THE CHAPEL OF POPE PAUL
(By permission of the Fratelli Alinari, Florence)
To the most Christian King of France.[157]
"Sacred Majesty,—I do not know which is the greater, the grace or the wonder at it, that your Majesty should have deigned to write to a man like me, and still more to ask him for things of his, unworthy even of the name of your Majesty; but, whatever they are, let your Majesty understand that for a long time I have desired to serve you in them; but, not having had the opportunity, [pg 233]because you have not been in Italy where my work is, I have not been able to do it. Now I am old, and have been occupied these many months with the work for Pope Paul. But if a little life is still left me after all these occupations, what I have desired is, as I have said, a little time to work for your Majesty at my art—one work to be in marble, one in bronze, and one in painting. And if death hinders me from carrying out my wish, and if it be possible to carve statues or to paint in the other life, I shall not fail to do so there, where there is no more growing old. And I pray God that He grant your Majesty a long and happy life.
"From Rome, the day XXVI. of April, MDXLVI."
In the letters and poems of this period we note the endeavour to attain to a style in literature full of rich conceits and elaborate compliment, which may be compared to the style, elaborate and ornamental, but somewhat cold and unattractive, of the frescoes in the Cappella Paolina. As he grew older he devoted himself more entirely to architecture and literature. The arts of sculpture and painting, as exercised by him, could not be carried on by assistants; he now perforce had to employ himself upon work in which the execution could be left to younger hands. He sought the help of scholars to overhaul and set to rights his poems, sonnets, and thoughts in words, as the masons and master-builders expressed his thoughts in architecture—the Dome of St. Peter's, and the cornice of the Farnese Palace. In the devotional drawings we have mentioned, and an unfinished group in sculpture, the Deposition from the Cross, now behind the High Altar of Santa Maria del Fiore at Florence, we have the [pg 234]only further manifestation of Michael Angelo's genius in his favourite arts. Many of these drawings appear to be designs for a great picture of the Crucifixion. He went on executing them long after the death of the Marchioness of Pescara, who first seems to have incited him to this work. It almost appears to have become a religious exercise with him; they have the same meaning as these last lines of a Sonnet.
Nè pinger nè scolpir fia più che quieti
L' anima volta a quell' Amor divino
Ch' aperse, a prender noi, in croce le braccia.
Painting nor sculpture now can lull to rest
My soul, that turns to His great love on high,