The Life of Michelangelo Buonarroti

by John Addington Symonds

VIII

The history of Luigi del Riccio's affection for a lad of Florence called Cecchino dei Bracci, since this is interwoven with Michelangelo's own biography and the criticism of his poems, may be adduced in support of the argument I am developing. Cecchino was a youth of singular promise and personal charm. His relative, the Florentine merchant, Luigi del Riccio, one of Buonarroti's most intimate friends and advisers, became devotedly attached to the boy. Michelangelo, after his return to Rome in 1534, shared this friend Luigi's admiration for Cecchino; and the close intimacy into which the two elder men were drawn, at a somewhat later period of Buonarroti's life, seems to have been cemented by their common interest in poetry and their common feeling for a charming personality. We have a letter of uncertain date, in which Michelangelo tells Del Riccio that he has sent him a madrigal, begging him, if he thinks fit, to commit the verses "to the fire—that is, to what consumes me." Then he asks him to resolve a certain problem which has occurred to his mind during the night, "for while I was saluting our idol in a dream, it seemed to me that he laughed, and in the same instant threatened me; and not knowing which of these two moods I have to abide by, I beg you to find out from him; and on Sunday, when we meet again, you will inform me." Cecchino, who is probably alluded to in this letter, died at Rome on the 8th of January 1542, and was buried in the Church of Araceli. Luigi felt the blow acutely. Upon the 12th of January he wrote to his friend Donate Giannotti, then at Vicenza, in the following words:—

"Alas, my friend Donato! Our Cecchino is dead. All Rome weeps. Michelangelo is making for me the design of a decent sepulture in marble; and I pray you to write me the epitaph, and to send it to me with a consolatory letter, if time permits, for my grief has distraught me. Patience! I live with a thousand and a thousand deaths each hour. O God! How has Fortune changed her aspect!" Giannotti replied, enclosing three fine sonnets, the second of which, beginning—

Messer Luigi mio, di noi che fia Che sian restati senza il nostro sole?

seems to have taken Michelangelo's fancy. Many good pens in Italy poured forth laments on this occasion. We have verses written by Giovanni Aldobrandini, Carlo Gondi, Fra Paolo del Rosso, and Anton Francesco Grazzini, called Il Lasca. Not the least touching is Luigi's own threnody, which starts upon this note:—

Idol mio, che la tua leggiadra spoglia Mi lasciasti anzi tempo.

Michelangelo, seeking to indulge his own grief and to soothe that of his friend Luigi, composed no fewer than forty-two epigrams of four lines each, in which he celebrated the beauty and rare personal sweetness of Cecchino in laboured philosophical conceits. They rank but low among his poems, having too much of scholastic trifling and too little of the accent of strong feeling in them. Certainly these pieces did not deserve the pains which Michelangelo the younger bestowed, when he altered the text of a selection from them so as to adapt their Platonic compliments to some female. Far superior is a sonnet written to Del Riccio upon the death of the youth, showing how recent had been Michelangelo's acquaintance with Cecchino, and containing an unfulfilled promise to carve his portrait:—

Scarce had I seen for the first time his eyes,
Which to your living eyes were life and light,
When, closed at last in death's injurious night,
He opened them on God in Paradise.
I know it, and I weep—too late made wise:
Yet was the fault not mine; for death's fell spite
Robbed my desire of that supreme delight
Which in your better memory never dies.
Therefore, Luigi, if the task be mine
To make unique Cecchino smile in stone
For ever, now that earth hath made him dim,
If the beloved within the lover shine,
Since art without him cannot work alone,
You must I carve to tell the world of him.

The strange blending of artificial conceits with spontaneous feeling in these poetical effusions, the deep interest taken in a mere lad like Cecchino by so many eminent personages, and the frank publicity given to a friendship based apparently upon the beauty of its object, strike us now as almost unintelligible. Yet we have the history of Shakespeare's Sonnets, and the letters addressed by Languet to young Sidney, in evidence that fashion at the end of the sixteenth century differed widely from that which prevails at the close of the nineteenth.

IX

Some further light may here be thrown upon Michelangelo's intimacy with young men by two fragments extracted independently from the Buonarroti Archives by Milanesi and Guasti. In the collection of the letters we find the following sorrowful epistle, written in December 1533, upon the eve of Michelangelo's departure from Florence. It is addressed to a certain Febo:—

"Febo,—Albeit you bear the greatest hatred toward my person—I know not why—I scarcely believe, because of the love I cherish for you, but probably through the words of others, to which you ought to give no credence, having proved me—yet I cannot do otherwise than write to you this letter. I am leaving Florence to-morrow, and am going to Pescia to meet the Cardinal di Cesis and Messer Baldassare. I shall journey with them to Pisa, and thence to Rome, and I shall never return again to Florence. I wish you to understand that, so long as I live, wherever I may be, I shall always remain at your service with loyalty and love, in a measure unequalled by any other friend whom you may have upon this world.

"I pray God to open your eyes from some other quarter, in order that you may come to comprehend that he who desires your good more than his own welfare, is able to love, not to hate like an enemy."

Milanesi prints no more of the manuscript in his edition of the
Letters. But Guasti, conscientiously collecting fragments of
Michelangelo's verses, gives six lines, which he found at the foot of
the epistle:—

Vo' sol del mie morir contento veggio:
La terra piange, e'l ciel per me si muove;
E vo' men pietà stringe ov' io sto peggio.
_O sol che scaldi il mondo in ogni dove,
O Febo, o luce eterna de' mortali,
Perchè a me sol ti scuri e non altrove?

* * * * *

Naught comforts you, I see, unless I die:
Earth weeps, the heavens for me are moved to woe;
You feel of grief the less, the more grieve I.
O sun that warms the world where'er you go,
O Febo, light eterne for mortal eyes!
Why dark to me alone, elsewhere not so?_

These verses seem to have been written as part of a long Capitolo which Michelangelo himself, the elder, used indifferently in addressing Febo and his abstract "donna." Who Febo was, we do not know. But the sincere accent of the letter and the lyric cry of the rough lines leave us to imagine that he was some one for whom Michelangelo felt very tenderly in Florence.

Milanesi prints this letter to Febo with the following title, "A Febo (di Poggio)." This proves that he at any rate knew it had been answered by some one signing "Febo di Poggio." The autograph, in an illiterate hand and badly spelt, is preserved among the Buonarroti Archives, and bears date January 14, 1534. Febo excuses himself for not having been able to call on Michelangelo the night before he left Florence, and professes to have come the next day and found him already gone. He adds that he is in want of money, both to buy clothes and to go to see the games upon the Monte. He prays for a gratuity, and winds up: "Vostro da figliuolo (yours like a son), Febo di Poggio." I will add a full translation here:—

"Magnificent M. Michelangelo, to be honoured as a father,—I came back yesterday from Pisa, whither I had gone to see my father. Immediately upon my arrival, that friend of yours at the bank put a letter from you into my hands, which I received with the greatest pleasure, having heard of your well-being. God be praised, I may say the same about myself. Afterwards I learned what you say about my being angry with you. You know well I could not be angry with you, since I regard you in the place of a father. Besides, your conduct toward me has not been of the sort to cause in me any such effect. That evening when you left Florence, in the morning I could not get away from M. Vincenzo, though I had the greatest desire to speak with you. Next morning I came to your house, and you were already gone, and great was my disappointment at your leaving Florence without my seeing you.

"I am here in Florence; and when you left, you told me that if I wanted anything, I might ask it of that friend of yours; and now that M. Vincenzo is away, I am in want of money, both to clothe myself, and also to go to the Monte, to see those people fighting, for M. Vincenzo is there. Accordingly, I went to visit that friend at the bank, and he told me that he had no commission whatsoever from you; but that a messenger was starting to-night for Rome, and that an answer could come back within five days. So then, if you give him orders, he will not fail, I beseech you, then, to provide and assist me with any sum you think fit, and do not fail to answer.

"I will not write more, except that with all my heart and power I recommend myself to you, praying God to keep you from harm.—Yours in the place of a son,

"Febo Di Poggio.
"Florence, January 4, 154."

X

In all the compositions I have quoted as illustrative of Michelangelo's relations with young men, there is a singular humility which gives umbrage to his editors. The one epistle to Gherardo Perini, cited above, contains the following phrases: "I do not feel myself of force enough to correspond to your kind letter;" "Your most faithful and poor friend."

Yet there was nothing extraordinary in Cavalieri, Cecchino, Febo, or Perini, except their singularity of youth and grace, good parts and beauty. The vulgar are offended when an illustrious man pays homage to these qualities, forgetful of Shakespeare's self-abasement before Mr. W.H. and of Languet's prostration at the feet of Sidney. In the case of Michelangelo, we may find a solution of this problem, I think, in one of his sonnets. He says, writing a poem belonging very probably to the series which inspires Michelangelo the younger with alarm:—

As one who will re-seek her home of light,
Thy form immortal to this prison-house
Descended, like an angel-piteous,
To heal all hearts and make the whole world bright,
'Tis this that thralls my soul in love's delight,
Not thy clear face of beauty glorious;
For he who harbours virtue still will choose
To love what neither years nor death can blight.
So fares it ever with things high and rare
Wrought in the sweat of nature; heaven above
Showers on their birth the blessings of her prime:
Nor hath God deigned to show Himself elsewhere
More clearly than in human forms sublime,
Which, since they image Him, alone I love.

It was not, then, to this or that young man, to this or that woman, that Michelangelo paid homage, but to the eternal beauty revealed in the mortal image of divinity before his eyes. The attitude of the mind, the quality of passion, implied in these poems, and conveyed more clumsily through the prose of the letters, may be difficult to comprehend. But until we have arrived at seizing them we shall fail to understand the psychology of natures like Michelangelo. No language of admiration is too strong, no self-humiliation too complete, for a soul which has recognised deity made manifest in one of its main attributes, beauty. In the sight of a philosopher, a poet, and an artist, what are kings, popes, people of importance, compared with a really perfect piece of God's handiwork?

From thy fair face I learn, O my loved lord,
That which no mortal tongue can rightly say;
The soul imprisoned in her house of clay,
Holpen by thee, to God hath often soared.
And though the vulgar, vain, malignant horde
Attribute what their grosser wills obey,
Yet shall this fervent homage that I pay,
This love, this faith, pure joys for us afford.
Lo, all the lovely things we find on earth,
Resemble for the soul that rightly sees
That source of bliss divine which gave us birth:
Nor have we first-fruits or remembrances
Of heaven elsewhere. Thus, loving loyally,
I rise to God, and make death sweet by thee.

We know that, in some way or other, perhaps during those early years at Florence among the members of the Platonic Academy, Michelangelo absorbed the doctrines of the Phoedrus and Symposium. His poems abound in references to the contrast between Uranian and Pandemic, celestial and vulgar, Eros. We have even one sonnet in which he distinctly states the Greek opinion that the love of women is unworthy of a soul bent upon high thoughts and virile actions. It reads like a verse transcript from the main argument of the Symposium:—

Love is not always harsh and deadly sin,
When love for boundless beauty makes us pine;
The heart, by love left soft and infantine,
Will let the shafts of God's grace enter in.
Love wings and wakes the soul, stirs her to win
Her flight aloft, nor e'er to earth decline;
'Tis the first step that leads her to the shrine
Of Him who slakes the thirst that burns within.

The love of that whereof I speak ascends:
Woman is different far; the love of her
But ill befits a heart manly and wise.
The one love soars, the other earthward tends;
The soul lights this, while that the senses stir;
And still lust's arrow at base quarry flies.

The same exalted Platonism finds obscure but impassioned expression in this fragment of a sonnet (No. lxxix.):——

For Love's fierce wound, and for the shafts that harm,
True medicine 'twould have been to pierce my heart;
But my soul's Lord owns only one strong charm,
Which makes life grow where grows life's mortal smart.
My Lord dealt death, when with his-powerful arm
He bent Love's bow. Winged with that shaft, from Love
An angel flew, cried, "Love, nay Burn! Who dies,
Hath but Love's plumes whereby to soar above!
Lo, I am He who from thine earliest years
Toward, heaven-born Beauty raised thy faltering eyes.
Beauty alone lifts live man to heaven's spheres."

Feeling like this, Michelangelo would have been justly indignant with officious relatives and critics, who turned his amici into animi, redirected his Cavalieri letters to the address of Vittoria Colonna, discovered Florence in Febo di Poggio, and ascribed all his emotional poems to some woman.

There is no doubt that both the actions and the writings of contemporaries justified a considerable amount of scepticism regarding the purity of Platonic affections. The words and lives of many illustrious persons gave colour to what Segni stated in his History of Florence, and what Savonarola found it necessary to urge upon the people from his pulpit.

But we have every reason to feel certain that, in a malicious age, surrounded by jealous rivals, with the fierce light of his transcendent glory beating round his throne, Buonarroti suffered from no scandalous reports, and maintained an untarnished character for sobriety of conduct and purity of morals.

The general opinion regarding him may be gathered from Scipione Ammirati's History (under the year 1564). This annalist records the fact that "Buonarotti having lived for ninety years, there was never found through all that length of time, and with all that liberty to sin, any one who could with right and justice impute to him a stain or any ugliness of manners."

How he appeared to one who lived and worked with him for a long period of intimacy, could not be better set forth than in the warm and ingenuous words of Condivi: "He has loved the beauty of the human body with particular devotion, as is natural with one who knows that beauty so completely; and has loved it in such wise that certain carnally minded men, who do not comprehend the love of beauty, except it be lascivious and indecorous, have been led thereby to think and to speak evil of him: just as though Alcibiades, that comeliest young man, had not been loved in all purity by Socrates, from whose side, when they reposed together, he was wont to say that he arose not otherwise than from the side of his own father. Oftentimes have I heard Michelangelo discoursing and expounding on the theme of love, and have afterwards gathered from those who were present upon these occasions that he spoke precisely as Plato wrote, and as we may read in Plato's works upon this subject. I, for myself, do not know what Plato says; but I know full well that, having so long and so intimately conversed with Michelangelo, I never once heard issue from that mouth words that were not of the truest honesty, and such as had virtue to extinguish in the heart of youth any disordered and uncurbed desire which might assail it. I am sure, too, that no vile thoughts were born in him, by this token, that he loved not only the beauty of human beings, but in general all fair things, as a beautiful horse, a beautiful dog, a beautiful piece of country, a beautiful plant, a beautiful mountain, a beautiful wood, and every site or thing in its kind fair and rare, admiring them with marvellous affection. This was his way; to choose what is beautiful from nature, as bees collect the honey from flowers, and use it for their purpose in their workings: which indeed was always the method of those masters who have acquired any fame in painting. That old Greek artist, when he wanted to depict a Venus, was not satisfied with the sight of one maiden only. On the contrary, he sought to study many; and culling from each the particular in which she was most perfect, to make use of these details in his Venus. Of a truth, he who imagines to arrive at any excellence without following this system (which is the source of a true theory in the arts), shoots very wide indeed of his mark."

Condivi perhaps exaggerated the influence of lovely nature, horses, dogs, flowers, hills, woods, &c., on Michelangelo's genius. His work, as we know, is singularly deficient in motives drawn from any province but human beauty; and his poems and letters contain hardly a trace of sympathy with the external world. Yet, in the main contention, Condivi told the truth. Michelangelo's poems and letters, and the whole series of his works in fresco and marble, suggest no single detail which is sensuous, seductive, enfeebling to the moral principles. Their tone may be passionate; it is indeed often red-hot with a passion like that of Lucretius and Beethoven; but the genius of the man transports the mind to spiritual altitudes, where the lust of the eye and the longings of the flesh are left behind us in a lower region. Only a soul attuned to the same chord of intellectual rapture can breathe in that fiery atmosphere and feel the vibrations of its electricity.

XI

I have used Michelangelo's poems freely throughout this work as documents illustrative of his opinions and sentiments, and also in their bearing on the events of his life. I have made them reveal the man in his personal relations to Pope Julius II., to Vittoria Colonna, to Tommaso dei Cavalieri, to Luigi del Riccio, to Febo di Poggio. I have let them tell their own tale, when sorrow came upon him in the death of his father and Urbino, and when old age shook his lofty spirit with the thought of approaching death. I have appealed to them for lighter incidents: matters of courtesy, the completion of the Sistine vault, the statue of Night at S. Lorenzo, the subjection of Florence to the Medici, his heart-felt admiration for Dante's genius. Examples of his poetic work, so far as these can be applied to the explanation of his psychology, his theory of art, his sympathies, his feeling under several moods of passion, will consequently be found scattered up and down by volumes. Translation, indeed, is difficult to the writer, and unsatisfactory to the reader. But I have been at pains to direct an honest student to the original sources, so that he may, if he wishes, compare my versions with the text. Therefore I do not think it necessary to load this chapter with voluminous citations. Still, there remains something to be said about Michelangelo as poet, and about the place he occupies as poet in Italian literature.

The value of Michelangelo's poetry is rather psychological than purely literary. He never claimed to be more than an amateur, writing to amuse himself. His style is obscure, crabbed, ungrammatical. Expression only finds a smooth and flowing outlet when the man's nature is profoundly stirred by some powerful emotion, as in the sonnets to Cavalieri, or the sonnets on the deaths of Vittoria Colonna and Urbino, or the sonnets on the thought of his own death. For the most part, it is clear that he found great difficulty in mastering his thoughts and images. This we discover from the innumerable variants of the same madrigal or sonnet which he made, and his habit of returning to them at intervals long after their composition. A good fourth of the Codex Vaticanus consists of repetitions and rifacimenti. He was also wont to submit what he wrote to the judgment of his friends, requesting them to alter and improve. He often had recourse to Luigi del Riccio's assistance in such matters. I may here adduce an inedited letter from two friends in Rome, Giovanni Francesco Bini and Giovanni Francesco Stella, who returned a poem they had handled in this manner: "We have done our best to alter some things in your sonnet, but not to set it all to rights, since there was not much wanting. Now that it is changed or put in order, according as the kindness of your nature wished, the result will be more due to your own judgment than to ours, since you have the true conception of the subject in your mind. We shall be greatly pleased if you find yourself as well served as we earnestly desire that you should command us." It was the custom of amateur poets to have recourse to literary craftsmen before they ventured to circulate their compositions. An amusing instance of this will be found in Professor Biagi's monograph upon Tullia d'Aragona, all of whose verses passed through the crucible of Benedetto Varchi's revision.

The thoughts and images out of which Michelangelo's poetry is woven are characteristically abstract and arid. He borrows no illustrations from external nature. The beauty of the world and all that lives in it might have been non-existent so far as he was concerned. Nor do his octave stanzas in praise of rural life form an exception to this statement; for these are imitated from Poliziano, so far as they attempt pictures of the country, and their chief poetical feature is the masque of vices belonging to human nature in the city. His stock-in-trade consists of a few Platonic notions and a few Petrarchan antitheses. In the very large number of compositions which are devoted to love, this one idea predominates: that physical beauty is a direct beam sent from the eternal source of all reality, in order to elevate the lover's soul and lead him on the upward path toward heaven. Carnal passion he regards with the aversion of an ascetic. It is impossible to say for certain to whom these mystical love-poems were addressed. Whether a man or a woman is in the case (for both were probably the objects of his aesthetical admiration), the tone of feeling, the language, and the philosophy do not vary. He uses the same imagery, the same conceits, the same abstract ideas for both sexes, and adapts the leading motive which he had invented for a person of one sex to a person of the other when it suits his purpose. In our absolute incapacity to fix any amative connection upon Michelangelo, or to link his name with that of any contemporary beauty, we arrive at the conclusion, strange as this may be, that the greater part of his love-poetry is a scholastic exercise upon emotions transmuted into metaphysical and mystical conceptions. Only two pieces in the long series break this monotony by a touch of realism. They are divided by a period of more than thirty years. The first seems to date from an early epoch of his life:—

What joy hath yon glad wreath of flowers that is
Around her golden hair so deftly twined,
Each blossom pressing forward from behind,
As though to be the first her brows to kiss!
The livelong day her dress hath perfect bliss,
That now reveals her breast, now seems to bind:
And that fair woven net of gold refined
Rests on her cheek and throat in happiness!
Yet still more blissful seems to me the band,
Gilt at the tips, so sweetly doth it ring,
And clasp the bosom that it serves to lace:
Yea, and the belt, to such as understand,
Bound round her waist, saith: Here I'd ever cling!
What would my arms do in that girdle's place?

The second can be ascribed with probability to the year 1534 or 1535. It is written upon the back of a rather singular letter addressed to him by a certain Pierantonio, when both men were in Rome together:—

Kind to the world, but to itself unkind,
A worm is born, that, dying noiselessly,
Despoils itself to clothe fair limbs, and be
In its true worth alone by death divined.
Would I might die for my dear lord to find
Raiment in my outworn mortality;
That, changing like the snake, I might be free
To cast the slough wherein I dwell confined!
Nay, were it mine, that shaggy fleece that stays,
Woven and wrought into a vestment fair,
Around yon breast so beauteous in such bliss!
All through the day thou'd have me! Would I were
The shoes that bear that burden! when the ways
Were wet with rain, thy feet I then should kiss!

I have already alluded to the fact that we can trace two widely different styles of writing in Michelangelo's poetry. Some of his sonnets, like the two just quoted, and those we can refer with certainty to the Cavalieri series, together with occasional compositions upon the deaths of Cecchino and Urbino, seem to come straight from the heart, and their manuscripts offer few variants to the editor. Others, of a different quality, where he is dealing with Platonic subtleties or Petrarchan conceits, have been twisted into so many forms, and tortured by such frequent re-handlings, that it is difficult now to settle a final text. The Codex Vaticanus is peculiarly rich in examples of these compositions. Madrigal lvii. and Sonnet lx., for example, recur with wearisome reiteration. These laboured and scholastic exercises, unlike the more spontaneous utterances of his feelings, are worked up into different forms, and the same conceits are not seldom used for various persons and on divers occasions.

One of the great difficulties under which a critic labours in discussing these personal poems is that their chronology cannot be ascertained in the majority of instances. Another is that we are continually hampered by the false traditions invented by Michelangelo the younger. Books like Lannan Rolland's "Michel-Ange et Vittoria Colonna" have no value whatsoever, because they are based upon that unlucky grand-nephew's deliberately corrupted text. Even Wadsworth's translations, fine as they are, have lost a large portion of their interest since the publication of the autographs by Cesare Guasti in 1863. It is certain that the younger Michelangelo meant well to his illustrious ancestor. He was anxious to give his rugged compositions the elegance and suavity of academical versification. He wished also to defend his character from the imputation of immorality. Therefore he rearranged the order of stanzas in the longer poems, pieced fragments together, changed whole lines, ideas, images, amplified and mutilated, altered phrases which seemed to him suspicious. Only one who has examined the manuscripts of the Buonarroti Archives knows what pains he bestowed upon this ungrateful and disastrous task. But the net result of his meddlesome benevolence is that now for nearly three centuries the greatest genius of the Italian Renaissance has worn a mask concealing the real nature of his emotion, and that a false legend concerning his relations to Vittoria Colonna has become inextricably interwoven with the story of his life.

The extraordinary importance attached by Michelangelo in old age to the passions of his youth is almost sufficient to justify those psychological investigators who regard him as the subject of a nervous disorder. It does not seem to be accounted for by anything known to us regarding his stern and solitary life, his aloofness from the vulgar, and his self-dedication to study. In addition to the splendid devotional sonnets addressed to Vasari, which will appear in their proper place, I may corroborate these remarks by the translation of a set of three madrigals bearing on the topic.

_Ah me, ah me! how have I been betrayed
By my swift-flitting years, and by the glass,
Which yet tells truth to those who firmly gaze!
Thus happens it when one too long delays,
As I have done, nor feels time fleet and, fade:—
One morn he finds himself grown old, alas!
To gird my loins, repent, my path repass,
Sound counsel take, I cannot, now death's near;
Foe to myself, each tear,
Each sigh, is idly to the light wind sent,
For there's no loss to equal time ill-spent.

Ah me, ah me! I wander telling o'er
Past years, and yet in all I cannot view
One day that might be rightly reckoned mine.
Delusive hopes and vain desires entwine
My soul that loves, weeps, burns, and sighs full sore.
Too well I know and prove that this is true,
Since of man's passions none to me are new.
Far from the truth my steps have gone astray,
In peril now I stay,
For, lo! the brief span of my life is o'er.
Yet, were it lengthened, I should love once more.

Ah me! I wander tired, and know not whither:
I fear to sight my goal, the years gone by
Point it too plain; nor will closed eyes avail.
Now Time hath changed and gnawed this mortal veil,
Death and the soul in conflict strive together
About my future fate that looms so nigh.
Unless my judgment greatly goes awry,
Which God in mercy grant, I can but see
Eternal penalty
Waiting my wasted will, my misused mind,
And know not, Lord, where health and hope to find._

After reading these lamentations, it is well to remember that Michelangelo at times indulged a sense of humour. As examples of his lighter vein, we might allude to the sonnet on the Sistine and the capitolo in answer to Francesco Berni, written in the name of Fra Sebastiano. Sometimes his satire becomes malignant, as in the sonnet against the people of Pistoja, which breathes the spirit of Dantesque invective. Sometimes the fierceness of it is turned against himself, as in the capitolo upon old age and its infirmities. The grotesqueness of this lurid descant on senility and death is marked by something rather Teutonic than Italian, a "Danse Macabre" intensity of loathing; and it winds up with the bitter reflections, peculiar to him in his latest years, upon the vanity of art. "My much-prized art, on which I relied and which brought me fame, has now reduced me to this. I am poor and old, the slave of others. To the dogs I must go, unless I die quickly."

A proper conclusion to this chapter may be borrowed from the peroration of Varchi's discourse upon the philosophical love-poetry of Michelangelo. This time he chooses for his text the second of those sonnets (No. lii.) which caused the poet's grand-nephew so much perplexity, inducing him to alter the word amici in the last line into animi. It runs as follows:—

_I saw no mortal beauty with these eyes
When perfect peace in thy fair eyes I found;
But far within, where all is holy ground,
My soul felt Love, her comrade of the skies:
For she was born with God in Paradise;
Else should we still to transient love be bound;
But, finding these so false, we pass beyond
Unto the Love of loves that never dies.
Nay, things that die cannot assuage the thirst
Of souls undying; nor Eternity
Serves Time, where all must fade that flourisheth
Sense is not love, but lawlessness accurst:
This kills the soul; while our love lifts on high
Our friends on earth—higher in heaven through death.

"From this sonnet," says Varchi, "I think that any man possessed of judgment will be able to discern to what extent this angel, or rather archangel, in addition to his three first and most noble professions of architecture, sculpture, and painting, wherein without dispute he not only eclipses all the moderns, but even surpasses the ancients, proves himself also excellent, nay singular, in poetry, and in the true art of loving; the which art is neither less fair nor less difficult, albeit it be more necessary and more profitable than the other four. Whereof no one ought to wonder: for this reason; that, over and above what is manifest to everybody, namely that nature, desirous of exhibiting her utmost power, chose to fashion a complete man, and (as the Latins say) one furnished in all proper parts; he, in addition to the gifts of nature, of such sort and so liberally scattered, added such study and a diligence so great that, even had he been by birth most rugged, he might through these means have become consummate in all virtue: and supposing he were born, I do not say in Florence and of a very noble family, in the time too of Lorenzo the Magnificent, who recognised, willed, knew, and had the power to elevate so vast a genius; but in Scythia, of any stock or stem you like, under some commonplace barbarian chief, a fellow not disdainful merely, but furiously hostile to all intellectual ability; still, in all circumstances, under any star, he would have been Michelangelo, that is to say, the unique painter, the singular sculptor, the most perfect architect, the most excellent poet, and a lover of the most divinest. For the which reasons I (it is now many years ago), holding his name not only in admiration, but also in veneration, before I knew that he was architect already, made a sonnet; with which (although it be as much below the supreme greatness of his worth as it is unworthy of your most refined and chastened ears) I mean to close this present conference; reserving the discussion on the arts (in obedience to our Consul's orders) for another lecture.

Illustrious sculptor, 'twas enough and more,
Not with the chisel-and bruised bronze alone,
But also with brush, colour, pencil, tone,
To rival, nay, surpass that fame of yore.
But now, transcending what those laurels bore
Of pride and beauty for our age and zone.
You climb of poetry the third high throne,
Singing love's strife and-peace, love's sweet and sore.
O wise, and dear to God, old man well born,
Who in so many, so fair ways, make fair
This world, how shall your dues be dully paid?
Doomed by eternal charters to adorn
Nature and art, yourself their mirror are,
None, first before, nor second after, made."

In the above translation of Varchi's peroration I have endeavoured to sustain those long-winded periods of which he was so perfect and professed a master. We must remember that he actually read this dissertation before the Florentine Academy on the second Sunday in Lent, in the year 1546, when Michelangelo was still alive and hearty. He afterwards sent it to the press; and the studied trumpet-tones of eulogy, conferring upon Michelangelo the quintuple crown of pre-eminence in painting, sculpture, architecture, poetry, and loving, sounded from Venice down to Naples. The style of the oration may strike us as rococo now, but the accent of praise and appreciation is surely genuine. Varchi's enthusiastic comment on the sonnets xxx, xxxi, and lii, published to men of letters, taste, and learning in Florence and all Italy, is the strongest vindication of their innocence against editors and scholars who in various ways have attempted to disfigure or to misconstrue them.