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THE DAY OF JUDGMENT

(_From a print in the British Museum_)

Michael Angelo had to destroy three frescoes by Perugino and two lunettes of his own upon the altar wall of the Sistine Chapel for his new scheme.

He is said to have had the wall rebuilt of well-baked bricks, so possibly the old frescoes had suffered from damp and dirt. Vasari says Fra Sebastiano del Piombo prepared the wall for Michael Angelo, and secretly had it grounded for oil painting, no doubt hoping himself to be employed in the work, as oil was his special medium. Michael Angelo was very wroth with his old friend for this, and declared that oil painting was an art only fit for women and crazy fellows. We hear of no further intercourse between Michael Angelo and the jovial frate. Vasari attributes their coolness to this incident.

Hieronimo Staccoli wrote a letter in July 1537,(149) to the Duke of Camerino, son and heir to the Duke of Urbino, about a salt-cellar designed for him by Michael Angelo. This prince was afterwards a good friend to the master, and his letter of September 7, 1539, informs us of the position of affairs with regard to the Tomb of Julius during the progress of the large painting in the Sistine:-

"DEAREST MESSER MICHAEL ANGELO,-It always has been, and now is, more than ever our infinite desire, as you will naturally imagine, to see the Tomb to the sainted memory of Pope Julius, my uncle, brought to a good conclusion by you, and we know well that it belongs to our duty to have good care of it, and see it ultimately finished, being held to it as you so well know by that sainted spirit: nevertheless, having heard by letters from our amba.s.sador at Rome the great desire of our Lord, we must comfort ourselves with all patience whilst this said work is pa.s.sed over by you. As long as His Holiness holds you busy in finishing the picture in the said chapel of Sisto; not being able or willing, but by our duty and our natural inclination in this as in all things to otherwise than comply with his wishes, we are contented to agree with a good grace, on reflection and by the reverence we bear to His Holiness. You may, therefore, fairly go on with the painting until the work is finished; but with a firm hope and belief that when it is done you will give yourself up entirely to finishing the said Tomb, redoubling your diligence and care to make up for the loss of time, as His Holiness has also promised you shall, kindly offering himself to urge you to do it; and to this end we have written you this letter. So long a time has pa.s.sed since this said Tomb was begun that we cannot persuade ourselves but that you are equally desirous with us to see it finished; and esteeming you an honourable man, as we certainly believe you are-you cannot be otherwise with your singular virtue-we judge it superfluous to give you any admonition except that you keep yourself in good health, in order that you may honour those sainted bones that living honoured you and the other gifted men of that age, by all that we have so often heard. We beg you will make use of us if there is any other matter in which we can do you pleasure, for we shall do it with that good will which your most rare gifts deserve. And keep well."

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THE JUDGE. FROM "THE DAY OF JUDGMENT"

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

Shortly before the fresco was finished, Vasari informs us that Michael Angelo had a bad fall from the scaffolding, and injured his leg. He returned home, shut himself up in his house, and would not allow any doctor to come near him or even enter the house. A certain Florentine physician and lover of the arts, Baccio Rontini, contrived to creep in by a back door, and roamed about until he found the master. He then insisted upon remaining with him, looking after him until he had effected a complete cure.

The Last Judgment was shown to the public upon Christmas Day, 1541. In this picture of the Day of Wrath, Michael Angelo has concentrated all his energies to represent the terror of the wrath of G.o.d. It is Jehovah with His thunders that rises before the frightened ma.s.s of human souls. The Holy Mother crouches beside Him, turning her face away so as not to see the wrath to come. Even the saints look with dread towards the great Judge, fearing lest they too should be condemned. Martyrs brandish the emblems of their martyrdom before His eyes to plead for them, and, as some have said, claim vengeance for their pains. Michael Angelo would have us realise that no human soul is innocent beside the Holiness of Heaven. The gentle happiness of the redeemed, as represented by the blessed Frate Angelico is absent from the scene-it could not appear without destroying the unities of the tragedy. Peace will follow as the blessed walk in the Elysian fields after they have pa.s.sed, with a fearful joy, from the judgment seat. Michael Angelo has followed the traditional composition of the subject in all its lines and details, adapting it with the least change possible to the s.p.a.ce at his command, and to the superior knowledge of the drawing of the human form that he possessed. It is most interesting to compare this rendering with the same subject in the Campo Santo at Pisa. Every part of the composition is repeated, the action of the Judge, the Madonna beside Him on His right, Apostles on either side, the resurrection of the dead, the descent into h.e.l.l, the angels blowing the trumpets in the centre of the lower part, the angels bearing the cross and other implements of the Pa.s.sion in the upper corners. This crowded ma.s.s of figures is divided into nine several parts, all the figures and groups having room enough to move, and to spare. The more this work is studied in detail the more beautiful the forms appear, and the more daring and skilful the foreshortenings are found to be. Every figure is beautiful, and every one of them n.o.ble. The picture is full of symbolism in the details, and may be studied every day, and new thoughts and new meanings found in it. Souls that help each other in their upward struggle. Beads of prayers with which one good righteous man draws souls to heaven. The wife who lifts up her despairing husband; his expression of awe and doubt as he rises upward. Souls long separated by death rush together in close embrace; father and son, husband and wife. Dante is there thirsting for deepest mysteries, his face positively thrust between St. Peter and St.

Paul. Souls driven down to h.e.l.l, beautiful and n.o.ble as are those destined for heaven; even their despair is dignified as if they a.s.sented to their doom as just. Old Charon, in his boat, "with eyes of bra.s.s, who beats the delaying souls with uplifted oar," is taken directly from Dante:-

Caron demonio con occhi di bragia Loro accenando, tutte le raccoglie, Batte col remo qualunque si adagia.

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SPIRITS OF THE BLESSED, PART OF "THE DAY OF JUDGMENT"

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

Those portions of the fresco in the semicircular s.p.a.ces at the top, angels bearing implements of the Pa.s.sion, appear to have been painted the last.

They approximate in style to the works afterwards done in the Pauline Chapel, and are not so absolutely true in drawing as the rest of the work.

Here, for the first time, is a sense of fatigue in the workmanship. They appear to have been treated as two separate compositions filling their lunettes. Michael Angelo has used the favourite device of Raphael to give movement, direction, and force of line, two figures pointing almost side by side in almost exactly parallel actions. Nothing gives so much sense of rush, as may be seen in many of the compositions in the Loggia. One instance here is the angel bearing the Crown of Thorns and the figure near him. Another is just below, two figures near the right arm of the Judge.

One of the finest and most superb groups ever designed by Michael Angelo is the group of angels blowing the trumpets of doom in the forefront of the fresco. Their energy and power, compared with the placid angels of Pisa and Orvieto, exhibit the different aims of the artist most effectively. It must be noticed how carefully Michael Angelo has arranged his composition, so that the baldacchino used behind the High Altar upon great occasions shall not injure his composition. The group of angel trumpeters, the Charon and the devils in a cave, are all hidden and cut off exactly by the curtains, and the composition generally is positively improved by their absence. Michael Angelo, no doubt, thought the fresco would be most seen on such occasions, and designed his work accordingly.

The s.p.a.ce hidden, however, he did not neglect, but placed in it some of his finest work.

The prophet above this end of the chapel is Jonah, whose history is a symbol of the resurrection of the dead. His presence there makes us suppose that Michael Angelo always contemplated the possibility of his having to paint the Last Judgment upon this wall, although he himself painted the lunettes now covered by the larger composition. The colour of this fresco is very much darkened by dust and by smoke from the altar candles; and, as it is more within reach than the vault, it has been retouched. It should be a source of comfort to those who get tired with looking upward at pictures in high places, if they will but remember that their beloved paintings have often been protected from the restorer by their high position. There is an interesting early copy of this fresco in the Corsini Gallery in Florence, which, though rather crude, gives us a good idea of the light tone of the painting in its early state.

This work was received by artists with enthusiasm, reflected in the pages of Vasari. They came from all parts to study it; in fact, most of the drawings attributed to Michael Angelo in collections are their studies from it, and not his studies for it, as they are called. As a general rule, whenever there are two or more figures drawn in a group, all equally finished and accurately in the same position as the figures in the fresco, the drawing may be a.s.sumed to be a copy.

Two sections of the public, even then, were unable to receive Michael Angelo's message of the beauty and purity of the human figure. Not only scandalous persons, like Aretino, objected to them, but pious people, who could not and cannot yet be brought to believe in the splendour and holiness of the Creator's work. Vasari tells us that when Michael Angelo had almost finished the work Pope Paul came to see it, and Messer Biagio da Cesena, Master of the Ceremonies, a very particular person, was with him in the chapel, and was asked what he thought of it. Messer Biagio da Cesena replied that he considered it highly improper to paint so many shameless, naked figures in such an honourable building, and that it was not a fit work for the Pope's chapel, but more suitable to a bagno or an inn. Michael Angelo nettled by this resolved to revenge himself at once.

As soon as they left the chapel he set to work and drew Messer Biagio's portrait, from memory, in h.e.l.l as Minos, with a great serpent twisted round his legs, surrounded by a crowd of devils. Messer Biagio complained to the Pope, who asked him where he was placed? "In h.e.l.l," was the reply.

"Then I can do nothing to help you," said the Pope; "had the painter sent you to purgatory I would have used my best efforts to get you released, but I exercise no influence in h.e.l.l, _ubi nulla est redemptio_." Some years afterwards Paul IV. objected to the naked figures, and employed Daniele da Volterra to patch draperies on to some of them, with Michael Angelo's consent, whereby Daniele obtained the nickname of Il Braghettone, or the breeches-maker. Daniele did his work with a good deal of discretion, hiding as little of the original fresco as possible: the additions are unfortunately offensive in colour. The early engravings show the picture in its original state, and show that the additions are not so many or so important as might be supposed, as most of the larger ma.s.ses of draperies are seen to be Michael Angelo's own work. When the Pope obtained Michael Angelo's consent to this alteration, the artist replied to his messenger: "Tell his Holiness this is a small matter, and can easily be set right. Let him look to setting the world in order: to reform a picture costs no great trouble." Pius V. also employed Girolamo da Fano to make some further alterations. These retouches _a secco_ have destroyed to a great extent the atmospheric quality and the relation of the planes in Michael Angelo's suave true-fresco method, which, as may be seen in the vault, gives the grey half-tints of the flesh-tones in a way only equalled by Andrea del Sarto in fresco and Rembrandt in oil painting.

As soon as Michael Angelo had finished the Last Judgment, Paul III. set him to work again to fresco the walls of the chapel of the Holy Sacrament, just completed by Antonio da San Gallo, and now known as the Cappella Paolina. Michael Angelo had hoped to complete the Tomb of Julius at once, with his own hand, but the Pope's determination necessitated further negotiations with the Duke of Urbino. The Duke wrote to Michael Angelo upon March 6, 1542, saying that he would be quite satisfied if the three statues by his hand, including the Moses, were a.s.signed to the Tomb, the execution of the rest being left to competent workmen under him.(150)

There is also a pet.i.tion from Michael Angelo to Paul III.(151) stating that his Holiness the Pope's commission for Michael Angelo to work and paint in his new chapel prevents him finishing the Tomb as agreed with the ill.u.s.trious signor Duke of Urbino. "Already Raffaello da Monte Lupo, the Florentine, considered one of the best masters of the time, was well forward with the standing group of the Madonna with the Child in her arms, and a Prophet and a Sibyl seated, for four hundred scudi. The rest of the decoration, excepting the part in front, was in the hands of Master Giovanni de' Marchesi and Francesco da Urbino, chisellers and carvers in stone, for seven hundred scudi. But there still remained to be supplied the three figures to be carved by Michael Angelo's own hand, that is to say, a Moses and two captives. But as the two said captives were designed for the work when it was to have been on a much larger scale, they would not fit in the reduced design, nor could they in any way be made to look well there. Accordingly the said Messer Michael Angelo, not to lose his honour, had blocked out two new statues to go on either side of the Moses, representing the Active and Contemplative Life, which are well advanced, so that they may be easily finished by another master. Michael Angelo desires and supplicates his Holiness our Lord the Pope Paul the Third, in order that he may work in his chapel, which needs all his energies and his entire care, and he being aged, and desiring to serve the Pope with all his power, to free him from his obligation to the signor Duke of Urbino with regard to the said Tomb, cancelling and annulling every obligation.

Especially, to allow him to hand over the two statues that remain to be done to the said Raffaello da Montelupo, or to some one pleasing to his Excellency, for a good price, which it is thought would be 200 scudi. The Moses will be finished entirely by Michael Angelo, and arrangements will be made by Michael Angelo to pay the money due for these workers ... and so he will be free in all things and able to serve and satisfy his Holiness." Finally, he deposits a sum of 1200 crowns, and guarantees that the work shall be efficiently executed in all its details. The final contract in agreement with this pet.i.tion was signed upon August 20, 1542.(152)

The mighty design of Michael Angelo's early years of enthusiasm dwindled down to the Moses, but what a height above other men's biggest designs is this single figure! The Cardinal was right who said the statue of Moses alone was a sufficient memorial of Julius. In a letter to Salvestro da Montauto, of February 3, 1545(153), Michael Angelo says that the Duke of Urbino ratified the deed, and the five statues were given to Raffaello da Montelupo to be carved. "Of these five statues my Lord the Pope having at my earnest prayer and for my satisfaction conceded to me a little time, I finished two of them with my own hand, that is to say, the Contemplative Life and the Active Life for the same sum that the said Raffaello was to have had." From the works themselves we may be sure that there is a good deal of Raffaello da Montelupo about these figures all the same.

Notwithstanding all this evidence of the desire of Michael Angelo to carry out his contract, we have a letter(154) from Annibale Caro to Antonio Gallo as late as 1553 entreating him to plead with the Duke of Urbino for Michael Angelo. "I a.s.sure you that the extreme distress caused him by being in disgrace with his Excellency is sufficient to bring his grey hair with sorrow to the grave before his time."

In the finished work there are statues not yet accounted for, that is to say, the rec.u.mbent portrait of the Pope which was executed by Maso del Bosco, the coat of arms of the Della Rovere by Battista Benti of Pietra Santa, and the terminal figures by Giacomo del Duca. The greatest drawback to the effect of the whole is the change in the architectural treatment and decorations. The lower part belongs to the period when the work was begun in 1505, and the upper, with no transition but a joint in the stone, to the heavier and coa.r.s.er style of the period when it was finished, 1545.

The jointing and the masonry generally are not of a satisfactory character,(155) and Michael Angelo's a.s.sistants cannot be congratulated upon the way they did their share of the work. With the exception of the figures of Active and Contemplative Life, the work of the a.s.sistants would be better away.

The two bound captives which were too big for the altered monument are now the glory of the Italian sculpture galleries of the Louvre. They were presented by Michael Angelo to Roberto degli Strozzi, because, when the sculptor was ill in 1544, Luigi del Riccio, his friend, nursed him and looked after him in the Strozzi Palace. They were taken to France and offered to the King of France, who gave them to the Connetable de Montmorenci; they were placed by him in Ecouen. They were bought for the French nation by M. Lenoir when the Republic put them up for sale in 1793.

Four unfinished colossal figures, which still appear to be wrenching themselves from their prison of stone, now lurk in the corners of a repulsive grotto in the Boboli Gardens. They are supposed to have been also for the Tomb of Julius. Heath Wilson suggests that they may have been intended for the facade of San Lorenzo. The difficulty as to scale that caused a doubt as to their being intended for the Tomb does not really disprove it; for Michael Angelo was never very particular as to the comparative size of the figures in his monuments, and the many alterations of his schemes for the Tomb make it possible for them to have been worked in somehow. It is very probable that when he was at Florence, and after some of the more threatening letters of the executors, he set savagely to work upon some blocks ready to his hand, with the idea of having them conveyed to Rome afterwards. They belong to about the time of the siege of Florence, and are more suggestive of his method of work, and of his thoughts in the presence of the stone, than any other of his statues. If they were removed from their ugly surroundings and placed, say, in the Tribuna of David in the Belle Arti at Florence instead of the plaster casts that represent the master in his own city, they, with the other fragments, such as the Saint Matthew, the Apollo, the Victory, and the other works in the Bargello, would make a gallery of his art even worthy of Michael Angelo. Failing such a possibility, they might, at least, be placed under the Loggia dei Lanzi, away from the repulsive grotesque of stucco and stalact.i.te that grins at them in the grotto. If something must be left as a companion to the ugly thing, plaster casts would be quite good enough.

The Victory, of the Bargello, was said by Vasari to have been designed for the Tomb, but it may just as well have been intended for an angel overcoming a demon, part of the ruined scheme for the facade of San Lorenzo. The lower figure is still left in the rough, and is supposed to be like the artist. The head of the upper figure is so dull that it cannot have been carved by the sculptor who finished the torso so exquisitely. It may have been left a mere block, like the head of one of the captives of the Boboli. The man who carved the head, and also worked on other portions of the group, turned the neck round too much. If we imagine the head less turned and looking down towards the crouching figure, conquered by the young genius of beauty and victory, we shall see the grace in the pose of the torso to greater advantage. We imagine a somewhat similar story for the figure in the Bargello, called the Adonis. The boar cannot be by Michael Angelo's hand, and, indeed, very little of the figure suggests his grasp of plastic possibilities; the figure cannot have been much more than blocked out by him, and was finished after his death by some artist of the type of Vincenzio Danti.

CHAPTER X

THE CHAPEL OF POPE PAUL, AND THE PIETa OF SANTA MARIA DEL FIORE

Michael Angelo wrote a number of sonnets and made many drawings for his friends, especially for the Marchioness of Pescara and Messer Tomaso dei Cavalieri, a n.o.ble Roman gentleman. For him they were generally subjects from Greek and Roman mythology, but for the Marchioness the drawings always represented episodes from the story of the Pa.s.sion of our Lord. A Pieta, drawn for this lady, was engraved by Giulio Bonasoni and Tudius Bononiensis in 1546. There are several drawings in the Print Room of the British Museum and the Windsor and Oxford Collections of this character and period. One at Oxford was probably the original sent to Vittoria, but all are of the same sacred inspiration; in fact, the religious element becomes very strong indeed in all his later work, just as in the later work of t.i.tian. These artists had the near prospect of death in view, and thus they turned their thoughts entirely to work from which they hoped for reward in the world to come. The fear of h.e.l.l was not without its influence upon both of them.

Some of the drawings made by Michael Angelo for his friend, Tomaso Cavalieri, are mentioned in one of Tomaso's letters, dated 1533.(156)

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THE CRUCIFIXION OF SAINT PETER

THE CHAPEL OF POPE PAUL, THE VATICAN, ROME (_By permission of the Fratelli Alinari, Florence_)

"UNIQUE MY LORD,-Some days ago I received a letter from you, which was very welcome, both because I learned by it that you are well, and also because I can now be sure that you will soon return. I was very sorry not to answer at once. However, when you know the cause, you will hold me excused. On the day your letter reached me I was very sick, and in such a high fever that I was at the point of death; and verily I should have died if it had not revived me.

Since then, thank G.o.d, 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 Phaeton, 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 expressed a wish to inspect all your drawings, and they pleased him so much that he said he should like to have a t.i.tyos and Ganymede done in crystal. I could not prevent him from using the t.i.tyos, and it is now being executed by Master Giovanni.

I struggled hard to save the Ganymede. The other day I went, as you requested, to Fra Sebastiano. He sends a thousand messages, but all to pray you to come back.

"Your affectionate,

"THOMAS CAVALIERI."