APOLLO
THE NATIONAL MUSEUM, THE BARGELLO, FLORENCE
(By permission from the photograph by Sig. G. Brugi, Florence)
Sebastiano continued his good services to his friend [pg 207]with regard to the Tomb of Julius all through 1531. The course of events may be followed in his letters. The Pope was interested, and always consulted, in the affair, and most favourably disposed to Michael Angelo. All this anxiety preyed upon the master and injured his health. Paolo Mini, the father of Antonio, Michael Angelo's assistant, wrote to Baccio Valori on September 29[142]: "Michael Angelo will not live long unless some measures are taken for his benefit. He works very hard, eats little and poorly, and sleeps less. In fact, he is afflicted with two kinds of disorder: the one in his head, the other in his heart. Neither is incurable, since he has a robust constitution; but, for the good of his head, he ought to be restrained by our Lord the Pope from working through the winter in the sacristy, the air of which is bad for him;[143] and for his heart, the best remedy would be if his Holiness could accommodate matters with the Duke of Urbino." On November 21 Clement addressed a brief to his sculptor, whereby Buonarroti was ordered, under pain of excommunication, to lay aside all work, except what was strictly necessary for the Medician monuments, and to take better care of his health. On the 26th Benvenuto Valpaio added that his Holiness desired Michael Angelo to select some workshop more convenient than the cold and cheerless sacristy.
Sebastiano's letters during 1533 often refer to an edition of some madrigals written by Michael Angelo and set to music by Bartolomeo Tromboncino, Giacomo Arcadelt, [pg 208]and Constanzo Festa.[144] Gottif[145] publishes an essay by Leto Puliti on this music with the score of three of the madrigals. Many of Michael Angelo's poetical compositions may be referred to this period of comparative inaction as to painting and sculpture. All through his life he wrote sonnets and poems when his other work did not proceed quickly.
In 1535 Michael Angelo finally left Florence. His father and his favourite brother were dead, and so he left the shadow of the great Duomo, all Florentines love, for ever. At Rome he dreamed a dream of another Dome, that has given to that city the feature by which we know it best, and to Romans a possession not less beloved than Bruneleschi's gift to the Florentines.
THE HEAD OF THE NIGHT
THE NEW SACRISTY OF SAN LORENZO, FLORENCE
(By permission of the Fratelli Alinari, Florence)