Bibbiena: Cardinal, rebukes Cardieri, l7
Bible:
the master's study, 86;
of Raphael, 173
Bini: Bernardo, trustee for the Tomb, 51, 69
Blois: Chateau, 251
Boboli Gardens: the grotto with four statues, 129, 227
Boccaccio, 19
Bologna:
flight to, 18-20;
with Julius II. at, 39, 40;
conversations at, 90, 132;
the Colossal Bronze destroyed, 141, 171, 195, 291
Bonasoni:
Giulio, engravings, a Pieta, 230;
portrait of the master, 253
Bonifazio: Count, 3
Bononiensis: Tudius, engraves a Pieta, 230
Boon companions: of the master, 264
Borgerini: Pier Francesco, 182
Borghini: Don Vincenzo, opens the coffin, 261
Borgia: Cesare, _see_ Valentino
Borgo, 178, 238
Botticelli:
Sandro, letter addressed to him, 23, 107, 116;
Popes and histories by, 166
Bramante:
destroys S. Petronilla, 25;
Tomb of Julius, 31;
his errors, 32;
rebuilding of S. Peter's, 34;
suggests the painting of the vault, 41;
and Raphael to finish it, 47;
his shortcomings, 48;
scaffold, 82;
has the Pope's ear in Rome, 130;
vault painting, 131, 164;
"a brave architect," 238, 240-242, 295
Brancacci Chapel: _see_ Masaccio
Brazen Serpent: Sistine Chapel, 46; 178
British Museum:
drawings, advice to Mini, 192;
for the tombs, 193
Bronze-coloured figures: Sistine Chapel, 169
Brothers of the master: _see_ Buonarroto, Giovan Simone, Sigismondo
Bruciolo: invites the master to Venice, 78
Bruges, 29, 121
Brunelleschi:
the lantern of, 192;
his dome, 208
Brutus:
bust of, Bargello, 249;
nickname of Lorenzino, 250
Buggiardini:
Giuliano assistant, 150, 155;
paints the master's portrait, and a Madonna and Child from a cartoon of
the master's, 157, 158, 252, 264
Buonarroti: _see_ Michael Angelo
Buonarroti:
Casa, bas-reliefs in, 102; 104;
presented to Florence, 105;
wax models of the David, 118
Buonarroti: Senator Filippo, 203
Buonarroto:
brother of the master, 4;
established in business, 109, 151, 152;
letters to, 133, 134, 136, 141, 161, 181;
his health, 165;
dies of the plague in the master's arms, 201
Buoninsegna: Domenico, 183
Cain, 44
Calcagni: _see_ Tiberio
Camerino: Duke of, writes to the master, 217
Campidoglio:
plans of the master, 248;
his portrait there, 253, 270, 305
Campo Santo: Pisa, 219, 220
Canossa, 3-5
Capata: Joao, 306, 307, 310, 316, 318, 321
Capitol: _see_ Campidoglio
Capponi: Niccolo, 201
Caprese: the master born at, 5
Cardiere: improvisatore, his dream, 16, 17
Carlino: chamberlain, 147
Carlo degli Albizzi, 147
Caro: Annibal, 76, 85
Carota: woodcarver, 197
Carpi: Cardinal, 246
Carrara, 30, 52, 53, 183, 185, 190, 192
Cartoon of Pisa, 37, 124, 125;
Vasari's account, 126;
Cellini's, 127
Cassandra Ridolfi: marries Leonardo, 254
Caterina: Santa, 31
Catherine de' Medici: letter from, 251
Cavalcani, 24
Cavalcanti: altar of, 261
Cavalieri:
Tomaso dei, a friend, 85;
drawings for, 230;
letter from, 231, 246, 248, 258, 259
Cellini:
Benvenuto, 91, 92, 118;
describes the Cartoon, 127, 202, 252, 255
Centaurs: battle of, _see_ Deianira
Cesena: Bishop of, 85
Charles: the Emperor, 309, 310, 312
Charon, 71
Chigi, 292
Chiostro Verde: S.M. Novella, 173
Christ:
on the Cross, modelled for Mineghella, 264;
taken down from the Cross, Vittoria Colonna, 85;
the Risen, in the Minerva, 74, 180, 181, 187-189;
a statuette, 259
Ciapino: carpenter, 197
Cioli: _see_ Valerio
Clement VII:
Pope, 10;
Medici Library, 54;
clemency, 58;
Medici Tombs, 59;
recalls the master to Rome, 60, 64;
orders the Day of Judgment, 64, 78;
the New Sacristy, 186;
elected Pope, 190-192, 195;
his postscript, 197;
and curious commission, 198;
besieged in St. Angelo, 200;
anger abates, 203, 207, 231, 277, 292, 308
Colombo: Realdo, anatomist, 81
Colonna:
Vittoria, Marchioness of Pescara, poetry, 76;
a Christ made for her, 74;
the master is enamoured of her divine spirit, 85;
visits her death-bed, 85;
drawings and sonnets for her, 230, 234;
conversations at St. Silvester, 271-304, 306-308, 312
Colossus: a proposed, 198, 199
Condivi: Ascanio della Ripa, the Life by, 3-93, 163, 164
Connetable: de Montmorenci, and the Slaves, 227
Consiglio: a mercer, 110, 111
Consiglio: Cartoon for the Sala del, 37
Constantinople:
the designs to throw a bridge from Pera to, 37;
is invited to, 78
Contemplative Life: Tomb of Julius II., 28, 225-227
Contracts:
for the Madonna della Pieta of St. Peter's, 112;
the David, 115;
and the Risen Christ, 180, 181
Conversion of St. Paul, 232
Cornelia: wife of Urbino, 256
Correggio: perfected Melozzo's method, 131, 172
Cortono: Cardinal, 201
Cosimo: _see_ Medici
Cosmo: St., 194
Creation:
the, 164, 165, 167, 170;
of Eve, 171, 175, 291;
of man, _see_ Adam
Creator: the, Sistine Chapel, 43, 44, 171
Crispo: Cardinal, 84
Croce: _see_ Santa Croce
Cronaca: Il, 116, 120
Crucifixion:
in wood for Santo Spirito, 16;
drawings, 234;
by Daniele, 253
Cuio: Capitano, the master sups with, 197
Cupid: _see_ Love
Damino: St., 194
Dandolo: Marco, opinion of Baglioni, 203
Daniele da Volterra, 223, 251-253;
writes for the master and acts as executor, 257-259, 263
Dante, 19, 68, 71;
the master's special devotion to, 86, 184, 220
Danti: Vincenzio, 229
David and Goliath: Sistine Chapel, 46, 178
David:
the bronze, 28, 119;
sent to France, 120
David:
the colossal statue, 27, 114;
the contract, 115;
contemporary account of the transport, 116;
removed to the Academy, 117
Dawn: marble statue in the New Sacristy, 172, 194, 203, 209, 211, 214,
293.
Day: marble statue in the New Sacristy, 58, 194, 203, 209, 212
Day of Judgment:
Sistine Chapel, 45, 166, 183;
the fresco begun, 216;
shown to the public, 219;
described, 219;
copies in the Corsini Palace, 222,
and in the Naples Museum, 253
Death: the master's sayings on, 236, 236
Deianira: the rape of, a bas-relief, 14, 103
Deliverances of the Chosen People, 166, 169, 178
Delphic Sibyl, 174
Deluge: _see_ Flood
Demosthenes, 75, 298
Deposition: _see_ Pieta
Design: the power of, 295-298, 308-311, 322.
Desnoyers: orders the destruction of the Leda, 62, 204
Diocletian: the Baths of, a restoration, 251
Diognetus, 286
Diomede Leoni: letter to Leonardo, 257
Dionigi: Cardinal di, orders a Pieta, 25, 112
Diploma Gallery: Burlington House, the tondo, 121
Divina Commedia: the master's drawings for, 184
Dome of St. Peter's, 208, 233, 246
Domenico: _see_ Ghirlandaio
Domenico: San, Bologna, The Angel for the Shrine, 19, 104
Donatello:
praised by the master, 28,
who comes under the influence of his foreman, 99, 106;
St. George, and Judith, 117;
his influence, 118, 170, 178, 295
Donati: Federigo, physician, 258
Donato: _see_ Giannoti
Doni: Agnolo, the tondo painted for, 29, 122
Doria:
Andrea, project for his statue 190;
his portrait by Sebastiano, 191, 291, 313
Dosso, 290
Drawing:
Ghirlandaio's book, 8;
copies of old masters, 9;
for the tombs of the Medici, 193;
its power, 295-297;
in war, 308,
and in peace, 311, 322
Duccio: Agostino, and the block of marble, 27
Duke of Florence, 246, 248, 250, 259, 260, 262
Duoino of Florence:
the shadow of, 127, 208;
the Pieta, placed under, 236
Duerer: Albert, 29, 81, 281
Ecouen: the slaves at, 227
Enrico II., 3
Epiphany: a cartoon, 260
Ercole: Don, captain of Florence, 61
Esi, 291
Esther: Queen, 46
Euclid, 75
Eve, 43
Evening, 194, 203, 209, 214
Expulsion, 172, 175
Facade of San Lorenzo, 183, 185, 227, 228
Fall of Man: Sistine Chapel, 43, 164, 165, 170
Farnese Palace: the cornice, 233, 237
Farnese: the House of, the master's love for, 84
Father of the master: _see_ Lodovico
Fattore: Il, 256
Fattuci:
Ser Giovan Francesco, letters to, 133, 143, 191, 193, 195, 199, 242;
he rebukes the master for his modesty, 192
Faun:
a copy in marble, 10;
the Mask in the Bargello, 11, note;
a drawing in the Louvre, 98, note
Febbre: Madonna della, _see_ Madonna
Fernando di Gonzaga: Signer, 205
Femes: Cardinal, 270, 313
Ferrara: the master visits the fortifications, 60, 202
Ferrara:
Duke of, disposes of the Colossal Bronze, 141;
the master's visit to, 202, 290
Festa: Constanza, sets the master's madrigals to music, 208
Ficino: Masilio, 102
Fidelissimi: Gherardo, physician, 258
Fight for the Standard: Leonardo da Vinci's cartoon, 124, 127
Figio Vanni: Battista, Pope's agent, 203
Filippiuo: _see_ Lippi
Flanders: the master's opinion of the painting of, 279-281, 324
Flood: the, Sistine Chapel, 44, 46, 165, 167, 170-173, 214
Florence, 3-6, 15-20, 22-29, 36, 37, 50, 51;
siege of, 56, 201;
is betrayed, 57, 203; 62;
gossip, 97; 106-114; 130; 158;
the master purchases land for a studio, 184, 208, 253-255, 260, 290, 293,
305
Fontainebleau: the Leda at, 204, 294
Forli: Bishop of, Pier Giovanni, 83
Fortification:
the master made Commissary-General, 55;
the Borgo, 238
France:
statue of Hercules sent to, 14;
painting in, 294
Francesca: daughter of Buonarroto, 201
Francesca: mother of the master, 109
Francesco d'Ollanda, 269-327
Francesco:
San, a cartoon drawn for a barber, 107;
and another for Mineghella, 264
Francesco: _see_ Bandini and Urbino
Francesco: Urbino, da, schoolmaster, 6
Franciabigio: Il, studies the Cartoon, 127
Francia: Il, 90
Francis I.:
of France buys the Leda, 62;
invites the master to France, 78;
letter to, 232, 294
Frizzi: Frederigo, finishes the Risen Christ, 188
Gaeta: _see_ Pier Luigi
Galatea: by Raphael, 292
Galli: Jacopo, commissions the Bacchus, 24, 107, 112
Galli: owned the Bacchus and the little Cupid, 25
Gallio Subelloni, 247
Gallo: Antonio, 226
Ganymede: a drawing, 231
Gatta: Bartolommeo della, 166
Gems:
engraved, shown to the master by the Magnificent, 13;
motives from intaglios, Adam, 171;
Judith, 178;
Leda, 202
Genoa:
the master proposes to retire to, 66;
the Senate orders a statue of Doria, 190;
the medallion, Albergo dei Poveri, 237, 291
George: St., by Donatello, 117
Germany, 200, 283, 291
Ghibelline, 4
Ghiberti: Lorenzo, 100, 170
Ghirlandaio:
Domenico, the master's first teacher, 7, 8, 97;
the master leaves him, 10, 99;
histories in the Sistine Chapel, 166
Ghirlandaio:
Ridolfo, Vasari's gossip, 97;
worked from the Cartoon, 126
Giacomo del Duca: carves details on the Tomb of Julius II., 226
Giacomo della Porta, 249
Giangiacomo de' Medici: his monument at Milan, 250
Giannotti: Donato, a friend of the master's, 85, 246, 249
Giant: _see_ David
Gie: Marechal de, 119
Giorgio: _see_ Vasari
Giotto: studies from, 105, 158
Giovanni da Reggio, 187, 188
Giovanni da Udine, 197, 290
Giovanni dall' Opera, 262
Giovanni de' Marchesi: stone-carver, 224
Giovanni de' Medici, 17
Giovanni: a gem-engraver, 231
Giovanni: San, in Laterano, 320, 321
Giovanni: Michi, 150
Giovanni: San, dei Fiorentini, designs for, 248
Giovannino: San, a, 106
Giovan Simone:
joins Buonarroto in the cloth business, 109, 133, 135;
his behaviour troubles the master, 151;
a letter to him, 153;
he begins to do well, 162;
death, 254
Girolamo da Fano: retouches the Day of Judgment, 223
Gismondo:
to join Buonarroto, 152;
visits Rome, 161
Giugni: Galeotto, envoy, 202
Giulia: La, the cannon cast from the wreck of the Bronze, 141, 202
Giulia: the Villa, works ordered by Julius III., 78, 292
Giuliano: a marble statue in the New Sacristy, 193, 194, 211, 212
Giuliano de' Medici: his courtesy, 17
Giulio Romano, 290, 293
Gondi: the bank of, 78
Gondi: Filippo, hides his goods, 201
Gondi: Giambattista, 251
Gonfaloniere: _see_ Soderini
Gottifredo, 3
Granacci:
Francesco, 7, 9, 11, 98, 99;
studies the Cartoon, 126;
helps to provide assistants, his letter, 149, 151
Grand Canal: a design for a bridge, 74
Grotesque, 316-318
Guelph, 4
Guidobaldo: Duke of Urbino own's the god of Love, 23
Guidoccione, 76
Haarlem: drawings in the Teyler Museum, 253
Hawkwood: Sir John, 124
Henry II.: of France, 251
Hercules: a marble statue, 14, 105
Hercules and Cacus, 204
Hercules strangling Antaeus: a wax model, 252
Holkham Hall: Cartoon at, 38, 124, 125
Holy Family with Shepherds, the, 122
Homer, 76, 78, 173
Human form: the master's love for the beauty of, 87
Imitators of the master, 263
Indaco:
Jacopo L', assistant, 150, 155;
he grumbles, 157, 264
Inscriptions, 262, 263
Intaglio: _see_ Gems
Ippolito de' Medici, 201
Isaiah: by Raphael, 177
Italian painting; the master's opinion of, 280, 281
Jacopo del Conte, 252
Jacopo della Quercia: studied by the master, 136, 170, 171
Jacopo di Sandro: an assistant, 151
Jacopo: _see_ Galli, L'Indaco, Sansovino
Jean: makes a model of the Dome, 247
Jeremiah: the Prophet, 174
Joel, 174
Jonah, 221
Judith, 13, 46, 178;
of Donatello, 117
Julius II.:
Pope, calls the master to Rome and orders his Tomb, 28-30, 128, 129;
offends the master, 35, 38, 130;
the Colossal Bronze for Bologna, 40, 130, 132, 134;
it is placed on San Petronio, but is destroyed by the mob and made into a
cannon, 141;
orders the Vault of the Sistine Chapel to be painted, 48, 50, 164;
the master's love for him, 62;
and his house, 69, 77;
he is satisfied, 165, 179;
death, 180, 195, 202;
the Tragedy of the Tomb of, 216, 224, 226
Julius III.:
Pope, 63;
a patron of the Arts and of the master, 78, 80, 83, 235, 242;
confirms the master in his office, 244;
death, 245
Julius Caesar, 310, 315
King of France gives the Slaves to Montmorenci, 227,
and _see_ Francis I.
Lactancio Tolomei, 271-322
Lana: Consuls of the Arte della, 115, 120
Lantern: of the New Sacristy, 192
Lapo Antonio di Lapo:
assistant at Bologna, 133;
is dismissed, 134; 136
Last Judgment: _see_ Day of Judgment
Leda:
the, motive from a gem, 13, note;
painted for the Duke of Ferrara but sent to France, 61, 202, 204, 214
Leghorn, 184
Leicester: the Earl of, his cartoon at Holkham, 125
Lenoir: M., purchases the Slaves for France, 227
Leo X.:
Pope, 4, 5, 10;
orders the facade of San Lorenzo, 51;
his fervour spent, 54, 78, 182-185;
death, 190
Leone Leoni:
the monument at Milan, 250;
his medal of the master, 252
Letters:
from,
Catherine de' Medici, 251;
Duke of Camerino, 217;
Francesco Granacci, 149;
Lodovico, 111;
Pietro Roselli, 130;
Sebastiano, 185, 186, 187, 188, 205;
Tomaso del Cavalieri, 231.
From the master to,
Amanati, 238;
Buonarroto, 133, 134, 136, 137, 138, 139, 140, 141, 161, 162, 181;
Cardinal Carpi, 241;
Fattucci, 133, 143, 191, 193, 195, 199, 242;
Francis I., 232;
Giovansimone, 153;
Lionardo, his nephew, 246, 248, 254, 257;
Lodovico, 110-112, 135, 151, 156, 159, 164;
Lorenzo di' Pierfrancesco, 23;
nephew of Pope Paul, 242;
Sebastiano, 197;
Spina, 194;
Topolino, 190;
Vasari, 245, 255.
From Diomede Leoni to Lionardo, 257;
from Tiberio Calcagni to Lionardo, 257
Library: Medici, ordered by Clement VII., 54, 197, 250
Libyan Sibyl, 174
Light separated from Darkness, Sistine Chapel, 170, 174, 176
Lignano: Antommaria, banks money for the Colossal Bronze, 40
Lionardo da Vinci, 116;
his cartoon, 124, 209, 327
Lionardo di Compago: saddle-maker, 184
Lionardo:
nephew of the master, 104;
letters to, 246, 248, 254, 257;
marries Cassandra, 254;
receives news of the master's illness, 257;
and death, 260;
orders Vasari to design the Tomb, 262
Lippi: Filippino, 116
Lodovico del Buono: founder, assists the master at Bologna, 133, 134
Lodorico di Leonardo Buonarroti Simoni,
father of the master, 5, 7, 11, 13, 15, 109;
letters to, 110, 111, 112, 135, 137, 151, 156, 159, 162, 164:
letter from, 111
Loggia dei Lanzi, 116, 129, 228
Loggia of the Vatican, 263, 292
Lorenzetto: worked from the cartoon, 127
Lorenzino: nicknamed Brutus, 250
Lorenzo:
San, the facade, 51, 183, 185;
obsequies of the master at, 262
Lorenzo: San, the pulpits of, 100, 103, 178
Loreto, 265
Lottino: Il, 85, 246
Louis XIII: 204
Louvre: the two Slaves, 116
Love:
a god of, in marble, made to imitate the antique, 21, 107;
a little, carved for Galli, 25, 107, 108
Lucan, 299
Lucca, 3
Lucrezia: second wife of Lodovico, 109
Luiz: Infanta D., 169
Madonna and Child: a bas-relief in the Casa Buonarroti, 104
Madonna and Child: marble statue, Bruges, 29
Madonna and Child: marble statue, New Sacristy, San Lorenzo, 59, 194, 215
Madonna and Child with Angela: National Gallery, from a cartoon by the
master, 157
Madonna and Child with St. John: marble tondo, Bargello, 121, 122
Madonna and Child with St. John: marble tondo, Diploma Gallery, 121, 122
Madonna and Child with St. Joseph: painted tondo, Ufflzi, 29, 122
Madonna della Pieta: of St. Peter's 25, 26, 112, 113, 232, 234
Madonna: medallion at Genoa, 237
Maffei: the Most Reverend, 84
Malaspina: Lionardo, 85
Manfidi: Angelo, second herald, 116
Mantegna: Andrea, 290
Mantua, 3, 290
Mantua: Cardinal of, commends the Moses, 67
Mantua: the Marchesana, 22, 23
Marc Antonio Raimondi: his engraving of the Cartoon, 125
Marcello Venusti: his copy of the Day of Judgment, 253
Marcellus II.:
Pope, Cardinal Marcello Cervini, 244;
Pope, 245
Margarite: of Austria, 305
Mario Scappuci, 180; 181
Martin Schongauer: the master copies his engraving, 7, 97
Masaccio: study of, 105, 172
Maso del Bosco: carves the portrait of Julius II. for the Tomb, 226
Matilda: Countess, 3
Mattea da Lecce: Sistine Chapel, 167
Matthew: St., marble statue in the Court of the Academy, Florence, 74,
118, 228
Maturino: worked from the Cartoon, 127, 292
Maximilian: Emperor, 279
Medal: Leone's, of the master, 252
Medici: Alessandro de', 59, 60, 62, 201, 250, 305
Medici: Cardinal de', _see_ Clement VII.
Medici: Cosimo de' 51, 208
Medici: Cosimo de', First Grand Duke of Tuscany, 104, 209
Medici Garden, 9, 99
Medici: House of, driven out of Florence, 18, 55, 201, 290
Medici:
Lorenzo di Pier Francesco de', 21, 23, 106;
letter to, 107
Medici:
Lorenzo de', the Magnificent, sees the master at work in his garden, 10,
100;
takes him into his household, 12, 13;
death, 14, 105;
his ghost appears to Cardiere, 16, 17, 193, 194, 208, 211, 212
Medici: Pier de', 15, 17
Medici rule, 215
Medici Tombs: in the New Sacristy of San Lorenzo, 58, 173, 203, 208, 250,
252
Melozzo da Forli: vault painting of, 131
Menichella: Domenico, 205, 206
Metauro, 193
Metello Vari: dei Porcari, 180, 181, 188
Michael Angelo:
claims descent from the House of Canossa, 3;
his ancestors, 4;
birth and horoscope, 5;
foster-mother and schoolmaster, 6;
first painting, 7, 97;
apprenticed to Ghirlandaio, 8, 97;
drawings, 8, 9, 98;
studies in the Medici Gardens under Bertoldo, 9, 99;
carves the head of a faun, 10, 11;
enters the House of Medici, 12, 102;
halcyon days with Lorenzo who presents him with a violet-coloured mantle,
12, note, 102;
incited by Poliziano, he carves the Rape of Deianira, 14, 103;
grief at the loss of his patron, 14;
the lost Hercules, 14, 105;
makes a snow-statue for Piero, 15;
studies anatomy at Santo Spirito and carves a crucifix in wood for the
Prior, 16;
fears of Cardiere, 17;
and flight to Bologna, 18;
the Angel of the Shrine of San Domenico, 19, 105;
returns to Florence, 21, 106;
the San Giovannino and the god of Love, 21, 22, 23, 106, 107;
first visit to Rome, 22, 107;
carves a Bacchus and a little Cupid, 24, 25, 107, 108;
and the Madonna della Pieta, 25, 112;
returns to Florence, 27, 28, 114-120;
the Madonna of Bruges, 29, 121;
the three Tondi, 29, 121-124;
the Cartoon of Pisa, 37, 38, 124-127;
summoned to Rome by Julius II., 29, 128;
who orders the Tomb, 30-34, 128-130;
marbles brought from Carrara, 30, 34, 128;
flight from Rome, 85, 36, 130;
works in Florence on the Cartoon, 37, 130;
joins Julius at Bologna, 39, 132;
the Colossal Bronze, 40, 133-142, 144, 145;
returns to Florence, 143;
but is summoned to Rome, 143;
to paint the vault of the Sistine Chapel, 41-49, 145-165;
descriptions of the vault, 42-46, 167-179;
death of Julius, 50, 146, 180;
proceeds with the Tomb, 51, 180-182;
but Leo X. orders a facade for San Lorenzo, 51;
quarries at Carrara and Pietra Santa, 52, 183, 185;
the facade abandoned, 54, 185;
the Library, 54;
the New Sacristy, 54, 186;
and the Medici Tombs, 68-60, 192-194, 208-216;
the Siege of Florence, the master made Commissary-General of
Fortifications, 55-58;
visits Ferrara, 60;
flight to Venice, 66;
return to duty, 57;
the fall of Florence, 67, 203;
the master in hiding, but he is allowed to return to work on the Tombs,
68, 203;
the Leda, 61, 62, 202;
the Risen Christ, 74, 180, 187, 188;
new agreement with the executors of Julius, 62-64, 194;
the master is called to Rome by Clement VII. and leaves Florence for the
last time, 62, 208;
the Day of Judgment, 64, 70, 71, 216-224;
Paul III. appoints the master chief architect, sculptor, and painter to
the Vatican, 216;
the Tomb of Julius erected in San Pietro ad Vincula, 67-69, 195, 224-227;
the frescoes in the Cappella Paolino, 73, 232;
the Pieta of S.M. del Fiore, 73, 234-237;
the cornice of the Farnese Palace, 238;
St. Peter's, 238, 239, 246;
the Brutus, 249;
S.M. degli Angeli, 251;
a grand-nephew born, 265;
death of Urbino, 256, 256;
a visit to the country near Spoleto, 256;
illness, 268;
death, 258;
works left in his house, 259;
his body is deposited in SS. Apostoli, 260;
conveyed to Florence, 260;
and carried to Santa Croce, 261;
his imitators, 263;
character and endowments of the master, 77;
his love of all beautiful things, 87;
his abstemious life, 88;
generosity, 88, 264, 265;
a description of his person, 91;
and the colour of his hair and eyes, 92;
the master visits S. Silvester, 273;
and expresses his opinion of the quiet life of work, 276;
of painting in Flanders, 279;
on drawing, 295-297, 308-322;
on working quickly or slowly, 325;
on the value of paintings, 314;
on grotesque, 316;
and on devotional painting, 319.
Milan, 158, 250
Milliarini: Professor, discovers a statue, 108
Minerva: the church of S.M. Sopra, 74, 180, 181
Mini: Antonio, pupil of the master, 192, 204, 264
Mini: Paolo, 207
Miniato: San, fortifications, 55, 202, 203
Minighella, 264
Monciatto: woodcarver, 115
Montanto: Antonio, 184
Montelupo, 194
Montevarchi: Ser Giovanni di Guasparre, 151
Montevecchio; Cardinal, 63
Montorsoli, 194
Moscheroni: Flemish merchants, 29
Moses: marble statue, the Tomb of Julius, 33, 67, 68, 129, 167, 182, 225
Mother: of the Master, _see_ Francesca
Mould on the Vault, 46, 161
Mozza: Via, 184
Nanni di Baccio Bigio: his intrigues, 242, 244, 247
Naples: copy of the Day of Judgment, 253
National Gallery, 116, 157, 204, 265, 292, 330, 331
Neptune: proposed statue of Andrea Doria as, 190, 191
Nero, 275, 285
New Sacristy of San Lorenzo, 192, 208, 293
Nicholas V.: Pope, 34
Nicolo di Bari: the ark of San Domenico, 105
Nicolo: San, beyond Arno, 203
Night: marble statue, New Sacristy, 58, 194, 203, 204, 209, 213, 214, 293
Noah: the Sacrifice of, Sistine Chapel, 44, 45
Novella: S.M., the first art school of the master, 99
Oil painting; the master's opinion of 217
Ollanda: _see_ Francesco
Onofrio: San, the master's workshop at, 124
Operai: of the Duomo, 115, 120
Orcagna, 99
Orvieto, 221
Ottavio Farnese: the marriage of, 306
Ovid, 299
Oxford:
drawings at, anatomy students, 16;
after two destroyed frescoes, 166;
design for alterations at San Lorenzo, 198, 230
Padua, 290
Palla: Giovanni Battista della, 105
Paolina: Cappella, 224
Paolo Galli: owned the Bacchus and the little Cupid, 25
Paris: the Leda goes to, 204
Parma, 3, 291
Parmigiano, 291, 327
Paul: St., conversion of, fresco, 73, 101
Paul III.:
Pope, elected, 66;
visits the master, 67;
orders him to proceed with the Day of Judgment, 70, 73, 78, 80, 84;
appoints the master chief architect, 216;
his answer to Messer Biagio, 223;
orders the frescoes for his chapel, 224, 225, 237, 239;
death, 242, 248, 276, 314
Paul IV.: Pope, 223
Pavia: Cardinal of, 132, 141, 147
Penseroso: Il, 203
Perino del Vaga, 127, 238, 270, 291, 327
Perspective, 82
Perugino, 77, 166, 216
Peruzzi: Baldassari, 238, 240, 242, 292, 295, 327
Pesaro, 290
Pescara: Marchioness of, _see_ Colonna
Pesellino: studies from, 105
Peter: St., a blocked out statue, 259
Peter: St., crucifixion of, alfresco, 73
Peter's:
the church of St., new design for, 25, 33, 83;
plans altered to embrace the project of the Tomb, 129;
the master undertakes the works, 238, 243, 244, 245, 249, 259, 291, 292,
305
Petrarca, 19;
and Tuscan rhyme, 76
Petronilla: Santa, the Madonna della Pieta placed in the church of, 25,
112
Petronio: San, a marble statuette finished by the master, 105
Petronio: San, the master hears mass in the church of, 39
Phaeton: a drawing, 231
Phidias, 156, 294
Piacenza: the ferry revenue goes to the master, 216
Piecolomini: Cardinal Francesco, orders fifteen statues, 114
Pico della Mirandola, 102
Pier Luigi: Gaeta, 247
Piero di Cosimo, 103, note, 116
Pierre Mariette: the fate of the Leda, 204
Pieta: a drawing, 259
Pieta: of S.M. del Fiore, 73, 233, 236, 262
Pieta: the Palazzo Rondini, 237
Pieta: Viterbo, by Sebastiano, 265
Pieta: _see_ Madonna della Pieta
Pietra: Santa, marble quarries, 52, 53, 183-185
Pietro Matteo d'Amelia, 150
Pietro: San, in Montorio, wall painting by Sebastiano, 101, 265, 292
Pietro: San, in Viticula, the Tomb of Julius II. set up, 67, 129, 182
Pietro: San, Maggiore, Florence, 260
Pietro Urbano: a workman, 133
Pietro Urbino, 187, 264
Pilote: goldsmith, 264
Pinti: Borgo, the master's house in, 120
Pintoricchio: Bernardino, 166
Piombo: _see_ Sebastiano
Pisa:
fortifications, 202;
picture by Buggiardini, 158; 291
Pisa: _see_ Cartoon
Pisani: pulpits of the, 103
Pisano: Giovanni, 177
Pistoia: San Andrea at, 177; 264
Pitti: Bartolomineo, 121
Pius III.: Pope, _see_ Piccolomini.
Pius IV.:
Pope, elected, 245;
confirms the master in his office, 247, 250
Pius V.: injures the Day of Judgment, 228
Plato, 75, 87
Plutarch, 286, 326
Po:
the river, 193;
revenue of a ferry, 216
Poggibonsi, 35
Pole: Cardinal, a friend of the master, 84
Polidoro, 292, 327
Poliziano: recognises the master's lofty spirit, 13, 102, 103
Pollaiuolo: Salvestro del, nephew of Antonio, 139
Pollaiuolo: Simone il, 131
Polvaccio: Roman quarry, 187
Pompey, 286, 310
Ponte: Maestro Bernardo dal, helps to cast the Colossal Bronze, 136, 139
Ponte Rotto, 245
Pontormo: Il, 127, 264
Porta del Popolo, 251
Porta Pia, 251
Portraits of the master, 252, 263
Praxiteles, 294
Prophets: Sistine Chapel, 42, 45, 164, 166-170, 176-178, 211
Protogenes, 325
Psyche: the Story of, by Raphael, 292
Pulci: Luigi, 102
Raffaellino: offers to come as assistant, 149
Raffaello da Monte Lupo:
his autobiography, 121;
the Madonna for the Tomb of Julius, 224-226
Raising of Lazarus: by Sebastiano, the master's design for, 265
Raphael:
da Urbino, proposed by the master as painter of the Sistine, 41, 47;
studies the style of the master, 77;
he is praised by the master, 89;
his painting of Doni, 122;
studied the Cartoon, 126;
his manner with his assistants, 155;
the proposition of Bramante, 164;
cartoons for tapestry, 167;
his composition of the Sacrifice of Noah, 173;
Sibyls at S.M. della Pace, 177;
a putto, 178, 197, 221, 238, 240, 242, 256, 263, 271, 292
Ravenna, 184
Realdo: physician, 91
Redemptions of Israel, 166, 169, 178
Reggio, 3
Rembrandt, 172, 224
Reynel: King of France, 293
Riccio: Luigi del, nurses the master when ill, 227
Ricordi:
the vault finished, 165;
the facade of San Lorenzo abandoned, 185;
marbles for the sacristy, 187; 192;
Gondi hides goods in the New Sacristy, 201
Ridolfi: Cardinal, 85
Ridolfo Pio of Carpi:
Cardinal, letter to, 241;
the Brutus for, 249
Ridolfo: _see_ Ghirlandaio
Rimini: a post on the Chancery bestowed on the master, 216
Risen Christ: _see_ Christ
Robertet: Florimond, secretary, receives the bronze David, 119, 120
Rocco: a San, drawn for Minighella, 264
Rondini: Palazzo, Pieta in, 237
Rontini: Baccio, cures the master from the effects of his fall, 219
Romans: claim him as a citizen, 260
Rome:
the master's first visit, 29, 30 37, 41, 107, 109, 111, 121, 128 130, 184,
185;
the sack of, 200, 205;
the master returns finally, 216, 237, 240, 246, 247, 253, 256, 260, 270,
291, 305, 314
Rosselli: Cosimo, 116, 166
Rosselli: Piero di Jacopo, plasters the vault, 149
Rosselli: Pietro, letter to the master, 130
Rosselmini: Count Guarlandi, 106
Rosso: II, worked from the Cartoon, 127
Rovere: _see_ Julius II.
Rovezzano: Benedetto da, 119
Rovano: Cardinal, _see_ Dionigi
Royal Academy: _see_ Diploma Gallery
Rucellai: recommendation to, 24
Ruffilni: Alessandro, groom of the Chamber, 83
Sacrarium: at San Lorenzo, design, 198
Sacrifice of Noah, 172, 173
Sacristy of San Lorenzo: _see_ Medici Tombs
Sack of Rome, 200, 205
Salt-cellar: design for, 217
Salvestro da Montanto, 226
Salvestro: jeweller, 116
Salviati: Alamano, 30
Salviati: Cardinal, 244
Salviati: Cecchino, rescues fragments of the arm of the David, 117
Salviati: Michael Angelo, father of Cecchino, 117
Salviati: Jacopo, 192
Sanazzaro, 76
Sangallo; Antonio da, 34, 47, 85, 116, 237, 238, 240-242, 259
Sangallo: Aristotele, assistant, 151
Sangallo: Ginliano da, 116, 141
San Gallo: Porta, 200
Sansovino: Andrea del Monte a, 27
Sansovino: Jacopo, 263
Santa Croce: Cardinal, 84
Santa Croce: Florence, 253, 260-262
Santarelli: sculptor, discovers a statue, 108
Santiquattro: Cardinal, 61, 52
Sarto: _see_ Andrea
Savonarola:
the master's affection for, 87;
his sermons, 106
Scaffolding:
designed by the master, 82;
drawing of, 98;
fall from, 218
Schongauer: _see_ Martin Scipio, 84
Scourging of Christ: drawn for Sebastiano, 101, 265
Sebastiano del Piombo, 101:
a walk in Rome, 121;
letters from, 185, 187, 188, 205;
portrait of Doria, 191;
letter to, 197;
prepares the wall for the Day of Judgment, 217, 231, 238, 253, note;
his genial humour, 264;
designs for, 265, 292, 314, 327
Setta Sangallesca, 237, 242-245
Settignano: the master nursed at, 6
Sibyls, 42, 45, 164, 166-170, 176-178;
by Raphael, 177
Siege of Florence, 201, 205
Siena, 273, 292, 327
Sigismondo: a brother, 109
Signorelli:
Luca, pictures in the Uffizi, 123;
and Sistine Chapel, 166;
slight influence of, 123, 124
Silvester: San, at Monte Cavallo, 271-327
Simone da Canossa: ancestor, 4, 6
Sin of Ham, 164, 170, 174, 179
Sistine Chapel, 41-49, 167-180, 210
Sixtus IV.: Pope, 41
Slaves: the two, marble statues, given to Strozzi, 89, 129, 116; 182, 216,
225, 227
Snow: a statue in, 15
Socrates, 87
Soderini: Cardinal, 39
Soderini:
Pier, Gonfaloniere, 28, 36, 37, 96, 97;
his criticism of the David, 118, 132
Solari: Cristoforo, Il Gobbo, 113
Spain, 200, 312, 313
Spanish Chapel, 99
Spedalingo: head of the hospital of S.M. Nuova, 157, 181, 182
Spina:
Giovanni, to pay a provision to the master, 192;
letter to, 194
Spirito: Santo, a crucifix for, 16
Spoleto, 256
Staccoli: Hieronimo, his letter to the Duke of Camerino, 217
Stairway to the Library, 250
Stanze: of the Vatican, 263, 270, 271, 292
Stefano: di Tomaso, 191, 192
Strozzi: Filippo, a sword hilt given to, 136
Strozzi: Giovan Battista, verses on the Night, 218
Strozzi: Lorenzo, 161
Strozzi Palace: the Hercules there until the siege, 105
Strozzi: Roberto, Slaves given to, 88, 89, 227
Stufa: Luigi della, a colossus to spoil the front of his palace, 198, 199
Sword-hilt: designed for Aldobrandini but given to Strozzi, 186
Tapestry: Raphael's cartoons for, 167
Tasio: wood-carver, 197
Taro: river, 193
Te: Palazzo del, 263
Teridade: King, 294
Terribilita: the master's, 101, 117
Teyler Museum: Haarlem, 253
Tiber, 193
Tiberio Calcagni, 249;
letter to Lionardo, 257, 258
Ticino: river, 193
Titian: his later work, 230, 290, 327
Tityos: drawing, 231
Tolemei: Claudio, 85
Tomaso: _see_ Cavalieri
Tomaso: of Prato, attorney, 62
Tomb of Julius:
first design, 30-33, 128, 129;
description, 67;
moneys received for, 69, 183, 186;
the master's desire to complete it, 191;
and trouble concerning it, 194, 205, 207
Tondi: _see_ Madonna and Child
Topolino: Domenico Fancelli, letter to, 190; 264
Torrigiano:
strikes the master, 91;
his history, 92;
a St. Francis by, 114
Tribolo: studied the Cartoon, 127
Trinita de' Monti, 253
Tromboncini: Bartolomeo, music to the madrigals, 207
Turk: The Grand, invites the master, 37, 78
Uffizi:
Florence, the painted tondo, 29, 122;
the dancing Faun, 175;
Signorelli's pictures 123;
drawings, 193
Urbino: Francesco, 255, 256, 273, 314
Urbino:
Francesco Maria, Duke of, finds fault with the slow progress of the Tomb
of Julius II., 55, 62-64;
Paul III. arranges a new contract, 67, 69, 207;
final contract, 225, 226, 290
Urbino: the master thinks of retiring to, 66
Urbino: the Palace of the Duke, 290
Valdarno, 264
Valori: Baccio, the Apollo presented to, 205, 207
Valentino: Duke, sends the god of Love to Mantua, 22, 23
Valerio Cioli, 262
Valerio de Vincenca, 270
Valpaio: Benvenuto, 207
Valuation of works of art, 314
Vansitelli, 251
Varchi:
Lectures and criticisms on the sonnets, 86;
oration, 262
Vari: _see_ Metello
Vasari:
Giorgio, his famous book, 92, 97, 98;
preserves the broken fragments of the arm of the David, 117;
the story of the Gonfaloniere, 118;
the St. Matthew, 120;
the tondi, 121, 122;
the Cartoon, 126;
seventeen statues for the Tomb of Julius completed, 130;
a list of assistants, 150, 151;
his fable of the vault, 158, 163;
the Apollo, 204;
he completes the works at San Lorenzo, 209, 211;
how Sebastiano prepared the wall, 217;
the master's fall, 218;
the Day of Judgment, 222;
the Cappella Paolino, 232;
he sees the master working at night, 235;
a Pieta, 237;
the cornice, 238;
St. Peter's, 241;
plots, 243;
the bridge of Nanni, 245;
the church for the Florentines in Rome, 249;
the medal of Leone, 252;
he holds another Buonarroto at the font, 255;
a letter to, referring to the death of Urbino, 255, 256;
the master's will, 269;
he receives the master's body in Florence, 260;
and describes the opening of the coffin in Santa Croce, 261;
and the obsequies at San Lorenzo, 262;
he designs the Tomb, 262;
and enumerates the pupils, 263
Vauban: studies the fortifications at San Miniato, 203
Vault:
of the Sistine Chapel, 41-49;
works begun, 149;
painting begins, 151;
assistants dismissed, 156;
mould on the fresco, 161;
exposed to view, 163;
finished, 165;
a description, 167-179, 291
Vecchio:
Palazzo, 116;
cartoon for, 124;
Bandinelli's Hercules and Cacus, 204
Venice:
the master invited to, 78;
flees to, 202;
Sebastiano refers to, 206, 290, 327
Venusti: _see_ Marcello
Victory: the, a marble statue in the Bargello, 129, 228
Vincenzo: _see_ Borghini
Vinci: _see_ Lionardo
Vincula:
San Pietro in, Bramante's work needs support, 32;
the Moses placed in, 33
Virgil, 76, 298, 303
Vitelli: Alessandro, 60
Viterbo:
Vittoria Colonna visits, 85, 240;
the Pieta by Sebastiano, 265
Vitruvius, 237
Vittoria: _see_ Colonna
Volterra: Cardinal, letter from Soderini to, 132
Volterra: _see_ Daniele
Windsor: drawings, 230
Works of art in the house of the master when he died, 259
Zanobi: Via San, 184
Zanobi: Mona, land near her estate, 135
Zapata: Diogo, 289
Zeuxis, 315
Printed by BALLANTYNE, HANSON & CO.
London & Edinburgh
1 For convenience of reference the chapters in the two parts are
divided so as to cover the same periods of time in the life of the
master.
2 Count Alessandro da Canossa acknowledged relationship to Michael
Angelo in a letter, dated October 4, 1520 (Gotti, i. 4), addressing
the master as "honoured kinsman," but the relationship cannot now be
proved. The ancestors of Michael Angelo have been traced to one
Bernardo who died before the year 1228, and they played their part
as citizens of Florence, no mean city, for more than two hundred
years--a noble pedigree even for Michael Angelo.
3 A paid magistrate or mayor, generally from a neighbouring town or
country and not a citizen of the place where he was on duty.
4 Caprese is made up of scattered hamlets and farmhouses near Arezzo,
upon the watershed between the Tiber and the Arno.
5 Upon March 6, 1475, according to our present reckoning, Lodovico
wrote in his note-book:
"I record that on this day, March 6, 1474, a male child was born to
me. I gave him the name of Michael Angelo, and he was born on a
Monday morning four or five hours before daybreak, and he was born
while I was Podesta of Caprese, and he was born at Caprese; and the
godfathers were those I have named below. He was baptized on the
eighth of the same month in the Church of San Giovanni at Caprese."
Then follow the godfathers; there are ten of them.
6 Maestro Francesco only taught Michael Angelo to read and write in
the vulgar tongue, for his pupil complained in after life that he
knew no Latin; this was not Francesco's fault, for his pupil soon
followed his friend's--another Francesco--influence and neglected
literature for the art that made him famous.
7 Ghirlandaio, born 1449, died 1494.
8 Martin Schongauer, born at Colmar about 1450, died 1488.
9 When Michael Angelo was thirteen years old Lodovico gave in to his
wishes and apprenticed him to Domenico Ghirlandajo (he was called
Ghirlandajo because as a goldsmith he had made garlands of golden
leaves for the brows of the Florentine ladies) upon the unusual
terms set forth in the following minute from Domenico's ledger under
the date 1488:
"I record this first of April how that I, Lodovico di Lionardo di
Buonarrota, bind my son Michael Angelo to Domenico and Davit di
Tommaso di Currado for the next three ensuing years, under these
conditions and contracts: to wit that the said Michael Angelo shall
stay with the above-named masters during this time, to learn the art
of painting, and to practise the same, and to be at the order of the
above-named; and they for their part, shall give him in the course
of these three years twenty-four florins (fiorini di Sagello, _L_8
12_s._); to wit, six florins in the first year, eight in the second,
ten in the third, making in all the sum of ninety-six pounds
(lire)."
A note of April 16, 1488, records that two florins were paid to
Michael Angelo upon that day. The total sum is estimated by Gotti
(p. 6, note) to equal 206.40 lira present value--about _L_8 12_s._ It
was usual for apprentices to pay a sum to their masters rather than
to be paid.
10 Drawings, even by old masters, were of no pecuniary value in those
days; they were merely kept for use in the workshop. The fashion of
collecting drawings for their own sake was invented by Giorgio
Vasari some sixty years later.
11 There is a mask of a grinning faun to be seen in the Bargello at
Florence, attributed to Michael Angelo and said to be this his first
work in sculpture. It does not correspond with either the account of
Vasari or of Condivi; it is a poor and ugly piece of work, and shows
no sign whatever of the early style of Michael Angelo, but is more
likely a work of a later period by some one who had seen the mask
under the left arm of "The Night" on the tomb of Lorenzo at San
Lorenzo.
12 "During this time Michael Angelo received from the Magnifico an
allowance of five ducats per month, and was furthermore presented
for his gratification with a violet-coloured mantle. But, indeed,
all the young men who studied in the gardens received stipends of
greater or less amount from the liberality of that Magnificent and
most noble citizen, being constantly encouraged and rewarded by him
whilst he lived." (Vasari.)
13 Many motives from antique gems may be traced in the art of Michael
Angelo, such as the Judith and her maid, some of the athletes the
Leda, and even the Adam.
14 Lorenzo died upon the eighth day of April, 1492.
15 Equal to-day to 20.60 lire--about seventeen shillings.
16 Nineteen and a quarter inches according to the measurements of Heath
Wilson ("Michael Angelo and his Works," p. 17, ed. 1881). This
relief is in the Casa Buonarroti, Florence.
17 We have no record of this work, and its whereabouts is not known.
18 The boy, Michael Angelo, probably enjoyed this frolic and its
attendant festivities as much as Piero, he could not have done much
other work in the dungeon-like studios of Florence in such cold
weather. This incident has been regarded as an insult to the artist
and a sign of Piero's want of taste. Michael Angelo cannot have felt
aggrieved as he stayed on at the palace. Condivi relates that he
remained "some months." Piero should rather be blamed for not
employing his artist guest upon some more lasting work also.
19 Nothing is known as to the fate of this work, it is not now in the
church.
20 Vasari states that Michael Angelo devoted much time to the study of
anatomy. "For the church of Santo Spirito, in Florence, Michael
Angelo made a crucifix in wood, which is placed over the lunette of
the high altar. This he did to please the Prior, who had given him a
room wherein he dissected many dead bodies, zealously studying
anatomy." (Vasari.)
A pen drawing at Oxford shows us two students studying anatomy at
night; the body of the subject supports the torch; one student holds
a pair of compasses in his right hand for measuring the proportions.
21 Michael Angelo left Bologna hastily under fear of personal violence
from the sculptors and native craftsmen, who said he was taking the
bread out of their mouths, rather a strong compliment to a boy of
twenty.
22 The dealer Baldassari del Milanese paid Michael Angelo thirty ducats
for this work, and sold it to Raffaello Riario, Cardinal di San
Giorgio, as an antique for two hundred ducats, an evidence, not of
the Cardinal's foolishness, but of Michael Angelo's careful study of
the antique.
23 The Cardinal S. Giorgio made Messer Baldassari refund the two
hundred ducats and take the Cupid back, so Michael Angelo got
nothing for his journey. Cesare Borgia presented this Cupid to
Guidobaldo di Montefeltro, Duke of Urbino. After Cesare Borgia
sacked the town of Urbino in 1592 he sent the Cupid to the
Marchioness of Mantua, who wrote on July 22, 1592, describing the
Cupid as "without a peer among the works of modern times." There is
a sleeping Cupid at Mantua in the Museo Civico, but it is not by
Michael Angelo. Signor Fabriczy holds that a Cupid preserved in the
museum at Turin may be Michael Angelo's original work, but the
translator has not seen it.
24 Michael Angelo arrived in Rome for the first time at the end of June
1496, and wrote in July to Lorenzo di' Pier Francesco de' Medici.
The letter bears a superscription to Sandro Botticelli; historians
presume from this that it was not safe to write openly to any of the
Medici.
"2nd day of July, 1496.
"Magnificent Lorenzo,--I only write to inform you that last Saturday
we arrived safely, and went at once to visit the Cardinal di San
Giorgio; and I presented your letter to him. It appeared to me that
he was pleased to see me, and he expressed a wish that I should go
immediately to inspect his collection of statues. I spent the whole
day there, and for that reason was unable to deliver all your
letters. On Sunday the Cardinal came into the new house, and had me
sent for. I went to him, and he asked me what I thought about the
things I had seen. I replied by stating my opinion, and certainly I
can say with sincerity that there are many fine things in the
collection. Then he asked me if I had the courage to make some
beautiful work. I answered that I should not be able to achieve
anything so great, but that he should see what I could do. We have
bought a piece of marble for a life size statue, and on Monday I
shall begin to work. On Monday last I presented your other letter of
recommendation to Rucellai, who offered me what money I might want;
also those to Cavalcanti. Afterwards I gave your letter to
Baldassare, and asked him for the child (the sleeping Cupid), saying
I was ready to refund his money. He answered very roughly, swearing
he would rather break it in a hundred pieces; he had bought the
child and it was his property; he possessed writing which proved
that he had satisfied the person who sent it to him, and was under
no apprehension that he should have to give it up. Then he
complained bitterly of you, saying that you had spoken ill of him.
Certain of our Florentines sought to accommodate matters, but failed
in their attempt. Now I look to coming to terms through the
Cardinal; for this is the advice of Baldassare Balducci. What ensues
I will report to you. No more by this. To you I recommend myself.
May God keep you from evil.
"Michael Angelo, in Rome.
"To Sandro Botticelli, at Florence."
(Gotti, ii. 32.)
25 This ugly, but marvellously-finished statue is now in the western
corridor of the Uffizi, in Florence. See p. 107.
26 See p. 108.
27 The work is now in the first chapel on the right in the nave of the
Basilica of Saint Peter's.
28 Now in the Accademia delle Belle Arti of Florence, where it was
placed for its better preservation in 1831.
29 The Office of Works.
30 Documents, copies of which are to be found in "Gaye," vol. ii. pp.
454-464, go to prove that this sculptor was Agostino di Antonio di
Duccio, who was born in 1418 and died in 1481. He was the author of
the relief illustrating the life of S. Gemignano upon the facade of
the Duomo at Modena, and some of the beautiful and delicate marble
reliefs set in the polychromatic front of the Oratory of S.
Bernardino at Perugia, and the fairy-like low relief (bassissimi
rilievi) panels that decorate the interior of the temple of
Malatesta at Rimini.
31 The Madonna and Child in the church of Notre Dame at Bruges,
identified as this work, is in marble. Vasari also states that the
work for the Moscheroni, Merchants of Bruges, was a bronze, but both
accounts were written fifty years after the event. Albert Duerer saw
this work in the church and mentions it as a marble statue in his
"Netherlands Diary," 1520-21.
32 Now in the Tribuna of the Uffizi, Florence.
33 Michael Angelo received payment for the cartoon probably in Florence
on February the 28th, 1505 ("Gaye," ii., p. 93), and he went to
Carrara in April of that year, so the delay was only two months, a
short enough time to prepare his great design.
34 The right bank of the Tiber below Rome. On the opposite shore is the
Marmorata, where blocks of marble were unloaded in the times of the
ancient Romans; some are there to this day.
35 The covered way from the Vatican to the Castle of Saint Angelo.
36 Heath Wilson estimates the area it would have covered as 34-1/2 ft.
by 23 ft. (p. 74).
37 Michael Angelo fled from Rome during the week after Easter, 1506. He
relates the circumstances in a letter of October 1542, No. c. d.
xxxv. "Le Lettere p. 489," which corroborates Condivi's story word
for word, and is another proof of the autobiographical nature of
these memoirs.
38 No fragments of this cartoon remain; perhaps the best copy is that
in possession of the Earl of Leicester at Holkham Hall. See also p.
124.
39 Like the good Catholic he was, he went to hear mass as soon as he
had completed his journey; he always behaved as a good son of the
Church.
40 This composition is generally known as the "Sacrifice of Noah," see
p. 172. Condivi evidently did not refer these descriptions to the
master, they are so full of curious individualities of his own.
41 That is the picture right.
42 The picture right, _i.e._, the spectator's left.
43 "To bloom," as a painter of to-day would say.
44 See p. 163.
45 See pp. 147-165 and 183. The first half may be estimated to have
taken eight months and a few days, and the second half from January
1510 to October 1512, with intervals for journeys to Florence, to
Bologna, and other interruptions.
46 That is professional assistance by artists or pupils. Workmen were
employed to plaster each day's section of work, writers to do the
lettering, and even decorative workmen for architectural details.
47 These quarries are in the Alpi Apuane near Viareggio, we are
informed by a modern Florentine sculptor that this marble is of
excellent quality.
48 See pp. 183-185.
49 This column was still lying in the Piazza of San Lorenzo in 1888; it
has now been removed.
50 Michael Angelo's love for Lorenzo the Magnificent never abated, and
these tombs may be regarded as a tribute to his early patron's
memory. He worked upon them in secret during the siege itself.
51 Condivi had not seen this sacristy and described it merely from the
fragmentary recollections of the master.
52 Possibly in the Duke's collection there may have been an antique gem
engraved with the story of Leda which influenced Michael Angelo in
his choice of this classical subject for the picture he painted for
the Duke.
53 The best version of this picture is in one the offices of the
National Gallery, London; it is probably the much restored original
which was supposed to have been destroyed by order of M. Desnoyers.
See p. 204.
54 Francis I.
55 Afterwards Cardinal Pole, Papal Legate in the time of King Henry
VIII. and Queen Mary I., born at Stourton Castle, Staffordshire,
1500; died November 18, 1558.
56 The Slaves, now in the Louvre, Paris.
57 The ox, in Italian banter, appears to have taken the position of the
ass with us in England, as a dull, heavy beast, a fool. Michael
Angelo's answer was, as it were: "It is according to the asses you
mean; if it be these asses of Bolognese doubtless they are much
bigger; if ours of Florence they are much smaller. You are bigger
asses in Bologna than we are in Florence."
58 Piero Torrigiano gave his version of the affair to Benvenuto Cellini
long afterwards: "This Buonarroti and I used, when we were boys, to
go into the Church of the Carmine to learn drawing from the Chapel
of Masaccio. It was Buonarroti's habit to banter all who were
drawing there, and one day, when he was annoying me, I got more
angry than usual, and, clenching my fist, I gave him such a blow on
the nose that I felt bone and cartilage go down like biscuit beneath
my knuckles; and this mark of mine he will carry with him to his
grave." Cellini adds--"These words begat in me such hatred of the man
since I was always gazing at the masterpieces of the divine Michael
Angelo, that, although I felt a wish to go with him to England, I
now could never bear the sight of him."
Torrigiano worked for Henry VIII. of England in Henry VII. chapel,
Westminster, and at Hampton Court. Afterwards he went to Spain and
came to a bad end there, as Condivi says. He died in the prisons of
the Inquisition, he had been condemned for destroying a figure of
the Madonna of his own carving; his patron paid him insufficiently,
so he went to the house, hammer in hand, and destroyed the statue,
with this unfortunate result. He starved himself to death in prison
as a worse fate awaited him. See Vasari.
59 Can this refer to the Second Edition of "The Lives of the Painters,
Sculptors, and Architects," by the kindly Giorgio Vasari?
60 --_The Temptation of Saint Anthony_, from the engraving by Martin
Schongauer.
61 Ghirlandaio.
62 There is a drawing in the Louvre of a faun's head, in pen and ink,
by Michael Angelo, over a red chalk drawing by an inferior hand. It
does not appear to be this drawing mentioned by Vasari, but a
caprice possibly of the same period, in which the master has
undertaken to draw a head with a pen, in which the projections and
indentations of the profile shall contradict the outline of the
conventional red chalk drawing below.
63 Vasari tells us that one of these pulpits had not been placed in its
position in the church even when Michael Angelo's funeral service
was held there in 1564, so it is quite likely that it was still in
the workshop in 1489.
64 That is the Hellenic work of the degenerate Greeks in Italy: all
that was to be seen in his day.
65 Page 10.
66 All the works of Michael Angelo, whether sculpture, painting, or
drawing partake of the nature of bas-relief, that old Tuscan art
developed to such good purpose by the Florentines. The marks of his
chisel hatch out the forms and develop the planes just as the
parallel strokes of his pen cut out the reliefs of his drawings from
the paper. His method of sculpture in the round was that of a carver
of bas-reliefs. He gradually cut away the background more and more
until the relief was actually the highest relief possible, the
round. Every piece of sculpture Michael Angelo executed is the
better for a background, whether niche or wall, for they all partake
of this bas-relief nature; and his paintings and drawings may every
one of them be thought of as bas-reliefs, and so it is with all the
works of the Florentines, his contemporaries and predecessors. Space
and distance never entered into their calculations before the time
of Piero di Cosimo and his pupil Andrea del Sarto, and even then
with but indifferent results. They were all content with the flat
bas-relief effects familiar to them in the gates of the Baptistry
and the jewel-like decorations of the Campanile. Their favourite
problem was the expression of force by form, and no art was so
useful for that purpose as bas-relief, because of its fixed main
lines of composition and its absolute power of expressing the detail
of the action of muscle and bone.
67 Leonardo may have shown it to Vasari also as an early work of the
master's; Condivi does not mention it.
68 The cast of an angel from this shrine at the Victoria and Albert
Museum, South Kensington, is not from the one carved by Michael
Angelo, nor is it of his school as the label states; it is probably
by Nicolo del Arca. Michael Angelo's figure is the companion angel
on the other side of the altar.
69 See p. 21.
70 Probably because it was dangerous to write to any member of the
Medici family. It proves to us that Michael Angelo and Sandro
Botticelli were on confidential terms.
71 See p. 24.
72 See p. 25.
73 Vol. i. p. 22.
74 The "Monte di Pieta" is a savings-bank and pawn-broker's,
established by the state or city.
75 Le Lettere, ii. p. 4.
76 Gotti, ii. p. 33 (Archivio Buonarroti).
77 Nine cubits = 5.31 metres, or 13 feet 6 inches.
78 Agostino di Duccio.
79 Gotti estimates six golden florins at 57.60 francs, or about _L2
6s_.
80 S.C. 1504. See "Le Lettere," &c., p. 620.
81 A contemporary account, Gotti, vol. i. p. 29.
82 Firenze: Le Monnier, 1857, p. 197.
83 Perkins "Tuscan Sculptors," vol. ii. p. 74.
84 This reason given by Vasari for the use of various mediums is just
the sort of reason he would have had himself for using them. Michael
Angelo merely used different materials because it was the best way
of getting the different effects he wanted, or, sometimes possibly,
because they happened to be handy.
85 We know how difficult it is to get facts about the works done a few
decades ago, even though the artists be still living; for instance,
how little we know of the cartoon competition held in Westminster
Hall in 1843, or the fresco of Justice painted by Mr. G.F. Watts,
R.A., in the New Hall of Lincoln's Inn.
86 Gotti, i. p. 46 (in the Archivio Buonarroti).
87 Gaye, vol. ii. pp. 83, 84, 85, 91, 93, gives all the correspondence.
88 Lettere, No. ccclxxxiii.
89 About fourteen feet, that is to say, at least three times the size
of life, as it was a sitting figure.
90 Lettere, No. xlviii. p. 61 (in the British Museum).
91 Le Lettere, No. 1. p. 65 (in the Archivio Buonarroti).
92 That is, Dame Zanobia.
93 Le Lettere, No. iv. p. 8 (in the British Museum).
94 We should like to see it; we have nothing of Michael Angelo's which
can help us to imagine what this work was like.
95 Le Lettere, No. lx. p. 76 (in the British Museum).
96 Le Lettere, No. lxii. p. 78 (in the Archivio Buonarroti).
97 Le Lettere, No. lxiii. p. 79 (in the British Museum).
98 Le Lettere, No. lxiv. p. 80 (in the Archivio Buonarroto).
99 Nephew of Antonio del Pollaiuolo.
100 Le Lettere, No. lxv. p. 81 (in the Archivio Buonarroto).
101 Le Lettere, No. lxxii. p. 88 (in the British Museum).
102 Le Lettere, No. lxxv. p. 91 (in the Archivio Buonarroti).
103 Lettere, No. ccclxxxiii. p. 426 (in the Archivio Buonarroti).
104 Le Lettere, No. c. (Ricordi) p. 563 (in the British Museum).
105 In the Buonarroti Archives; quoted by Heath Wilson, p. 123.
106 ._Ibid._ p. 124.
107 Le Lettere, No. vii. p. 13 (in the British Museum).
108 The head of the hospital of Santa Maria Nuova in Florence, where
Michael Angelo banked his money.
109 L'Indaco.
110 Le Lettere, No. x. p. 17 (in the British Museum).
111 Le Lettere xvii. p. 27 (in the British Museum).
112 Lorenzo Strozzi, to whose wool-shop Buonarroto went.
113 Lettere, No. lxxx. p. 97 (in the British Museum).
114 Lettere, No. lxxxi. p. 98 (in the British Museum).
115 Albertini, _Mirabilia Urbis_, quoted by Grimm vol. i. p. 523.
Albertini's words are _pars testudinea superior_.
116 Director of the hospital of Santa Maria Nuova, where Michael Angelo
banked his money.
117 Le Lettere, No. xxi. p. 31 (in the British Museum).
118 J.A. Symonds. "The Sonnets of Michael Angelo and Campanella," No.
lvi. p. 90.
119 Milanesi Lettere, Contratti, &c., xiv. p. 641.
120 The director of the hospital where Michael Angelo banked his money.
121 Milanese, Le Lettere, No. xcvii. p. 115.
122 Michael Angelo wrote a postscript to letter No. cxvi.: "Oh, cursed a
thousand times the day and hour when I left Carrara! This is the
cause of my utter ruin. But I shall go back there soon. Nowadays it
is a sin to do one's duty."
123 Milanese. Ricordi, &c., p. 581.
124 Milanese. "Les Correspondants de Michel Ange," p. 24.
125 ._Ibid._ p. 24.
126 The letters of Vari are in the Buonarroti Archives, Cod. xi., No.
740-761; Symonds, vol. i. p. 362.
127 Le Lettere, No. ccclxxx., p. 423 (in the Archivio Buonarroti).
128 Le Lettere, No. xliv., p. 55 (in the British Museum).
129 Le Lettere, No. cccxc. p. 437. Milanese dates this letter August 8,
1524. Michael Angelo to Giovanni Spina; he signs it "at San
Lorenzo."
130 Several are by the hand of Michael Angelo, but some are done in the
mannered style of the architectural draughtsman of the period, and
suggest a Florentine assistant.
131 Gotti, i. 158
132 Lettere, Nos. cd. and cdii. pp. 450, 453.
133 Le Lettere, No. cccxciv. p. 442 (in the Archivio Buonarroti).
134 Le Lettere, No. cd. p. 450 (in the Archivio Buonarroti).
135 Le Lettere, No. cccxcvii. p. 446 (in the Archivio Buonarroti).
136 Surnamed Dini; he fell in the sack of Rome.
137 Le Lettere, No. cccxcix. p. 448 (in the Archivio Buonarroti).
138 The gate called San Gallo, which remained open until daylight.
139 Vol. i. p. 207.
140 Gotti, i. 199. San Nicolo is a little church on the way to San
Miniato; the tower forms the foreground in the view from the top of
the hill.
141 See p. 61.
142 The letter is in Gaye, ii. 229.
143 Any one who has spent a winter day drawing there will confirm Paolo
in this statement.
144 "Correspondants," pp. 108-112.
145 Vol. ii. pp. 89, 122.
146 In the Archivio Buonarroti, Codici xi. No. 765; Bottari, Lettere
Pittoriche, vol. iii. pp. 78-84; and Symonds, vol. ii. p. 25.
147 See p. 66.
148 Gotti, ii. p. 123.
149 Gotti, ii. p. 125.
150 See Gaye, iv. 289-309, and "Lettere," &c., pp. 709-712.
151 Lettere, No. cdxxxiii., dated July 20.
152 Lettere, p. 715.
153 Lettere, No. cdxlv. p. 505 (in the "Biblioteca Nazionale,"
Florence.)
154 Bottari, Lett. pitt. iii. 796.
155 Heath Wilson, p. 449.
156 Archivio Buonarroti, Cod. vii.
157 Le Lettere, No. cdlix. p. 519 (in the Archivio Buonarroti).
158 "The Sonnets of Michael Angelo." By J.A. Symonds. No. lxv.
159 Le Lettere, No. cdlxxiv. p. 535, written in 1555 (in the Archivio
Buonarroti).
160 If the traveller has no luggage, or has sent it on before, he can
walk from the Trastevere station, past the Ponte Rotto, past the
Temple of Janus to the Forum, and see Rome for the first time so.
161 Le Lettere, No. cdxc., under date 1560, p. 554 (in the Archivio
Buonarroti).
162 Gotti, i. 309.
163 Le Lettere, No. ccxxxi. (December 21st), p. 260 (in the British
Museum).
164 Le Lettere, No. cdlxvi. (October 1549), p. 527 (in the Archivio
Buonarroti).
165 Gotti, i. 311.
166 Le Lettere, No. cdlxxv. p. 537 (in the Archivio Buonarroti).
167 Le Lettere, No. cccii., dated February 13, 1557, p. 333 (in the
Archivio Buonarroti).
168 Le Lettere, No. cdxciv. p. 558 (in the Archivio Buonarroti).
169 Le Lettere, No. cccxiv., dated July 15, 1559, p. 345 (in the
Archivio Buonarroti).
170 Le Lettere, Nos, cdlxxxv., cdlxxxvi. pp. 548, 550.
171 Gotti. i. 351.
172 Florence.
173 Reproduced in Yriarte's Florence, p. 280, English edition.
174 See Frontispiece.
175 May we not hope that Michael Angelo's good friend, the Frate
Sebastiano del Piombo, painted a portrait of him during their long
friendship, and that it will come to light one of these days?
176 Le Lettere, cxci.-cxciii. pp. 217, 219, are on this subject (in the
British Museum).
177 A hospital in Florence for the benefit of the Poveri Vergognosi,
poor folk who have come down in the world.
178 Le Lettere, No. cclxix. p.299 (in the British Museum).
179 Le Lettere, No. cdlxxv p. 539.
180 Cellini.
181 Le Lettere, No. cdlxxix. Dec. 28, 1556, p. 541.
182 "Carte-Michelesche Inedite," p. 41.
183 Gotti, i. 354.
184 A little after 8 P.M.
185 Four o'clock in the afternoon.
186 Gotti, i. p. 354.
187 Clement VII. used to say, "When Buonarroti comes to see me I always
take a seat and bid him be seated at once, feeling sure that he will
do so without leave or licence otherwise."--TRANSLATOR.
188 Albert Duerer.
189 Parmigiano.
190 Assisi (?).
191 The Farnesina.
192 Now in the Vatican Gallery.
193 The church of Santa Maria della Pace.
194 Sebastiano del Piombo; the picture was the Raising of Lazarus, No. 1
in the National Gallery.
195 Chiaroscuro, monochrome.
196 Baldassare Peruzzi.
197 Bandinelli(?).
198 Baldassare Peruzzi.
199 Piazza Navona?
200 In 1538.
201 Ottavio Farnese.
202 Margarite of Austria, natural daughter of Charles V.