Ten original drawings, one, a Pieta, belonged to Tommaso dei Cavalieri.

A little design for the facade of a palace.

A design for a window in the Church of Saint Peters.

An old plan of the Church of Saint Peter's, said to be after the model of San Gallo, on several pieces of paper glued together.

A drawing of three small figures.

Architectural drawings for a window and other details.

A large cartoon for a Pieta, with nine figures, unfinished.

Another large cartoon, with three large figures and two putti.

Another large cartoon, with one large figure only.

Another large cartoon, with the figures of our Lord Jesus Christ and the glorious Virgin Mary, His mother.

Another, the Epiphany.

This last drawing was presented to the notary who drew up the will, and is supposed to be the cartoon now in the British Museum; all the others went to Lionardo Buonarroti. Lionardo arrived three days after the death. The body was deposited upon a catafalque in the Church of the Santissimi Apostoli, where the funeral was celebrated by all the artists and Florentines in Rome. In fulfilment of the wish of Michael Angelo, repeated two days before his death, Lionardo made arrangements for the removal of his uncle's remains to Florence. But the Romans, who regarded him as a fellow citizen, resented this, and Lionardo was obliged to send the body away disguised as a bale of merchandise, addressed to the custom-house at Florence. Vasari wrote, on March 10, duly informing him that the packing-case had arrived, and had been left under seals until Lionardo's arrival at the custom-house. Notwithstanding this letter from Vasari, it appears that the body was removed, on March 11, to the oratory of the a.s.sunta, beneath the Church of San Pietro Maggiore. Next day the painters, sculptors, and architects of the newly-founded Academy, of which Michael Angelo had been elected Princ.i.p.al after the Duke, met at the church, intending to bring the body secretly to Santa Croce. They had with them only an embroidered pall of velvet and a crucifix to place upon the bier.

At night the elder men lighted torches and the younger strove with one another to bear the coffin. Meantime the curious Florentines found out that something was going forward, and a great concourse a.s.sembled as the news spread that Michael Angelo was being carried to Santa Croce, and huge crowds followed the humble procession, lighted by the flaring torches such as the Misericordia carry to this day. The vast church of Santa Croce was so crowded that the pall-bearers had difficulty in reaching the sacristy with their burden. When they at last got there, Don Vincenzo Borghini, Lieutenant of the Academy, "thinking he would do what was pleasing to many, and also, as he afterwards confessed, desiring to behold in death one whom he had never seen in life, or, at any rate, at such an age that he did not remember it, ordered the coffin to be opened. When this was done, whereas he and all of us present expected to find the corpse already corrupted and defaced, inasmuch as Michael Angelo had been dead twenty-five days and twenty-two in his coffin, lo! we beheld him instead perfect in all his parts and without any evil odour; indeed, we might have believed that he was resting in a sweet and very tranquil slumber. Not only were the features of his face exactly the same as when he was in life (except that the colour was a little like that of death), none of his limbs were injured or repulsive; the head and cheeks to the touch felt as though he had pa.s.sed away only a few hours before. When the eagerness of the mult.i.tude who crowded round had calmed down a little, the coffin was deposited in the church, behind the altar of the Cavalcanti."

Those who would read of the gorgeous catafalque of stucco, woodwork, and painting erected in the Church of San Lorenzo by the Academy, may do so in the pages of Vasari, and in the book called "Esequie del Divino Michel Angelo Buonarroti, celebrate in Firenze dall' Academia, &c., Firenze, i Giunti, 1564," and Varchi's "Orazione Funerali," published by the same house at the same date. The great artist is dead: let us leave him to his rest in Santa Croce, the Westminster Abbey of his city and the church of his ward.

Vasari received from Lionardo Buonarroti the commission to design the tomb for Santa Croce. He did his best to get the Pieta now in the Duomo to serve as the princ.i.p.al part of the monument, a.s.serting that it had been intended by Michael Angelo for his monument. "Besides, there is an old man in the group who represents the sculptor." This plan did not succeed, and the ugly monument now in existence was designed instead. The Duke supplied the marbles, and the figures were carved by Giovanni dall' Opera, Lorenzi and Valerio Cioli. The bust portrait in bronze was modelled by Battista Lorenzi. It was erected in 1570, and bears the inscription:

MICHAELI ANGELO BONAROTIO E VETVSTA SIMONIORVM FAMILIA SCVLPTORI. PICTORI. ET ARCHITECTO FAMA OMNIBVS NOTISSIMO.

LEONARDVS PATRVO AMANTIS. ET DE SE OPTIME MERITO TRANSLATIS ROMA EIVS OSSIBVS. ATQVE IN HOC TEMPLO MAIOR SVOR SEPVLCRO CONDITIS. COHORTANTE SERENISS. COSMO MED.

MAGNO HETRVRIAE DVCE. P. C.

ANN. SAL. CIC. IC. LXX VIXIT ANN. Lx.x.xVIII. M. XI. D. XV.

The Romans also erected a monument in the church where they had hoped to keep the bones of the artist who did more for their Immortal City than any man who ever lived. Over this monument is the following epitaph:

MICHAEL ANGELUS BONARROTIUS SCULPTOR PICTOR ARCHITECTUS MAXIMA ARTIFIc.u.m FREQUENTIA IN HAC BASILICA SS. XII APOST. F.M.C.

XI CAL. MART. A. MDLXIV ELATUS EST CLAM INDE FLORENTIAM TRANSLATUS ET IN TEMPLO S. CRUCIS EORUMD. F.

V. ID. MART. EJUSD. A. CONDITUS TANTO NOMINI NULLUM PAR ELOGIUM

Michael Angelo formed no school, his love of excellence would not permit him to leave any inferior work behind him, as Raphael did in certain portions of the Stanze and Loggia of the Vatican. Michael Angelo's disposition was not so genial nor were his manners so universally pleasing as those of the gentle Raphael, so he was unable to keep a body of workmen together in good temper; the result is, we have no Sala of Constantine, or Palazzo del Te, to remind us of the pa.s.sing of the master of a school. At the same time, to his few a.s.sistants and workmen Michael Angelo was as kind as father to son, when once he became accustomed to them about him.

He gave help to various other artists, and it may be noted that all those he influenced became men devoted to high finish and the utmost perfection possible. Decadence in Italian art began long before his death; but the imitators of Michael Angelo are by far the best and most interesting figures of that unfortunate period. They, at least, have great intentions, and strive to attain a style of dignity and distinction, and do not grudge any labour that may help them to their ideals. Vasari tells us of some of these men and their works: "He loved his workmen and was on friendly terms with them. Among them were Jacopo Sansovino, Il Pontormo, Daniele da Volterra, and Giorgio Vasari Aretino, to whom he showed infinite kindness...." He goes on to say that "he was unfortunate in those who lived with him, since he chanced upon natures unfit to follow him. For Pietro Urbano, of Pistoja, his pupil, was a man of talent, but would never work hard. Antonio Mini had the will but not the brain, and hard wax takes a bad impression. Ascanio della Ripa Transone (Condivi) worked very hard, but nothing came of it either in work or in designs." Jacopo l'Indaco and Minegh.e.l.la were boon companions of the master. A stone-cutter Domenico Fancelli nicknamed Topolino, Pilote the goldsmith, Giuliano Bugiardini the painter, were of this company. The melancholy Michael Angelo is said to have burst his sides with laughing at Minegh.e.l.la's stupidity. The very proper Vasari describes the latter as "a mean and stupid painter of Valdarno, but a very amusing person; and Michael Angelo, who could with difficulty be made to work for kings, would leave everything to make simple drawings for this fellow, San Rocco, San Antonio, or San Francesco, to be coloured for one of the man's many peasant patrons; among others Michael Angelo made him a very beautiful model of a Christ on the Cross, made a mould from it, and Minegh.e.l.la cast it in _papier-mache_ and went about selling it all over the country-side." It may be that the familiar and often-repeated Crucifix in common use is an adaptation or copy, far removed from this original; it has something of the style of Michael Angelo's later work, the figure is most beautifully disposed.

Sebastiano del Piombo lightened the old man's labour by his genial humour and jovial companionship; Sebastiano followed his teaching with great industry and skill, as all his later works show; such as the Scourging of Christ, in San Pietro in Montorio, and the Raising of Lazarus, in our own National Gallery: drawings by the hand of Michael Angelo still exist for the princ.i.p.al figures in both these pictures. There is a Pieta by Sebastiano, at Viterbo, evidently following the lines of one of Michael Angelo's religious drawings; it is so beautiful in the expression of its colour and the high finish of the nude, that we cannot but think that Michael Angelo's exacting eyes were peering over the shoulder of Sebastiano when he painted it.

Per ritornar la donde venne fora, L' immortal forma al tuo carcer terreno Venne com' angel di pieta si pieno Che sana ogn' intelletto, e'l mondo onora.

Questo sol m' arde, eqesto m' innamora; Non pur di fora il tuo volto sereno: Ch' amor non gia di cosa che vien meno Tien ferma speme, in cu' virtu dimora.

Ne altro avvien di cose altere e nuove In cui si preme la natura; e'l cielo E ch' a lor parto largo s' apparecchia.

Ne Dio, suo grazia, mi si mostra altrove, Piu che 'n alcun leggiadro e mortal velo; e quel sol amo, perche 'n quel si specchia.

APPENDIX

THREE DIALOGUES ON PAINTING COMPOSED BY FRANCISCO D'OLLANDA, A PORTUGUESE MINIATURE PAINTER WHO WAS IN ROME IN THE YEAR 1538. TRANSLATED FROM THE PORTUGUESE, WITH THE HELP OF MR. A.J. CLIFT, BY CHARLES HOLROYD. THE Ma.n.u.sCRIPT WAS PUBLISHED FOR THE FIRST TIME IN THE RENASCENCA PORTUGUEZA NO. VII.

PORTO, 1896

FIRST DIALOGUE

My intention in going to Italy was not to seek for advantage or honour, but to study. I was sent there by my King, and I had no other interest in view (such as having intercourse with the Pope or with the Cardinals of the Court; and this G.o.d knows and Rome knows, if I had wished to dwell there per-adventure I did not lack opportunities, both for myself and by the favour of the princ.i.p.al persons in the Pope's household), but all ideas of this kind were so subdued in me, that I did not even allow them to enter into my imagination; others I had, more n.o.ble and more to my taste, which had much more power over me than covetousness or expectation of benefits such as many people have who go to Rome. What alone was always present to me was how I, with my art, might serve the king our Lord, who had sent me there, communing always with myself how I could steal and convey away to Portugal the excellencies and beauties of Italy to please the King and the Infantas and the most serene Infante D. Luiz. I used to say to myself: What fortresses or foreign cities have I not yet in my book? What immortal buildings and what n.o.ble statues does this city still possess which I have not already stolen from it and carried away without carts or ships on thin paper? What painting, stucco, or grotesque has been discovered amongst these grottoes and antiquities of Rome, Puzol, and Baias, of which the most rare is not to be found in my sketch-books? Thus I beheld nothing either antique or modern in painting, sculpture or architecture of which I did not make some record of its best part, it appearing to me that these were the greatest benefits that I could carry away with me, more honourable and profitable to the service of my King and to my own taste. I do not think I have made a mistake (although some people tell me I have), for as these things alone were my care, my dispute and demand, no great Cardinal Fernes had to help me, nor had I a greater Dattario to obtain, in order to go one day to see D. Julio de Macedonia, a most famous illuminator, and another day Master Michael Angelo, now Baccio the n.o.ble sculptor; then Master Perino, or Bastiao Veneziano, and sometimes Valerio de Vicenca, or Jacopo Mellequino, architect, and Lactancio Tolomei, the acquaintance and friendship of these men I valued much more than others of more parade and pretension (as if there could be greater in the world, and so Rome values them); because from them, and from their works in my art, I obtained some fruit and knowledge. I amused myself in discussing with them many rare and n.o.ble works both of ancient and modern times. Master Michael especially I esteemed so much that if I met him either in the palace of the Pope or in the street, we could not part until the stars sent us to rest. D. Pedro Mascarenhas, the Amba.s.sador, is my witness what a great thing this was and how difficult; and, too, of the tales M. Angelo, when coming out of vespers one day, told about me and about a book of mine in which I had drawn some things in Rome and Italy, to Cardinal Santtiquatro and to him. Now my habit was to go round the solemn temple of the Pantheon and note all its columns and proportions; the Mausoleum of Adrian and that of Augustus, the Coliseum, the Thermae of Antoninus and those of Diocletian, the Arch of t.i.tus and that of Severus, the Capitol, the theatre of Marcellus and all the other notable things in that city, the names of which have already escaped me.

At times, too, I was not turned out of the magnificent chambers of the Pope, I only went there because they were painted by the n.o.ble hand of Raphael of Urbino. I loved more those antique men of stone sculptured on the arches and columns of the old buildings, than those more inconstant which everywhere weary one with talking, I learned more from them and from their grave silence.

Now amongst the days which I thus pa.s.sed in that Court there was a Sunday on which I went to see Messer Lactancio Tolomei, as others did; it was he, with the a.s.sistance of Messer Blosio, the Pope's secretary, who gave me the friendship of Michael Angelo. And this M. Lactancio was a very important personage, both on account of n.o.bility of mind and of blood (he being a nephew of the Cardinal of Siena), as well as through his knowledge of Latin, Greek and Hebrew letters, and for the authority of his years.

But finding in his house a message that he was at Monte Cavallo, in the church of St. Silvester, with the Lady Marchioness of Pescara, listening to a lecture from the Epistles of St. Paul, I went to Monte Cavallo and to St. Silvester. Now Senhora Vittoria Colonna, Marchioness of Pescara, and sister of Senhor Ascanio Colonna, is one of the most ill.u.s.trious and famous ladies in Italy and in all Europe, which is the world, chaste yet beautiful, a Latin scholar, well-informed and with all the other parts of virtue and fairness to be praised in woman. She, after the death of her great husband, took to a private and simple life, contenting herself with the fact that she had already lived in her estate, and loving henceforward only Jesu Christ and good deeds, doing good to poor women and bearing the fruits of a true Catholic. For my friendship with this lady also I was indebted to M. Lactancio, who was the most intimate friend that she had.

Having commanded me to sit down, the lecture and its praises over, the Marchioness looking at me and at M. Lactancio, if I remember rightly, said:

"Francisco d'Ollanda will be better pleased to hear M. Angelo talk about painting, than Brother Ambrosio expound this lesson."

Then I, almost angry, answered her:

Why, madam, does it appear to your Excellency that I can attend to nothing but painting? Truly I shall always be pleased to hear M. Angelo, but when the Epistles of St. Paul are read, I prefer to hear Brother Ambrosio."

"Do not be angry, M. Francisco," M. Lactancio then said, "for the Marchioness does not think that the man who is a painter will not be everything. We esteem painting higher in Italy. But perchance she said that to you in order to give you, beyond what you already have, the further pleasure of hearing Michael."

I then replied:

"Her Excellency will be doing no more than she is in the habit of doing, giving always greater favours than one dares to ask."

The Marchioness, knowing my mind, called one of her servants, and said, smiling:

"To those who know how to express thanks one must study how to give, especially as I get as much in the giving as Francisco d'Ollanda does in receiving. Foao, go to the house of M. Angelo and tell him that I and M.

Lactancio are here in this quiet chapel, and that the church is closed and very pleasant, if he cares to come and lose a little of the day with us, so that we may gain it with him. And do not tell him that Francisco d'Ollanda, the Spaniard, is here."

As I was whispering something about the discretion of the Marchioness in everything, in the ear of Lactancio, she desired to know what it was about.

"He was telling me," said Lactancio, "how well your Excellency knows how to preserve decorum in everything, even in a message. M. Michael is already more his friend than mine, for he tells me that when they meet, Michael Angelo does all he can to shun his company, seeing that when they once come together they never can part."

"I know that, for I know Master Michael Angelo," she returned; "but I do not know in what manner we shall treat him so that we may lead him on to talk of painting."