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 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 Pietà, [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 Pietà 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 [pg 343]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].