the wall by pilasters and framed s.p.a.ces cannot properly be judged without the bronze bas-reliefs that they were intended to contain. Considered as a method of hanging or displaying a collection of works of art they are admirable, and might well serve for the interior decoration of a great museum. The vestibule, with its curious stairway, large consoles, and green and white colour, leaves an impression of power and eccentricity in architecture like the effect of the serious caricatures of Leonardo da Vinci in drawing. The buildings at San Lorenzo should be regarded as the prentice work of the architect of the Dome of St. Peter's. The decorations of the Sagrestia Nuova, too, were left unfinished; the statues of Day, Night, Morning, and Evening were left where he had worked upon them, on the floor of the chapel. From Vasari's letter to him of 1562, instigated by the Duke Cosimo, who desired to complete the work according to Michael Angelo's designs, asking for help and advice,(146) we gather that Michael Angelo intended to have placed statues in all the niches above the sepulchres, and in the frames above the doors works of painting, stucco for the arches, and painting to adorn the flat walls and semicircular s.p.a.ces of the chapel. Michael Angelo, on account of his great age, was unable or unwilling to a.s.sist in the work. The present sarcophagi cannot have been intended to hold the allegorical figures in the way they do, for the under surfaces of the statues do not fit the top of the mouldings, and certainly the rough stones that project over them, forming a base for the feet, must have been intended to be supported by solid marble, and not to rest uneasily on air. The sarcophagi are of a greyer marble than the figures or than the panelling behind them. The architectural ornament appears to be of three dates: First, the niches and panels of the walls; second, the sarcophagi and their supports; third, the doors of the chapel and niches over them. In the first, the grotesque heads in the mouldings are like the dull grotesques Michael Angelo appears to have designed in the architecture of the Tomb of Julius and on the armour of the captains in this chapel. In the second, the four-horned skulls of rams on the sides of the supports of the sarcophagi are very feeble and poor in design. If we compare them with the powerful and true drawing of the rams' heads used in the frame-work of the vault of the Sistine Chapel, we shall see that it is impossible for Michael Angelo to have designed them, or even let them pa.s.s whilst he was superintending the works. The sh.e.l.l and rope patterns are even worse and more feeble; they are easily seen to be executed by different hands. The simple bosses of the base under "Dawn and Evening"

are still unfinished: that would go to prove that Michael Angelo had designed them and seen them cut as far as they go-not necessarily that he had seen them in position-and that the academicians, when they did their best to complete the chapel, rightly decided to leave them as they were.

The base under Day and Night has no bosses; they had not been begun as in the former case; we may presume the academicians thought it best to have them flat. These simple bases are the most effective portions of the architectural scheme of the monument, in character with the allegorical figures, reminding us of the plinths or seats provided for the Athletes and the Prophets of the Sistine. Perhaps they were the only portions, except the figures and the panelling of the walls, seen by Michael Angelo himself. The supports and lid of the sarcophagi, and the sarcophagus of Giuliano, are of different marble to the actual receptacle of the body of Lorenzo, that is under Dawn and Evening. The quiet mouldings of the latter are much finer and more in character with the walls. The lids are of a white sugary marble, the mouldings coa.r.s.e and semicircular in section, and the volutes and circular endings of the lids are of a perfectly stupid design. These lids cannot have been seen by Michael Angelo; and, therefore, he cannot have seen the figures in their places upon them. The sarcophagus under the Day and Night has been copied from the one seen by Michael Angelo: its mouldings are still beautiful, but heavier, more deeply cut, and of less subtle line in the section. The difference is perceptible to the eye and evident with the aid of a good foot-rule. This sarcophagus is of a different marble, as has been said. As to the third period, the garlands and little pretty vases over the doors of the chapel, and the consoles and niches above, are like nothing else in the world but those carved frames that in Florence to this day are called "Vasari frames."

The marble candlesticks upon the altar of the chapel are of different marble from the altar on which they stand, and appear to be of an earlier date. The grotesques on the bases are of good design, and the drill holes of the marble cutting are simply left to tell their story of how the work was done, instead of being cut away and hidden as in later work. May they not have been designed in Michael Angelo's time, possibly for the brackets on the cornice of the panelling behind the tombs? On the altar is the inscription:

PAULUS V. PONT. MAX.

MDCX.

The figures of Giuliano and Lorenzo are perfectly finished; they cannot be regarded as portraits, but as symbols. The armour of the warrior Giuliano is magnificently designed, and must have been founded upon some antique example. The grotesque upon the breastplate is not unlike a grotesque in a similar place upon an antique marble bust in the Naples Museum. The helmeted Lorenzo, Il Penseroso, broods over what might have been, had he acted his part in Florence. Under his elbow rests a box of peculiar design, possibly the representation of a political instrument used in the offices of his family's unwise government. The unfinished head of Day is an example of how the master appears to complete his work from the first stroke of his chisel. The vigorous giant, just rising to his work, looks over his shoulder at the bright sun. The rough chiselling of the face suggests already the dazzle of the light in his eyes; how he tears his right hand as yet half stone from out his stony breast! With his left hand behind his back he appears to count the quattrini of his wage; this action of the thumb placed on the second finger is Michael Angelo's favourite one for the hand; it may be seen many times in this chapel alone. The shortness of the feet in the figure of Day appears to be due to a miscalculation as to the size of the block; but, perhaps, had the head and torso been thinned down in the finishing they would have been correct in proportion. At the same time, the feet are finished most carefully and beautifully, and are so true that photographs of them look almost like photographs from the finest of living models.

[Image #41]

NIGHT

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

How much has been written about the Night and her meanings! We have good proof that her maker intended her to have some of these many meanings in the reply of Michael Angelo to Giovan Battista Strozzi's complimentary verses:-

La Notte, che tu vedi in si dolci atti Dormire, fu da un Angelo scolpita In questo sa.s.so, e perche dorme ha vita; Destala, se no'l credi, e parleratti.

The Night, that thou seest, so sweetly sleeping, Was by an angel carved in the rude stone, Sleeping, she lives, if thou believ'st it not, Wake her, and surely she will answer thee.

The reply of Michael Angelo is in a much higher vein, and teaches us to look to a far different aim in his work than the mere form represented:-

Grato m'e 'l sonno e piu l'esser di sa.s.so; Mentre che 'l danno e la vergogna dura Non veder, non sentir m'e gran ventura; Per non mi destar; deh! parla ba.s.so!

Dear is my sleep, more dear to be but stone; Whilst deep despair and dark dishonour reign Not to hear, not to feel is greatest gain; Then wake me not; speak in an undertone.

No one ever before gave such tragic beauty to the worn and tired figure of a woman who has lived through her many days of toil and suffered many labours. It is believed by a medical authority that the master meant the statue to represent rest after a labour, but it is rather the nightmare-troubled sleep of a tired woman, whose beautiful firm hips and worn b.r.e.a.s.t.s prove her to have bravely met and pa.s.sed through many cares, and suckled many children. A horrid mask, symbolising these memories, in bad dreams, grimaces beside her left hand. The eyes of the mask are cut double so that the thing alters its glance as you move about the chapel, fascinates and is intolerable. The n.o.ble and splendid thighs of the woman again realise a favourite problem of Michael Angelo's. He represented these powerful limbs in the Flood and other parts of the Sistine vault, and in the Leda. Beneath is seen an owl; never before in sculpture has a bird been represented with such power and dignity, save only by the Greeks in the eaglets head on the coin of Eiis. There are wreaths of poppy heads, symbols of sleep, and a moon and stars to crown the head that is like the head of a greater than Diana.

Evening, a brawny, hard-worked man, looks across the chapel with pity towards the Night. He appears to be in the act of straightening and stretching out his limbs, lately bent by the toils of the day, in longed-for rest.

[Image #42]

THE MADONNA AND CHILD

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

The virgin Dawn lifts her weary head, as it were, in despair, that another day of shame and reproach is beginning; her long, lithe limbs and narrow hips contrast with the ample girth and muscular power of the Night. The modelling of the torso of this figure is, perhaps, the finest piece of workmanship in the chapel, and should be studied from every point of view, even from the back of the monument. The muscular forms and the disposition of the lines are so beautiful and true that it is a veritable marvel and wonder of the world. The right proportion of development necessary for a figure of that colossal size to move and live has never been so well calculated. The head is so beautiful that it cannot be spoken about; but must be seen in the position Michael Angelo designed it for, and not tilted upright on an ordinary pedestal as it is always seen in the art schools. All the four figures struggle with the trials, difficulties, and despair of their lives, as who should say, to such a pa.s.s has Medici rule reduced existence in Florence.

One other statue in the Chapel is entirely by the hand of the master, a Madonna suckling the child Jesus, a strong boy straddling across her knee and turning right round to reach the breast. Although unfinished, it is one of Michael Angelo's n.o.blest works; it is a notable example of compactness of design, and of how he left the shape of the block of marble evident in his finished work.

CHAPTER IX

THE LAST ACT OF THE TRAGEDY OF THE TOMB, AND THE DAY OF JUDGMENT

As soon as Michael Angelo arrived in Rome, in 1535, he set to work to complete his contract for the Tomb of Julius, and marbles that had waited in silence for his liberating hand began to resound with the clink of the iron. The two Slaves in the Louvre appear to have been worked upon once again at this date, if we may judge by their likeness to the work in the Dawn and the Day. After the death of Clement the new Pope, Paul III., Farnese, sent for him and requested him to enter his service, as Condivi tells us.(147) Paul III., in a brief dated September 1, 1535,(148) appointed Michael Angelo chief architect, sculptor, and painter at the Vatican; he became a member of the Pope's household, with a pension of 1200 golden crowns, raised on the revenue from a ferry across the river Po, at Piacenza. This was so unremunerative, however, that it was exchanged for a post on the Chancery at Rimini. And now the doors of the Sistine Chapel once more close upon the master, not to be opened again until the Christmas of 1541.