foot the compartments for the recesses that are in the vault of the
tribune, which are formed by sixteen projecting ribs. These at the
foot are as broad as the breadth of the two pilasters which at the
lower end border each window below the vault of the tribune, and they
rise, diminishing pyramidally, as far as the eye of the lantern; at
the foot they rest on pedestals of the same breadth and twelve palms
high, and these pedestals rest on the level platform of the cornice
which goes in a circle right round the tribune. Above this, in the
recessed spaces between the ribs, there are eight large ovals, each
twenty-nine palms high, and over them a number of straight-sided
compartments that are wider at the foot and narrower at the top, and
twenty-four palms high, and then, the ribs drawing together, there
comes above each straight-sided compartment a round fourteen palms
high; so that there come to be eight ovals, eight straight-sided
compartments, and eight rounds, each range forming recesses that grow
more shallow in succession. The ground of all these displays
extraordinary richness, for Michelagnolo intended to make the ribs and
the ornaments of the said ovals, straight-sided compartments, and
rounds, all corniced in travertine.
It remains for us to make mention of the surface and adornment of the
arch on that side of the vault where the roofing is to go, which
begins to rise from a base twenty-five palms and a half high, which
has at the foot a basement that has a projection of two palms, as have
the crowning mouldings at the top. The covering or roofing with which
he proposed to cover it is of lead, such as covers the roof of the old
S. Pietro at the present day, and is divided into sixteen sections
from one solid base to another, each base beginning where the two
columns end, which are one on either side of it. In each of these
sections, in the centre, he made two windows to give light to the
inner space where the ascent of the stairs is, between the two shells,
so that in all they are thirty-two. These, by means of brackets that
support a quarter-round, he made projecting from the roof in such a
manner as to protect the lofty and novel view-point from the rain. In
a line with the centre of the solid base between each two columns,
above which was the crowning cornice, sprang a rib, one to each, wider
at the foot and narrowing at the top; in all sixteen ribs, five palms
broad, in the centre of each of which was a quadrangular channel one
palm and a half wide, within which is formed an ascent of steps about
one palm high, by which to ascend or descend between the platform at
the foot and the summit where the lantern begins. These are to be
built of travertine and constructed with mortisings, to the end that
the joins may be protected against water and ice during times of rain.
The design for the lantern is reduced in the same proportion as all
the rest of the work, so that, taking lines round the circumference,
everything comes to diminish in exact accord, and with proportionate
measurements it rises as a simple temple with round columns two by
two, like those on the solid bases below. These have pilasters to
correspond to them, and one can walk all the way round and see from
the central spaces between the pilasters, where the windows are, the
interior of the tribune and the church. Above this, architrave,
frieze, and cornice curve in a round, projecting over each pair of
columns; and over these columns, in a line with them, spring some
caulicoles, which, together with some niches that divide them, rise to
find the end of the lantern, which, beginning to draw together, grows
gradually narrower for a third of its height, in the manner of a round
pyramid, until it reaches the ball, upon which, as the final crown of
the structure, goes the cross. Many particulars and minute details I
might have mentioned, such as air-holes for protection against
earthquakes, water-conduits, the various lights, and other
conveniences, but I omit them because the work is not yet come to
completion, being content to have touched on the principal parts as
well as I have been able. For, since every part is in existence and
can be seen, it is enough to have made this brief sketch, which is a
great light to him who has no knowledge of the structure.
The completion of this model caused the greatest satisfaction not only
to all his friends, but to all Rome, the form of the fabric having
been thus settled and established. It then came to pass that Paul IV
died, and after him was elected Pius IV, who, while causing the
building of the little palace in the wood of the Belvedere to be
continued by Pirro Ligorio, who remained architect to the Palace, made
many gracious offers and advances to Michelagnolo. The Motu-proprio
originally received by Michelagnolo from Paul III, and then from
Julius III and Paul IV, in respect of the fabric of S. Pietro, he
confirmed in his favour, and he restored to him a part of the revenues
and allowances taken away by Paul IV, employing him in many of his
works of building; and in his time he caused the fabric of S. Pietro
to be carried on vigorously. He made use of Michelagnolo, in
particular, in preparing a design for the tomb of the Marchese
Marignano, his brother, which, destined to be erected in the Duomo of
Milan, was allotted by his Holiness to the Chevalier Leone Lioni of
Arezzo, a most excellent sculptor and much the friend of Michelagnolo;
the form of which tomb will be described in the proper place.
At this time the Chevalier Leone made a very lively portrait of
Michelagnolo in a medal, and to please him he fashioned on the reverse
a blind man led by a dog, with these letters around:
DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE CONVERTENTUR.
And Michelagnolo, since it pleased him much, presented him a model in
wax of Hercules crushing Antæus, by his own hand, with certain of his
designs. Of Michelagnolo we have no other portraits but two in
painting, one by the hand of Bugiardini and the other by Jacopo del
Conte, one in bronze executed in full-relief by Daniello Ricciarelli,
and this one by the Chevalier Leone; from which portraits so many
copies have been made, that I have seen a good number in many places
in Italy and in foreign parts.
The same year Cardinal Giovanni de' Medici, the son of Duke Cosimo,
went to Rome to receive the hat from Pius IV, and it fell to Vasari,
as his servant and familiar friend, to go with him; which Vasari went
there willingly and stayed about a month, in order to enjoy
Michelagnolo, who received him with great affection and was always
with him. Vasari had taken with him, by order of his Excellency, a
model in wood of the whole Ducal Palace of Florence, together with
designs of the new apartments that had been built and painted by him;
which Michelagnolo desired to see both in the model and in the
designs, since, being old, he was not able to see the works
themselves. These works, which were abundant and well varied, with
different inventions and fancies, began with the Castration of Uranus
and continued in stories of Saturn, Ops, Ceres, Jove, Juno, and
Hercules, each room having one of these names, with the stories in
various compartments; even as the other chambers and halls, which were
beneath these, had the names of the heroes of the House of Medici,
beginning with the elder Cosimo, and continuing with Lorenzo, Leo X,
Clement VII, Signor Giovanni, Duke Alessandro, and Duke Cosimo, in
each of which were not only the stories of their actions, but also
portraits of them, of their children, and of all the ancients renowned
in statesmanship, in arms, and in letters, taken from the life. Of
these Vasari had written a Dialogue in which he explained all the
stories, the end of the whole invention, and how the fables above
harmonized with the stories below; which was read to Michelagnolo by
Annibale Caro, and he took the greatest pleasure in it. This Dialogue,
when Vasari shall have more time, will be published.
The result of all this was as follows. Vasari was desirous of setting
his hand to the Great Hall, and since, as has been said elsewhere, the
ceiling was low, making it stunted and wanting in lights, he had a
desire to raise that ceiling. Now the Duke would not make up his mind
to give him leave that it should be raised; not that the Duke feared
the cost, as was seen afterwards, but rather the danger of raising the
beams of the roof thirteen braccia. However, like a man of judgment,
his Excellency consented that the advice of Michelagnolo should be
taken, and Michelagnolo, having seen in that model the Hall as it then
was, and afterwards, all the beams having been removed and replaced by
other beams with a new invention in the ceiling and walls, the same
Hall as it has since been made, with the invention of the stories
likewise designed therein, liked it and straightway became not a judge
but a supporter, and the rather as he saw the facile method of raising
the beams and the roof, and the plan for executing the whole work in a
short time. Wherefore, on Vasari's return, he wrote to the Duke that
he should carry out that undertaking, since it was worthy of his
greatness.
[Illustration: PORTA PIA
(_After =Michelagnolo=. Rome_)
_Alinari_]
The same year Duke Cosimo went to Rome with the Lady Duchess
Leonora, his consort, and Michelagnolo, after the Duke's arrival,
went straightway to see him. The Duke, after receiving him with many
endearments, caused him, out of respect for his great genius, to sit
by his side, and with much familiarity talked to him of all that he
had caused to be done in painting and sculpture at Florence, and also
of all that he was minded to have done, and in particular of the Hall;
and Michelagnolo again encouraged and reassured him in that matter,
lamenting, since he loved that Lord, that he was not young enough to
be able to serve him. His Excellency said that he had discovered the
way to work porphyry, a thing which Michelagnolo could not believe,
and the Duke therefore sent him, as has been related in the first
chapter of the Treatise on Theory, the head of Christ wrought by the
sculptor Francesco del Tadda, at which he was astonished; and he
visited the Duke several times the while that he stayed in Rome, to
his vast satisfaction. He did the same a short time afterwards when
the most Illustrious Don Francesco de' Medici, the Duke's son, went
there, in whom Michelagnolo took much delight from the marks of regard
and affection shown to him by his most Illustrious Excellency, who
spoke with him always cap in hand, having infinite reverence for so
rare a man; and Michelagnolo wrote to Vasari that it vexed him to be
old and infirm, for he would have liked to do something for that Lord,
but he was going about trying to buy some beautiful antique to send to
him in Florence.
Being requested at this time by the Pope for a design for the Porta
Pia, Michelagnolo made three, all fantastic and most beautiful, of
which the Pope chose the least costly for putting into execution; and
it is now to be seen erected there, with much credit to him.
Perceiving the inclination of the Pope, and hoping that he would
restore the other gates of Rome, he made many other designs for him;
and he did the like, at the request of the same Pontiff, in the matter
of the new Church of S. Maria degli Angeli in the Baths of Diocletian,
in order to convert them into a temple for the use of Christians. A
design by his hand prevailed over many others made by excellent
architects, being executed with such beautiful considerations for the
convenience of the Carthusian Friars, who have now carried it almost
to completion, that it caused his Holiness and all the prelates and
lords of the Court to marvel at the judgment of the lovely conceptions
that he had drawn, availing himself of all the skeleton of those
baths, out of which was seen formed a most beautiful temple, with an
entrance surpassing the expectations of all the architects; from which
he acquired infinite praise and honour. For that place, also, he
designed for his Holiness a Ciborium of the Sacrament in bronze, cast
for the most part by Maestro Jacopo Ciciliano, an excellent
bronze-caster, who makes his works come out very delicate and fine,
without any roughness, so that they can be polished with little
labour; in which field he is a rare master, and gave much satisfaction
to Michelagnolo.
[Illustration: S. MARIA DEGLI ANGELI
(_After =Michelagnolo=. Rome_)
_Alinari_]
The Florentine colony had often talked among themselves of giving a
good beginning to the Church of S. Giovanni in the Strada Giulia.
Finally, all the heads of the richest houses having assembled
together, they each promised to contribute in due proportion according
to their means towards that fabric, insomuch that they contrived to
collect a good sum of money; and then it was discussed among them
whether it were better to follow the old lines or to have something
new and finer. It was determined that something new should be erected
upon the old foundations, and finally they elected three men to have
the charge of the fabric, who were Francesco Bandini, Uberto Ubaldini,
and Tommaso de' Bardi; and these requested Michelagnolo for a design,
recommending themselves to him on the ground that it was a disgrace to
their colony to have thrown away so much money without any kind of
profit, and that, if his genius did not avail to finish the work, they
had no other resource. He promised them to do it, with as much
lovingness as he had ever shown in any work in the past, because in
this his old age he readily gave his attention to sacred things, such
as might redound to the honour of God, and also from affection for his
fellow-Florentines, whom he loved always. Michelagnolo had with him at
this conference the Florentine sculptor Tiberio Calcagni, a young man
very ardent to learn art, who, after going to Rome, had turned his
mind to the study of architecture. Loving him, Michelagnolo had given
him to finish, as has been related, the Pietà in marble that he had
broken, and, in addition, a head of Brutus in marble with the
breast, considerably larger than life, to the end that he might
finish it. Of this the head alone was carved, with certain most minute
gradines, and he had taken it from a portrait of Brutus cut in a very
ancient cornelian that was in the possession of Signor Giuliano
Cesarino; which Michelagnolo was doing for Cardinal Ridolfi at the
entreaty of Messer Donato Giannotti, his very dear friend, and it is a
rare work. Michelagnolo, then, in matters of architecture, not being
able by reason of old age to draw any more or to make accurate lines,
was making use of Tiberio, because he was very gentle and discreet;
and thus, desiring to avail himself of him in such an undertaking, he
laid on him the charge of tracing the plan of the site of the
above-named church. That plan having been traced and carried
straightway to Michelagnolo, at a time when it was not thought that he
was doing anything, he gave them to understand through Tiberio that he
had carried out their wishes, and finally showed them five most
beautiful ground-plans of temples; which having seen, they marvelled.
He said to them that they should choose one that pleased them, and
they, not wishing to do it, left the matter to his judgment, but he
insisted that they should decide of their own free will; wherefore
they all with one accord chose the richest. This having been adopted,
Michelagnolo said to them that if they carried such a design to
completion, neither the Greeks nor the Romans ever in their times
executed such a work; words that neither before nor afterwards ever
issued from the mouth of Michelagnolo, for he was very modest. Finally
it was agreed that the direction should be left entirely to
Michelagnolo, and that the labour of executing that work should fall
to Tiberio; with all which they were content, Buonarroti promising
them that Tiberio would serve them excellently well. And so, having
given the ground-plan to Tiberio to be drawn accurately and with
correct measurements, he drew for him the profiles both within and
without, and bade him make a model of clay, teaching him the way to
execute it so that it might stand firm. In ten days Tiberio executed a
model of eight palms, which much pleased the whole Florentine colony,
so that afterwards they caused to be made from it a model of wood,
which is now in the residence of the Consuls of that colony; a thing
as rare in its beauty, richness, and great variety, as any temple
that has ever been seen. A beginning was made with the building, and
five thousand crowns were spent; but the funds for the fabric failed,
and so it was abandoned, at which Michelagnolo felt very great
displeasure. He obtained for Tiberio the commission to finish under
his direction, at S. Maria Maggiore, a chapel begun for Cardinal Santa
Fiore; but it was left unfinished, on account of the death of the
Cardinal, of Michelagnolo, and of Tiberio himself, the death of which
young man was a very great loss.
[Illustration: BRUTUS
(_After =Michelagnolo=. Florence: Museo Nazionale_)
_Brogi_]
Michelagnolo had been seventeen years in the fabric of S. Pietro, and
several times the deputies had tried to remove him from that position,
but they had not succeeded, and they were seeking to oppose him in
every matter now with one vexatious pretext and now with another,
hoping that out of weariness, being now so old that he could do no
more, he would retire before them. It happened in those days that
Cesare da Castel Durante, who had been the overseer, died, and
Michelagnolo, to the end that the fabric might not suffer, sent there
Luigi Gaeta, who was too young but very competent, until he should
find a man after his desire. The deputies (some of whom had many times
made efforts to place there Nanni di Baccio Bigio, who was always
urging them and promising great things), in order to be able to
disturb the affairs of the fabric at their pleasure, sent Luigi Gaeta
away, which having heard, Michelagnolo, as in anger, would no longer
show himself at the fabric; whereupon they began to give out that he
could do no more, that it was necessary to give him a substitute, and
that he himself had said that he did not wish to be embroiled any
longer with S. Pietro. All this came to the ears of Michelagnolo, who
sent Daniello Ricciarelli of Volterra to Bishop Ferratino, one of the
superintendents, who had said to the Cardinal of Carpi that
Michelagnolo had told one of his servants that he did not wish to be
mixed up with the fabric any longer; and Daniello said that this was
by no means Michelagnolo's desire. Ferratino complained that
Michelagnolo would not make his conception known, adding that it would
be well for him to provide a substitute, and that he would have gladly
accepted Daniello; and with this Michelagnolo appeared to be content.
Thereupon Ferratino, having had the deputies informed in the name of
Michelagnolo that they now had a substitute, presented not Daniello,
but in his place Nanni di Baccio Bigio, who came in and was accepted
by the superintendents. Before very long he gave orders to make a
scaffolding of wood from the side of the Pope's stables, where the
hill is, to rise above the great recess that is turned towards that
side, and caused some stout beams of fir to be cut, saying that too
many ropes were consumed in drawing up the materials, and that it was
better to raise them by his method. Which having heard, Michelagnolo
went straight to the Pope, who was on the Piazza di Campidoglio, and
made so much noise that his Holiness made him go at once into a room,
where he said: "Holy Father, there has been appointed as my substitute
by the deputies a man of whom I know nothing; but if they are
convinced, and also your Holiness, that I am no longer the proper man,
I will return to rest in Florence, where I will enjoy the favours of
that great Duke who has so long desired me, and will finish my life in
my own house; I therefore beg your gracious leave." The Pope was vexed
at this, and, consoling him with kind words, ordained that he should
come to speak with him on the following day at the Araceli. There,
having caused the deputies of the fabric to be assembled together, he
desired to be informed of the reasons of what had happened: whereupon
their answer was that the fabric was going to ruin, and that errors
were being made in it. Which having heard not to be the truth, the
Pope commanded Signor Gabrio Scerbellone that he should go to see the
fabric for himself, and that Nanni, who was making these assertions,
should show it to him. This was carried out, and Signor Gabrio found
that the whole story was a malicious slander, and not the truth;
wherefore Nanni was dismissed from that fabric with no very flattering
words in the presence of many lords, being also reproached that by his
fault the bridge of Santa Maria fell into ruin, and that at Ancona,
seeking to do great things at little cost in the matter of cleaning
out the harbour, he filled it up more in one day than the sea had done
in ten years. Such was the end of Nanni in the fabric of S. Pietro.
For that work Michelagnolo for seventeen years attended constantly to
nothing but to establishing it securely with directions, doubting on
account of those envious persecutions lest it might come to be
changed after his death; so that at the present day it is strong
enough to allow the vaulting to be raised with perfect security. Thus
it has been seen that God, who is the protector of the good, defended
him as long as he lived, and worked for the benefit of the fabric and
for the defence of the master until his death. Moreover, Pius IV,
living after him, commanded the superintendents of the fabric that
nothing of what Michelagnolo had directed should be changed; and with
even greater authority his successor, Pius V, caused it to be carried
out, who, lest disorder should arise, insisted that the designs made
by Michelagnolo should be carried into execution with the utmost
fidelity, so that, when the architects Pirro Ligorio and Jacopo
Vignuola were in charge of it, and Pirro wished presumptuously to
disturb and alter those directions, he was removed with little honour
from that fabric, and only Vignuola remained. Finally, that Pontiff
being full of zeal no less for the honour of the fabric of S. Pietro
than for the Christian religion, in the year 1565, when Vasari went to
kiss the feet of his Holiness, and in the year 1566, when he was again
summoned, nothing was discussed save the means to ensure the observing
of the designs left by Michelagnolo; and his Holiness, in order to
obviate all chance of disorder, commanded Vasari that he should go
with Messer Guglielmo Sangalletti, the private treasurer of his
Holiness, to seek out Bishop Ferratino, the head of the
superintendents of S. Pietro, with orders from the Pontiff that he
should listen to all the suggestions and records of importance that
Vasari might impart to him, to the end that no words of any malignant
and presumptuous person might ever cause to be disturbed any line or
order left by the excellent genius of Michelagnolo of happy memory;
and at that interview was present Messer Giovan Battista Altoviti, who
was much the friend of Vasari and of these arts. And Ferratino, having
heard a discourse that Vasari made to him, readily accepted every
record, and promised to observe and to cause to be observed with the
utmost fidelity in that fabric every order and design that
Michelagnolo had left for that purpose, and, in addition, to be the
protector, defender, and preserver of the labours of that great man.