V
The uncovering took place upon November 1, 1509. All Rome flocked to the chapel, feeling that something stupendous was to be expected after the long months of solitude and seclusion during which the silent master had been working. Nor were they disappointed. The effect produced by only half of the enormous scheme was overwhelming. As Vasari says, "This chapel lighted up a lamp for our art which casts abroad lustre enough to illuminate the World, drowned, for so many centuries in darkness." Painters saw at a glance that the genius which had revolutionised sculpture was now destined to introduce a new style and spirit into their art. This was the case even with Raffaello, who, in the frescoes he executed at S. Maria della Pace, showed his immediate willingness to learn from Michelangelo, and his determination to compete with him. Condivi and Vasari are agreed upon this point, and Michelangelo himself, in a moment of hasty indignation, asserted many years afterwards that what Raffaello knew of art was derived from him. That is, of course, an over-statement; for, beside his own exquisite originality, Raffaello formed a composite style successively upon Perugino, Fra Bartolommeo, and Lionardo. He was capable not merely of imitating, but of absorbing and assimilating to his lucid genius the excellent qualities of all in whom he recognised superior talent. At the same time, Michelangelo's influence was undeniable, and we cannot ignore the testimony of those who conversed with both great artists—of Julius himself, for instance, when he said to Sebastian del Piombo: "Look at the work of Raffaello, who, after seeing the masterpieces of Michelangelo, immediately abandoned Perugino's manner, and did his utmost to approach that of Buonarroti."
Condivi's assertion that the part uncovered in November 1509 was the first half of the whole vault, beginning from the door and ending in the middle, misled Vasari, and Vasari misled subsequent biographers. We now know for certain that what Michelangelo meant by "the portion I began" was the whole central space of the ceiling—that is to say, the nine compositions from Genesis, with their accompanying genii and architectural surroundings. That is rendered clear by a statement in Albertini's Roman Handbook, to the effect that the "upper portion of the whole vaulted roof" had been uncovered when he saw it in 1509. Having established this error in Condivi's narrative, what he proceeds to relate may obtain some credence. "Raffaello, when he beheld the new and marvellous style of Michelangelo's work, being extraordinarily apt at imitation, sought, by Bramante's means, to obtain a commission for the rest." Had Michelangelo ended at a line drawn halfway across the breadth of the vault, leaving the Prophets and Sibyls, the lunettes and pendentives, all finished so far, it would have been a piece of monstrous impudence even in Bramante, and an impossible discourtesy in gentle Raffaello, to have begged for leave to carry on a scheme so marvellously planned. But the history of the Creation, Fall, and Deluge, when first exposed, looked like a work complete in itself. Michelangelo, who was notoriously secretive, had almost certainly not explained his whole design to painters of Bramante's following; and it is also improbable that he had as yet prepared his working Cartoons for the lower and larger portion of the vault. Accordingly, there remained a large vacant space to cover between the older frescoes by Signorelli, Perugino, Botticelli, and other painters, round the walls below the windows, and that new miracle suspended in the air. There was no flagrant impropriety in Bramante's thinking that his nephew might be allowed to carry the work downward from that altitude. The suggestion may have been that the Sistine Chapel should become a Museum of Italian art, where all painters of eminence could deposit proofs of their ability, until each square foot of wall was covered with competing masterpieces. But when Michelangelo heard of Bramante's intrigues, he was greatly disturbed in spirit. Having begun his task unwillingly, he now felt an equal or greater unwillingness to leave the stupendous conception of his brain unfinished. Against all expectation of himself and others, he had achieved a decisive victory, and was placed at one stroke, Condivi says, "above the reach of envy." His hand had found its cunning for fresco as for marble. Why should he be interrupted in the full swing of triumphant energy? "Accordingly, he sought an audience with the Pope, and openly laid bare all the persecutions he had suffered from Bramante, and discovered the numerous misdoings of the man." It was on this occasion, according to Condivi, that Michelangelo exposed Bramante's scamped work and vandalism at S. Peter's. Julius, who was perhaps the only man in Rome acquainted with his sculptor's scheme for the Sistine vault, brushed the cobwebs of these petty intrigues aside, and left the execution of the whole to Michelangelo.
There is something ignoble in the task of recording rivalries and jealousies between artists and men of letters. Genius, however, like all things that are merely ours and mortal, shuffles along the path of life, half flying on the wings of inspiration, half hobbling on the feet of interest the crutches of commissions. Michelangelo, although he made the David and the Sistine, had also to make money. He was entangled with shrewd men of business, and crafty spendthrifts, ambitious intriguers, folk who used undoubted talents, each in its kind excellent and pure, for baser purposes of gain or getting on. The art-life of Rome seethed with such blood-poison; and it would be sentimental to neglect what entered so deeply and so painfully into the daily experience of our hero. Raffaello, kneaded of softer and more facile clay than Michelangelo, throve in this environment, and was somehow able—so it seems—to turn its venom to sweet uses. I like to think of the two peers, moving like stars on widely separated orbits, with radically diverse temperaments, proclivities, and habits, through the turbid atmosphere enveloping but not obscuring their lucidity. Each, in his own way, as it seems to me, contrived to keep himself unspotted by the world; and if they did not understand one another and make friends, this was due to the different conceptions they were framed to take of life the one being the exact antipodes to the other.