after the friars had finished the ceremonies that were customary for
the dead, it was borne--not without very great difficulty, as has been
related, by reason of the concourse of people--into the sacristy,
where the above-named Lieutenant, who had been present in virtue of
his office, thinking to do a thing pleasing to many, and also (as he
afterwards confessed) desiring to see in death one whom he had not
seen in life, or had seen at such an early age that he had lost all
memory of him, then resolved to have the coffin opened. This done,
when he and all the rest of us present thought to find the body
already marred and putrefied, because Michelagnolo had been dead
twenty-five days and twenty-two in the coffin, we found it so perfect
in every part, and so free from any noisome odour, that we were ready
to believe that it was rather at rest in a sweet and most peaceful
sleep; and, besides that the features of the face were exactly as in
life (except that there was something of the colour of death), it had
no member that was marred or revealed any corruption, and the head and
cheeks were not otherwise to the touch than as if he had passed away
but a few hours before.
When the tumult of the people had abated, arrangements were made to
place the body in a sepulchre in the church, beside the altar of the
Cavalcanti, by the door that leads into the cloister of the
chapter-house. Meanwhile the news had spread through the city, and
such a multitude of young people flocked thither to see the corpse,
that there was great difficulty in contriving to close the tomb; and
if it had been day, instead of night, we would have been forced to
leave it open many hours in order to satisfy the public. The following
morning, while the painters and sculptors were commencing to make
arrangements for the memorial of honour, many choice spirits, such as
have always abounded in Florence, began to attach above the aforesaid
sepulchre verses both Latin and in the vulgar tongue, and so it was
continued for some time; but those compositions that were printed at
that time were but a small part with respect to the many that were
written.
Now to come to the obsequies, which were not held the day after the
day of S. John, as had been intended, but were postponed until the
14th of July. The three deputies (for Benvenuto Cellini, having felt
somewhat indisposed from the beginning, had never taken any part in
the matter), having appointed the sculptor Zanobi Lastricati as their
proveditor, resolved that they would do something ingenious and worthy
of their arts rather than costly and full of pomp. And, in truth,
since honour was to be paid (said those deputies and their proveditor)
to such a man as Michelagnolo, and by men of the profession that he
had practised, men rich rather in talents than in excess of means,
that must be done not with regal pomp or superfluous vanities, but
with inventions and works abounding in spirit and loveliness, such as
issue from the knowledge and readiness of hand of our craftsmen; thus
honouring art with art. For although, they said, we may expect from
his Excellency the Lord Duke any sum of money that may be necessary,
and we have already received such amounts as we have demanded,
nevertheless we must hold it as certain that from us there is expected
something ingenious and pleasing in invention and art, rather than
rich through vast expense or grand by reason of superb appurtenances.
But, notwithstanding this, it was seen in the end that the work was
equal in magnificence to any that ever issued from the hands of those
Academicians, and that this memorial of honour was no less truly
magnificent than it was ingenious and full of fanciful and
praiseworthy inventions.
Finally, then, it was arranged that in the central nave of S. Lorenzo,
between the two lateral doors, of which one leads out of the church
and the other into the cloister, there should be erected, as was done,
a catafalque of a rectangular form, twenty-eight braccia high, eleven
braccia long, and nine broad, with a figure of Fame on the summit. On
the base of the catafalque, which rose two braccia from the ground, on
the part looking towards the principal door of the church, there were
placed two most beautiful recumbent figures of Rivers, one
representing the Arno and the other the Tiber. Arno had a horn of
plenty, full of flowers and fruits, signifying thereby the fruits that
have come to these professions from the city of Florence, which have
been of such a kind and so many that they have filled the world, and
particularly Rome, with extraordinary beauty. This was demonstrated
excellently well by the other River, representing, as has been said,
the Tiber, in that, extending one arm, it had the hands full of
flowers and fruits received from the horn of plenty of the Arno, which
lay beside it, face to face; and it served also to demonstrate, by
enjoying the fruits of Arno, that Michelagnolo had lived a great part
of his life in Rome, and had executed there those marvels that cause
amazement to the world. Arno had for a sign the Lion, and Tiber the
She-Wolf, with the infants Romulus and Remus; and they were both
colossal figures of extraordinary grandeur and beauty, in the likeness
of marble. One, the Tiber, was by the hand of Giovanni di Benedetto of
Castello, a pupil of Bandinelli, and the other by Battista di
Benedetto, a pupil of Ammanati; both excellent young men of the
highest promise.
From this level rose façades of five braccia and a half, with the
proper cornices above and below, and also at the corners, leaving
space for four pictures, one in the centre of each. In the first of
these, which was on the façade where the two Rivers were, there was
painted in chiaroscuro (as were also all the other pictures of this
structure) the Magnificent Lorenzo de' Medici, the Elder, receiving
Michelagnolo as a boy in his garden, of which there has been an
account in another place, after he had seen certain specimens of his
handiwork, which foreshadowed, as early flowers, the fruits that
afterwards issued in abundance from the living force and grandeur of
his genius. Such, then, was the story contained in that picture, which
was painted by Mirabello and Girolamo del Crocifissaio, so called,
who, as very dear friends and companions, undertook to do the work
together. In it were animated and lively attitudes, and there could be
seen the above-named Magnificent Lorenzo, portrayed from nature,
graciously receiving Michelagnolo, a boy all full of reverence, into
his garden, and, after an examination, handing him over to some
masters who should teach him.
In the second scene, which came, continuing the same order, to face
towards the lateral door that leads out of the church, was figured
Pope Clement, who, contrary to the expectation of the public, which
thought that his Holiness felt disdain against Michelagnolo on account
of his actions in the siege of Florence, not only assures his safety
and shows himself lovingly disposed towards him, but sets him to work
on the new sacristy and the library of S. Lorenzo, in which places how
divinely well he worked has been already told. In this picture, then,
there was painted by the hand of Federigo Fiammingo, called Del
Padovano, with much dexterity and great sweetness of manner,
Michelagnolo showing to the Pope the ground-plan of that sacristy, and
behind him were borne, partly by little Angels and partly by other
figures, the models of the library and sacristy and of the statues
that are there, finished, at the present day; which was all very well
composed and executed with diligence.
In the third picture, which stood on the first level, like the others
described above, and looked towards the high-altar, was a great Latin
epitaph composed by the most learned M. Pier Vettori, the sense of
which was in the Florentine speech as follows:
"The Academy of Painters, Sculptors, and Architects, with the favour
and assistance of Duke Cosimo de' Medici, their head and the supreme
protector of these arts, admiring the extraordinary genius of
Michelagnolo Buonarroti, and seeking to acknowledge in part the
benefits received from his divine works, has dedicated this memorial,
born from their own hands and from all the affection of their hearts,
to the excellence and genius of the greatest painter, sculptor, and
architect that there has ever been."
The Latin words were these:
COLLEGIUM PICTORUM, STATUARIORUM, ARCHITECTORUM, AUSPICIO OPEQUE
SIBI PROMPTA COSIMI DUCIS AUCTORIS SUORUM COMMODORUM, SUSPICIENS
SINGULAREM VIRTUTEM MICHAELIS ANGELI BONARROTÆ, INTELLIGENSQUE
QUANTO SIBI AUXILIO SEMPER FUERINT PRÆCLARA IPSIUS OPERA, STUDUIT
SE GRATUM ERGA ILLUM OSTENDERE, SUMMUM OMNIUM QUI UNQUAM FUERINT
P.S.A., IDEOQUE MONUMENTUM HOC SUIS MANIBUS EXTRUCTUM MAGNO ANIMI
ARDORE IPSIUS MEMORIÆ DEDICAVIT.
This epitaph was supported by two little Angels, who, with weeping
faces, and extinguishing each a torch, appeared to be lamenting that a
genius so great and so rare was now spent.
Next, in the picture which came to face towards the door that leads
into the cloister, was Michelagnolo making, on account of the siege of
Florence, the fortifications of the hill of San Miniato, which were
held to be impregnable and a marvellous work. This was by the hand of
Lorenzo Sciorini, a pupil of Bronzino and a young man of excellent
promise.
This lowest part, or, so to speak, the base of the whole structure,
had at every corner a pedestal that projected, and upon every pedestal
was a statue larger than life, which had beneath it another, as it
were subjugated and vanquished, of similar size, but each constrained
in a different and extravagant attitude. The first, on the right hand
going towards the high-altar, was a young man, slender and the very
presentment of pure spirit, and of a most lively beauty, representing
Genius, with two little wings over the temples, in the guise wherein
at times Mercury is painted; and beneath this young man, wrought with
incredible diligence, was a marvellous figure with asses' ears,
representing Ignorance, the mortal enemy of Genius. These two statues
were by the hand of Vincenzio Danti of Perugia, of whom and of his
works, which are renowned among the young modern sculptors, we shall
speak at greater length in another place.
Upon the next pedestal, which, being on the right hand of the approach
towards the high-altar, looked towards the new sacristy, was a woman
representing Christian Piety, which, being composed of religion and
every other excellence, is nothing less than an aggregate of all those
virtues that we have called the Theological, and of those that were
named by the Gentiles the Moral; wherefore it was right that, since
the genius of a Christian, adorned by most saintly character, was
being celebrated by Christians, a seemly and honourable place should
be given to this Piety, which is concerned with the law of God and the
salvation of souls, seeing that all other ornaments of body and mind,
where she is lacking, are to be held in little estimation, or rather,
none. This figure, who had beneath her, prostrate and trampled under
foot by her, Vice, or rather, Impiety, was by the hand of Valerio
Cioli, who is a young man of ability and fine spirit, and deserves the
name of a very judicious and diligent sculptor. Opposite to this, on
the side towards the old sacristy, was another similar figure made
with much judgment to represent Minerva, or rather, Art; for the
reason that it may be said with truth that after excellence of
character and life, which must always hold the first place among the
good, it was Art that gave to this man not only honour and profit, but
also so much glory, that he may be said to have enjoyed in his
lifetime such fruits as able and illustrious men have great difficulty
in wresting even after death from the grasp of Fame, by means of their
finest works; and, what is more, that he so vanquished envy, that by
common consent, without any contradiction, he has obtained the rank
and fame of the best and highest excellence. And for this reason this
figure had beneath her feet Envy, who was an old woman lean and
withered, with the eyes of a viper; in short, with features that all
breathed out venom and poison, besides which she was girt with
serpents, and had a viper in her hand. These two statues were by the
hand of a boy of very tender years, called Lazzaro Calamech of
Carrara, who at the present day, although still a mere lad, has given
in some works of painting and sculpture convincing proofs of a
beautiful and most lively genius. By the hand of Andrea Calamech, the
uncle of the above-mentioned Lazzaro, and pupil of Ammanati, were the
two statues placed upon the fourth pedestal, which was opposite to the
organ and looked towards the principal doors of the church. The first
of these was made to represent Study, for the reason that those who
exert themselves little and sluggishly can never acquire repute, as
Michelagnolo did, who from his early boyhood, from fifteen to ninety
years of age, as has been seen above, never ceased to labour. This
statue of Study, which was well in keeping with that great man, was a
bold and vigorous youth, who had at the end of the arms, just above
the joint of the hands, two little wings signifying rapidity and
frequency of working; and he had prostrate beneath him, as a prisoner,
Idleness or Indolence, who was a sluggish and weary woman, heavy and
somnolent in her whole attitude.
These four figures, disposed in the manner that has been described,
made a very handsome and magnificent composition, and had all the
appearance of marble, because a coat of white had been laid over the
clay, which resulted in a very beautiful effect. From this level, upon
which the above-named figures rested, there rose another base,
likewise rectangular and about four braccia high, but smaller in
length and breadth than that below by the extent of the projection and
cornice-work upon which those figures rested; and on every side this
had a painted compartment six braccia and a half in length and three
in height. Above this rose a platform in the same manner as that
below, but smaller; and upon every corner, on the projection of a
socle, sat a figure of the size of life, or rather more. These were
four women, who, from the instruments that they had, were easily
recognized as Painting, Sculpture, Architecture, and Poetry; placed
there for reasons that have been perceived in the narration of
Michelagnolo's Life.
Now, going from the principal door of the church towards the
high-altar, in the first picture of the second range of the
catafalque--namely, above the scene in which, as has been related,
Lorenzo de' Medici is receiving Michelagnolo into his garden--there
was painted in a most beautiful manner, to suggest Architecture,
Michelagnolo in the presence of Pope Pius IV, with a model in his hand
of the stupendous pile of the Cupola of S. Pietro in Rome. This scene,
which was much extolled, was painted by Piero Francia, a Florentine
painter, with beautiful manner and invention; and the statue, or
rather, image of Architecture, which was on the left hand of this
scene, was by the hand of Giovanni di Benedetto of Castello, who with
so much credit to himself, as has been related, executed also the
Tiber, one of the two Rivers that were on the front part of the
catafalque. In the second picture, continuing to go forward on the
right hand towards the lateral door that leads out of the church, was
seen (to suggest Painting) Michelagnolo painting that so much but
never sufficiently extolled Judgment: that Judgment, I mean, which is
an exemplar in foreshortenings and all the other difficulties of art.
This picture, which was executed by Michele di Ridolfo's young men
with much diligence and grace, had likewise, on the left hand (namely,
at the corner looking towards the new sacristy), its appropriate
image, a statue of Painting, wrought by Battista del Cavaliere, a
young man no less excellent in sculpture than remarkable for his
goodness, modesty, and character. In the third picture, facing towards
the high-altar (in that, namely, which was above the epitaph already
mentioned), there was to be seen, to suggest Sculpture, Michelagnolo
speaking with a woman, who by many signs could be recognized as
Sculpture; and it appeared that he was taking counsel with her.
Michelagnolo had about him some of the most excellent works that he
executed in sculpture; and the woman held a little tablet with these
words of Boethius:
SIMILI SUB IMAGINE FORMANS.
Beside that picture, which was the work of Andrea del Minga, and
executed by him with beautiful invention and manner, there was on the
left hand the statue of Sculpture, wrought very well by the sculptor
Antonio di Gino Lorenzi. In the fourth of those four scenes, which
faced towards the organ, there could be seen, to suggest Poetry,
Michelagnolo all intent on writing some composition, and about him the
Nine Muses, marvellous in their grace and beauty and with their
distinctive garments, according as they are described by the poets,
and before them Apollo with the lyre in his hand, his crown of laurel
on his head, and another crown in the hand, which he made as if to
place on the head of Michelagnolo. Near the gladsome and beautiful
composition of this scene, painted in a very lovely manner, with most
vivacious and spirited attitudes, by Giovan Maria Butteri, there was
on the left hand the statue of Poetry, the work of Domenico Poggini, a
man much practised not only in sculpture and in striking impressions
of coins and medals with great beauty, but also in working in bronze
and likewise in poetry.
Of such a kind, then, was the ornamentation of the catafalque, which
so diminished from course to course that it was possible to walk round
each, and it was much after the likeness of the Mausoleum of Augustus
in Rome; although perchance, from being rectangular, it rather
resembled the Septizonium of Severus, not that near the Campidoglio,
which is commonly so called in error, but the true one, which is to
be seen in stamp in the "Nuove Rome," near the Baths of Antoninus. Up
to this point the catafalque had three levels; where the Rivers lay
was the first, the second where the pairs of figures rested, and the
third where the single figures had their feet. From this last level
rose a base, or rather, socle, one braccio high, and much less in
length and breadth than that last level; upon the projections of that
base sat the above-named single figures, and around it could be read
these words:
SIC ARS EXTOLLITUR ARTE.
Upon this base stood a pyramid nine braccia high, on two sides of
which (namely, that which looked towards the principal door, and that
which faced towards the high-altar), at the foot, were two ovals with
the head of Michelagnolo portrayed from nature in relief and executed
very well by Santi Buglioni. At the summit of the pyramid was a ball
in due proportion with the pyramid, such as might have contained the
ashes of him who was being honoured, and upon the ball was a figure of
Fame, larger than life and in the likeness of marble, and in the act,
as it were, of taking flight, and at the same time of causing the
praises and glory of that great craftsman to resound throughout the
world through a trumpet which branched into three mouths. That Fame
was by the hand of Zanobi Lastricati, who, besides the labours that he
had as proveditor for the whole work, desired also not to fail to
show, with much honour to himself, the virtue of his hand and brain.
In all, from the level of the ground to the head of the Fame, the
height, as has been related, was twenty-eight braccia.
Besides the catafalque described above, the whole church was draped
with black baize and serge, hung not on the columns in the centre, as
is usual, but on the chapels that are all around; and there was no
space between the pilasters that enclose those chapels and correspond
to the columns, that had not some adornment in painting, which, making
an ingenious, pleasing, and beautiful display, caused marvel and at
the same time the greatest delight.
Now, to begin with one end: in the space of the first chapel that is
beside the high-altar, as you go towards the old sacristy, was a
picture six braccia in height and eight in length, in which, with
novel and as it were poetical invention, was Michelagnolo in the
centre, already come to the Elysian fields, where, on his right hand,
were figures considerably larger than life of the most famous and most
highly celebrated sculptors and painters of antiquity. Each of these
could be recognized by some notable sign; Praxiteles by the Satyr that
is in the Vigna of Pope Julius III, Apelles by the portrait of
Alexander the Great, Zeuxis by a little panel on which were figured
the grapes that deceived the birds, and Parrhasius with the covering
counterfeited in painting over his picture; and, even as these, so the
others were known by other signs. On the left hand were those who have
been illustrious in these arts in our own centuries, from Cimabue to
the present day. Thus Giotto could be recognized there by a little
panel on which was seen the portrait of Dante as a young man, in the
manner in which he may be seen in S. Croce, painted by Giotto himself;
Masaccio by his portrait from life, Donatello likewise by his
portrait, and also by his Zuccone from the Campanile, which was by his
side, and Filippo Brunelleschi by the representation of his Cupola of
S. Maria del Fiore; and there were portrayed from life, without other
signs, Fra Filippo, Taddeo Gaddi, Paolo Uccello, Fra Giovanni Agnolo,
Jacopo da Pontormo, Francesco Salviati, and others. All these were
about him with the same expressions of welcome as the ancients, full
of love and admiration, in the same manner as Virgil was received by
the other poets on his return, according to the fable of the divine
poet Dante, from whom, in addition to the invention, there was taken
also the verse that could be read in a scroll both above and in the
hand of the River Arno, which lay at the feet of Michelagnolo, most
beautiful in features and in attitude:
TUTTI L'AMMIRAN, TUTTI ONOR GLI FANNO.
This picture, by the hand of Alessandro Allori, the pupil of Bronzino,
an excellent painter and a not unworthy disciple and pupil of so great
a master, was consummately extolled by all those who saw it. In the
space of the Chapel of the most holy Sacrament, at the head of the
transept, there was in a picture, five braccia in length and four in
breadth, Michelagnolo with all the school of the arts about him,
little children, boys, and young men of every age up to twenty-four,
who were offering to him, as to a being sacred and divine, the
firstfruits of their labours, such as pictures, sculptures, and
models; and he was receiving them courteously, and was instructing
them in the matters of art, while they were listening most intently
and gazing upon him with expressions and attitudes truly full of
beauty and grace. And, to tell the truth, the whole composition of
this picture could not have been, in a certain sense, better done, nor
could anything more beautiful have been desired in any of the figures,
wherefore Battista, the pupil of Pontormo, who had done the work,
received infinite praise for it; and the verses that were to be read
at the foot of the scene, ran thus:
TU PATER, TU RERUM INVENTOR, TU PATRIA NOBIS
SUPPEDITAS PRÆCEPTA TUIS EX, INCLYTE, CHARTIS.