The story of a Cupid, carved and coloured in imitation of the antique, is given by Condivi.(69) It was the cause of Michael Angelo's first visit to Rome. As soon as he reached the Eternal City he set to work at his sculpture, as the purchase of a piece of marble mentioned in his letter to Pier Francesco de' Medici, sent to Florence under cover to Sandro Botticelli,(70) indicates. During the whole of this very important visit he worked in marble. We have, however, one record of a cartoon by him for a Saint Francis receiving the Stigmata, to be painted by a certain barber; but that is all. He studied the works of antique art and imitated the finish and softness of the h.e.l.lenic style: marbles of debased Greek workmanship abound to this day in the Roman collections. Messer Jacopo Gallo, a Roman gentleman and a banker, commissioned a Bacchus, now in the Bargello at Florence, and a Cupid, said to be the statue now in the Victoria and Albert Museum, South Kensington. Condivi records these commissions.(71) This Bacchus is the least dignified work that Michael Angelo ever executed. Perhaps, like a young artist struggling to get on, he listened too much to the wishes and suggestions of his intelligent patron. The finish and the truth to nature of the unpleasant youth are exquisite. The folds of the skin and the softness of the flesh are perfectly rendered, but the work is repulsive, save for the mischievous little Satyr who steals the grapes; he seems to take us out into the open air, and away from the fumes of the wine shop. Condivi calls the second statue a Cupid,(72) but Springer points out(73) that Ulisse Aldovrandi, who saw the statue in Messer Gallo's house at Rome, talks of an Apollo quite naked, with a quiver at his side and an urn at his feet. The work, Cupid or Apollo, at Kensington, is not so finely finished as the other statues of this first Roman period; the head is like a copy of the head of the David, the division between the pectoral muscles is weak, and their attachments to the breast-bone are round, regular, and without distinction, very different from either the naturalism of the Bacchus, the delicate truth of the Pieta, or the dignified abstraction of the David, done very shortly afterwards. This work at Kensington was discovered some fifty years ago in the cellars of the Gualfonda (Rucellai) Gardens by Professor Miliarini and the sculptor Santarelli. The left arm was broken, the right hand damaged, and the hair unfinished, as may be seen to-day; Santarelli restored the arm. The statue is like the work of a poor imitator. A work by Michael Angelo may easily have been destroyed in troublous times, but can never have been lost and forgotten. He has always had lovers in every age; unlike the primitives and the quattrocentisti, he has never been out of fashion.

Whilst Michael Angelo was working away in Rome he was much troubled by family affairs in Florence. After the expulsion of the Medici in 1495, Lodovico lost his post at the Customs, and his three younger sons appear to have been put into trade. Buonarroto, who was the only sensible one left at home, and dearly loved by Michael Angelo, was born in 1477; he was sent to serve in the Strozzi cloth warehouse in the Porta Rossa. All the n.o.ble families of Florence practised some trade, in order that they might share in the Government. Giovan Simone, another brother, born in 1479, led a vagabond life until he joined Buonarroto in a cloth business that was bought for them by Michael Angelo. Sigismondo, born in 1481, was a soldier. At the age of forty he settled down on the small paternal farm at Settignano, and became a mere peasant, very much to the annoyance and chagrin of his famous brother, Michael Angelo, who spent his earnings for the advantage of his brothers, and the advancement of his family, with a kindness and generosity as beautiful as it is rare. Francesca, the mother of Michael Angelo and of the other sons of Lodovico Buonarroti, was married to him in 1472. When she died is not known, but Lodovico married his second wife Lucrezia in 1485. She died childless in 1497, and was buried upon July 9 in the Church of Santa Croce.

In the year 1497 Buonarroto visited Rome, and informed Michael Angelo, the only hope of the family, of their pecuniary troubles. Michael Angelo wrote kindly to his father:

"DOMINO LODOVICO BUONARROTI, _in Florence_.

"In the name of G.o.d, the 19th day of August, 1497.

"DEAREST FATHER, &c.-Bonarroto arrived on Friday; as soon as I knew of it I went to seek him at the inn, and he told me by word of mouth how you are doing, and informed me that Consiglio, the mercer, annoys you very much, and will not, by any means, come to an agreement, and that he wishes to have you arrested. I tell you that you must satisfy him and pay him some ducats on account; and whatever you agree to pay him for the balance, send and tell me, and I will send it to you, if you have it not; although I have but little myself, as I have told you, I will contrive to borrow it, so that you need not take money out of the Monte,(74) as Bonarroto says. Do not wonder that I have sometimes written irritably, for I often get very angry, owing to the many annoyances that happen to one away from his home.

"I had an order to do a work for Piero de' Medici and bought the marble; but I never began it because he did not do as he had promised, so I stayed at home and carved a figure for my pleasure.

I bought a piece of marble for five ducats; it was not good; the money was thrown away. Afterwards I bought another piece, another five ducats, and worked at it for my pleasure; so you must believe that I also have expenses and troubles, and you must make allowances. I will send you the money, though I should have to sell myself into slavery.

"Buonarroto arrived in safety and has returned to his inn; he has a room; he is all right and lacks nothing for as long as he likes to stay. I have no accommodation for him to stay with me, because I am living in another's house. It suffices that I do not let him want for anything. Well, as I hope you are.

"MICHAEL ANGELO, in Rome."

(In the hand of Lodovico.)

"He says he will help me to pay Consiglio."(75)

Nevertheless, Milanesi tells us in a note, Lodovico settled with Consiglio, to whom he owed ninety gold florins, in the way Michael Angelo did not approve and after going to law about it. A letter of Lodovico's refers to the kindness of Michael Angelo in establishing his brothers in the cloth business. It is dated December 19, 1500. "... and more, I know that you have advanced money, and the love you have for your brothers; it is a great consolation to me. About this matter of the money with which you wish to set up Buonarroto and Giansimone in a shop, I have hunted and I am still hunting, but as yet I have not found anything to please me.

True it is I have my hands on a good thing, but it is necessary to keep one's eyes open and to take care not to get into difficulties; I want to go slowly and with good counsel, and I will tell you all about it day by day. Buonarroto tells me how you live yonder, very economically, or rather penuriously; economy is good, but penuriousness is evil, for it is a vice displeasing to G.o.d and man, and, moreover, it is bad for the body and soul. Whilst you are young you will be able to bear these hardships for a time, but when the strength of youth fails you, disease and infirmities will develop, for they are engendered by hardship, mean living, and penurious habits. As I said, economy is good. But, above all, do not be penurious; live moderately and do not stint yourself; above all things avoid hardships, because in your art, if you fall ill (which G.o.d forbid), you are a lost man; above all things have a care of your head, keep it moderately warm, and never wash; have yourself rubbed down, but never wash. Buonarroto also tells me that you have a swelling on your side; it comes from hardship or fatigue, or from eating something bad and windy, or suffering the feet to be cold or damp. I have had one myself, and it still troubles me when I eat windy food, or when I endure cold or such like things. Our Francesco formerly had one, too, and also Gismondo similarly.

Be careful about it because it is dangerous."

The name of Michael Angelo's good friend, Jacopo Gallo, appears in the agreement drawn up concerning the crowning work of this the first Roman period, the Pieta, called the Madonna della Febbre, first placed in the Chapel of Santa Petronilla, and now in the Chapel of Santa Maria della Febbre, on the right of the entrance to St. Peters, in Rome. The commission for this work was given by the Cardinal Jean de la Grostaye de Villiers Francois, Abbot of St. Denis, called in Italy Cardinal di San Dionigi. It is dated August 26, 1498.

[Image #4]

THE MADONNA BELLA PIETa

SAINT PETER'S, ROME (_By permission, of the Fratelli Alinari, Florence_)

"Be it known and manifest to whoso shall read the ensuing doc.u.ment, how the Most Reverend Cardinal of San Dionigi has agreed with the master, Michael Angelo, sculptor of Florence, that the said master shall make a Pieta of marble at his own cost; that is, a Virgin Mary clothed, with the dead Christ in her arms, of the size of a proper man, for the price of four hundred and fifty golden Papal ducats, within the term of one year from the day of the beginning of the work" (the Cardinal agrees to pay certain sums in advance). The contract concludes: "And I, Jacopo Gallo, promise to his Most Reverend Monsignore that the said Michael Angelo will finish the said work within one year, and that it shall be the most beautiful work in marble which Rome to-day can show, and that no master of our days shall be able to produce a better. And similarly I promise the said Michael Angelo that the Most Reverend Cardinal will disburse the payments as written above; and in good faith, I, Jacopo Gallo, have made the present writing with my own hand, according to date of year, month, and day, as above."(76)

Jacopo's boast and promise were justified, for even now there is no finer complete work of sculpture in the whole of Rome than the Pieta at St.

Peter's. It is said that Michael Angelo overheard certain Lombards ascribe the Pieta to their own sculptor, Cristoforo Solari, called "Il Gobbo." He therefore carved his name upon the belt of the Madonna's robe. He never signed any other work. Nothing closes the great period of the fifteenth century so fitly as the Pieta of Michael Angelo, prophesying at the same time the power of the art of the sixteenth.

CHAPTER III

THE DAVID AND THE CARTOON OF PISA

Family affairs recalled Michael Angelo to Florence in the spring of 1501.

He returned full of honours gained in Rome, and took up his position as the first sculptor of the day. His next commission came from Cardinal Francesco Piccolomini, afterwards Pope Pius III. A contract was signed on June 5, 1501, by which Michael Angelo agreed to complete some fifteen statues of male saints within the time of three years, for the Piccolomini Chapel, in the Duomo of Siena. A Saint Francis was begun by Piero Torrigiano, and may have been finished by Michael Angelo. The rest of the four works that were the outcome of this commission can have had nothing to do with the chisel of the sculptor of the Madonna della Febbre and the David. Michael Angelo must have merely contracted to supply them, as the master sculptor of a sculptor's yard, possibly furnishing the designs himself. There is a drawing at the British Museum of a bearded saint, cowled and holding a book in his left hand, which may be a design for one of these inferior works.

[Image #5]

DAVID

THE ACADEMY, FLORENCE (_By permission of the Fratelli Alinari Florence_)

[Image #6]

DAVID

IN THE PIAZZA (_By permission of the Fratelli Alinari, Florence_)

[Image #7]

SAINT MATTHEW

THE COURT OF THE ACADEMY, FLORENCE (_By permission of the Fratelli Alinari, Florence_)

In August of the same year, 1501, Michael Angelo began the colossal statue of David, that used to stand in the Piazza and is now in the Academy at Florence. The first contract for this work, signed between Michael Angelo, the Arte della Lana, and the Opera del Duomo, is dated August 16, 1501. It states "That the worthy master, Michael Angelo, son of Lodovico Bonarroti, citizen of Florence, has been chosen to fashion, complete, and perfectly finish the male statue, already rough hewn and called the giant, of nine cubits in height,(77) now existing in the workshop of the Cathedral, badly blocked out afore-time by Master Agostino,(78) of Florence. The work shall be completed within the term of the next ensuing two years, dating from September, at a salary of six golden florins(79) per month; and whatever is needful for the accomplishment of this task, as workmen, wood, &c., which he may require, shall be supplied him by the said Operai; and when the said statue is finished, the Consuls and Operai, who shall be in office, shall estimate whether he deserve a larger recompense, and this shall be left to their consciences." Michael Angelo began to work in a wooden shed, erected for that purpose near the Cathedral, on Monday morning, September 13, 1501, and the "David" is said to be almost entirely finished in a note, dated January 25, 1503,(80) when a solemn council of the most important artists, then resident in Florence, met at the Opera del Duomo to consider where the statue should be placed. What an original way of deciding aesthetic questions! They came to the admirable conclusion that the choice of the site should be left to Michael Angelo. Amongst those who spoke at the meeting were Francesco Monciatto, a wood carver, who suggested that the statue should be erected in front of the Duomo, where the block was originally meant to be set up; he was supported by the painters Cosimo Rosselli and Sandro Botticelli. Giuliano da San Gallo proposed to place it under the Loggia dei Lanzi, because "the imperfection of the marble, which is softened by exposure to the air, renders the durability of the statue doubtful." Messer Angelo de Lorenzo Manfidi (second herald) objected because it would break the order of certain ceremonies held in the Loggia. Leonardo da Vinci followed San Gallo; he did not think it would injure the ceremonies. Salvestro, a jeweller, and Filippino Lippi supported Piero di Cosimo, who proposed that the precise spot should be left to the sculptor who made it, "as he will know better how it should be." Michael Angelo elected to have his David set up on the steps of the Palazzo Vecchio, on the right side of the entrance. Its effect in that position may be well seen, appropriately enough, in a picture by the same Piero di Cosimo (No. 895), in the National Gallery, where the Piazza della Signoria forms the background to a portrait of a man in armour. Il Cronaca, Antonio da San Gallo, Baccio d'Agnolo, Bernardo della Cecca, and Michael Angelo were a.s.sociated in the task of transporting the giant from the workshop near the Duomo to the Piazza della Signoria. It was encased in planks and suspended upright from great beams. "On May 14, 1504, the marble giant was dragged from the Opera. It came out at twenty-four o'clock, and they broke the wall above the door enough to let it pa.s.s. That night some stones were thrown at the Colossus with intent to injure it; a watch had to be set over it at night, and it made way very slowly, bound as it was upright, suspended so that the feet were off the ground by enormous beams with much ingenuity. It took four days to reach the Piazza, arriving on the 18th at the hour of twelve. More than forty men were employed to make it go, and there were fourteen logs to go beneath it, which were changed from hand to hand. Afterwards they worked until June 8, 1504, to place it on a pedestal where the Judith used to stand. The Judith was removed and set upon the ground within the palace. The said giant was the work of Michael Angelo Buonarroti."(81) The great marble David stood in the Piazza three hundred and sixty-nine years; it was removed to the hall of the Accademia delle Belle Arti in 1873 for its better preservation. It has suffered very little from its exposure in the fine air of Florence, but the left arm was broken by a huge stone thrown during the tumults of 1527. Giorgio Vasari and his friend Cecchino Salviati collected the broken pieces and brought them to the house of Michael Angelo Salviati, father of Cecchino. They were carefully put together and restored to the statue in 1543. The David was the first work by Michael Angelo that displayed the awe-inspiring quality known as his _Terribilita_; from the fierce frown of the brow to the sharp, strained forms of the feet and toes there is an expression of strenuous force struggling against an almost overwhelming power. The force of the David may succeed against Goliath; but in Michael Angelo's later works the struggle always appears to be a hopeless one, n.o.bly as his t.i.tans fight against fate and omnipotence. The face of the David is a development of the Saint George of Or San Michele, by Donatello, and the figure is of the same type, only this triumphant boy of Michael Angelo's shows a more exact study of the antique than the naturalistic work of his master. In Donatello the planes are given as flat, and their junctions are sharp and hard; in Michael Angelo they are carefully rounded and finished with the grace of the antique and of life. The details of the head, although so high up, are so absolutely perfect that the separate features have been, and are still, the models set before all students of art when they first begin to study the human figure, and they are known as _the_ nose, _the_ eye, _the_ ear, and _the_ mouth. We have noticed that the young student is more interested in his work when he is told that they are the features of _the_ David. Michael Angelo carved his giant without modelling a full-size clay figure first, but with the guidance of drawings and small wax models about eighteen inches high only, carving the figure out of the block in the way that is so well seen in the unfinished Saint Matthew in the court of the Accademia delle Belle Arti, in Florence. There are two small wax models of the David in the Casa Buonarroti at Florence, said to be Michael Angelo's designs for this figure, but they are of very doubtful authority.

Later in his life he is said to have worked from full-sized models, as Benvenuto Cellini tells us in his _Trattati dell' Oreficeria_, &c.(82) Vasari tells the story of how Michael Angelo contented the Gonfaloniere and silenced his criticism of the David: "While still surrounded by the scaffolding Pier Soderini inspected the statue, which pleased him immensely, and when Michael Angelo was re-touching it in parts, Soderini said to him that the nose appeared to him too big. Michael Angelo, knowing that the Gonfaloniere was close under the statue and that from this point of view the truth was not to be discerned, mounted the scaffolding, which was as high as the shoulder of the giant, and quickly took a chisel in his left hand with a little of the marble dust from the platform and began to let fall a little of it at each touch of the tool, but he did not alter the nose from what it was before; then he looked down to the Gonfaloniere, who stood watching below: 'Look at it now,' said Michael Angelo. 'I like it better. You have given it life,' said the Gonfaloniere," rubbing the dust out of his eyes.

On August 12, 1502, Michael Angelo undertook another commission for the Republic-another giant David. This time it was to be in bronze, two cubits and a quarter in height; in the casting he was to be a.s.sisted by Benedetto da Rovezzano. It has been suggested that the pen and ink drawing in the Louvre is a design for this second David, but the drawing of an arm on the same sheet is so like the right arm of the first David that it is more probably an early idea for the first David, in which we see that Michael Angelo's design needed more room than the cramped block of marble allowed; it makes us wonder the more at the marvellous freedom of action that he managed to get out of the cramped stone. The bronze David was intended for the French statesman, Pierre de Rohan, Marechal de Gie, as a present from the Florentine Republic, but before it was finished the Marechal fell into disgrace and could be of no further use to the Florentines. The Signory therefore determined to send the bronze to Florimond Robertet, Secretary of Finance to the French King. A minute of the Signory dated November 6, 1508, informs us that the bronze David, weighing about 800 pounds, had been "packed in the name of G.o.d," and sent to Signa on its way to Leghorn.

Florimond Robertet placed it in the courtyard of his chateau of Bury, near Blois. It remained there for more than a hundred years, then it was removed to the chateau of Villeroy, and disappeared no one knows whither.

On April 24, 1503, the Consuls of the Arte della Lana and the Operai of the Duomo ordered Michael Angelo to carve out of Carrara marble twelve Apostles, each four and a quarter cubits high, to be placed inside the church. One was to be finished each year, the Operai paying all expenses, including the cost of living for the sculptor and his a.s.sistants, and paying him two golden florins a month. They built a house and workshops for him in the Borgo Pinti; it was designed by Il Cronaca. Michael Angelo lived there rent free until it was evident that the contract could not be carried out. He then hired it on a lease, but on June 15, 1508, the lease of the house was transferred to Sigismondo Martelli. The St. Matthew, now in the courtyard of the Accademia delle Belle Arti, in Florence, is the only work we know of resulting from this commission. The apostle is just emerging from the marble, and shows us Michael Angelo's method of work.

Vasari says: "At this time he also began a statue in marble of San Matteo in the works of Santa Maria del Fiore, which, though but roughly hewn, shows his perfections, and teaches sculptors how to carve figures from the stone without maiming them, always gaining ground by cutting away the waste stone, and being able to draw back or alter in case of need." The deep chisel marks in the stone are sometimes as much as four inches long, and their directions indicate that Michael Angelo worked equally well with either hand, a fact confirmed by Raffaello de Montelupo in his "Autobiographie."(83) "Here I may mention that I am in the habit of drawing with my left hand, and that once, at Rome, while I was sketching the arch of Trajan from the Colosseum, Michael Angelo and Sebastiano del Piombo, both of whom were naturally left-handed (although they did not work with the left hand excepting when they wished to use great strength), stopped to see me, and expressed great wonder."

[Image #8]

THE MADONNA AND CHILD, WITH THE CHILD SAINT JOHN

THE BARGELLO, FLORENCE (_By permission of the Fratelli Alinari, Florence_)