Another, the Epiphany.
This last drawing was presented to the notary who drew up the will, and is supposed to be the cartoon now in the British Museum; all the others went to Lionardo Buonarroti. Lionardo arrived three days after the death. The body was deposited upon a catafalque in the Church of the Santissimi Apostoli, where the funeral was celebrated by all the artists and Florentines in Rome. In fulfilment of the wish of Michael Angelo, repeated two days before his death, Lionardo made arrangements for the removal of his uncle's remains to Florence. But the Romans, who regarded him as a fellow citizen, resented this, and Lionardo was obliged to send the body away disguised as a bale of merchandise, addressed to the custom-house at Florence. Vasari wrote, on March 10, duly informing him that the packing-case had arrived, and had been left under seals until Lionardo's arrival at the custom-house. Notwithstanding this letter from Vasari, it appears that the body was removed, on March 11, to the oratory of the Assunta, beneath the Church of San Pietro Maggiore. Next day the painters, sculptors, and architects of the newly-founded Academy, of which Michael Angelo had been elected Principal after the Duke, met at the church, intending to bring the body secretly to Santa Croce. They had with them only an embroidered pall of velvet and a crucifix to [pg 261]place upon the bier. At night the elder men lighted torches and the younger strove with one another to bear the coffin. Meantime the curious Florentines found out that something was going forward, and a great concourse assembled as the news spread that Michael Angelo was being carried to Santa Croce, and huge crowds followed the humble procession, lighted by the flaring torches such as the Misericordia carry to this day. The vast church of Santa Croce was so crowded that the pall-bearers had difficulty in reaching the sacristy with their burden. When they at last got there, Don Vincenzo Borghini, Lieutenant of the Academy, "thinking he would do what was pleasing to many, and also, as he afterwards confessed, desiring to behold in death one whom he had never seen in life, or, at any rate, at such an age that he did not remember it, ordered the coffin to be opened. When this was done, whereas he and all of us present expected to find the corpse already corrupted and defaced, inasmuch as Michael Angelo had been dead twenty-five days and twenty-two in his coffin, lo! we beheld him instead perfect in all his parts and without any evil odour; indeed, we might have believed that he was resting in a sweet and very tranquil slumber. Not only were the features of his face exactly the same as when he was in life (except that the colour was a little like that of death), none of his limbs were injured or repulsive; the head and cheeks to the touch felt as though he had passed away only a few hours before. When the eagerness of the multitude who crowded round had calmed down a little, the coffin was deposited in the church, behind the altar of the Cavalcanti."
Those who would read of the gorgeous catafalque of [pg 262]stucco, woodwork, and painting erected in the Church of San Lorenzo by the Academy, may do so in the pages of Vasari, and in the book called "Esequie del Divino Michel Angelo Buonarroti, celebrate in Firenze dall' Academia, &c., Firenze, i Giunti, 1564," and Varchi's "Orazione Funerali," published by the same house at the same date. The great artist is dead: let us leave him to his rest in Santa Croce, the Westminster Abbey of his city and the church of his ward.
Vasari received from Lionardo Buonarroti the commission to design the tomb for Santa Croce. He did his best to get the Pietà now in the Duomo to serve as the principal part of the monument, asserting that it had been intended by Michael Angelo for his monument. "Besides, there is an old man in the group who represents the sculptor." This plan did not succeed, and the ugly monument now in existence was designed instead. The Duke supplied the marbles, and the figures were carved by Giovanni dall' Opera, Lorenzi and Valerio Cioli. The bust portrait in bronze was modelled by Battista Lorenzi. It was erected in 1570, and bears the inscription:
MICHAELI ANGELO BONAROTIO
E VETVSTA SIMONIORVM FAMILIA
SCVLPTORI. PICTORI. ET ARCHITECTO
FAMA OMNIBVS NOTISSIMO.
LEONARDVS PATRVO AMANTIS. ET DE SE OPTIME MERITO
TRANSLATIS ROMA EIVS OSSIBVS. ATQVE IN HOC TEMPLO MAIOR
SVOR SEPVLCRO CONDITIS. COHORTANTE SERENISS. COSMO MED.
MAGNO HETRVRIAE DVCE. P. C.
ANN. SAL. CIC. IC. LXX
VIXIT ANN. LXXXVIII. M. XI. D. XV.
The Romans also erected a monument in the church where they had hoped to keep the bones of the artist who [pg 263]did more for their Immortal City than any man who ever lived. Over this monument is the following epitaph:
MICHAEL ANGELUS
BONARROTIUS
SCULPTOR PICTOR ARCHITECTUS
MAXIMA ARTIFICUM FREQUENTIA
IN HAC BASILICA SS. XII APOST. F.M.C.
XI CAL. MART. A. MDLXIV ELATUS EST
CLAM INDE FLORENTIAM TRANSLATUS
ET IN TEMPLO S. CRUCIS EORUMD. F.
V. ID. MART. EJUSD. A. CONDITUS
TANTO NOMINI
NULLUM PAR ELOGIUM
Michael Angelo formed no school, his love of excellence would not permit him to leave any inferior work behind him, as Raphael did in certain portions of the Stanze and Loggia of the Vatican. Michael Angelo's disposition was not so genial nor were his manners so universally pleasing as those of the gentle Raphael, so he was unable to keep a body of workmen together in good temper; the result is, we have no Sala of Constantine, or Palazzo del Tè, to remind us of the passing of the master of a school. At the same time, to his few assistants and workmen Michael Angelo was as kind as father to son, when once he became accustomed to them about him. He gave help to various other artists, and it may be noted that all those he influenced became men devoted to high finish and the utmost perfection possible. Decadence in Italian art began long before his death; but the imitators of Michael Angelo are by far the best and most interesting figures of that unfortunate period. They, at least, have great intentions, and strive to attain a style of dignity and distinction, and do not grudge any labour that may help [pg 264]them to their ideals. Vasari tells us of some of these men and their works: "He loved his workmen and was on friendly terms with them. Among them were Jacopo Sansovino, Il Pontormo, Daniele da Volterra, and Giorgio Vasari Aretino, to whom he showed infinite kindness...." He goes on to say that "he was unfortunate in those who lived with him, since he chanced upon natures unfit to follow him. For Pietro Urbano, of Pistoja, his pupil, was a man of talent, but would never work hard. Antonio Mini had the will but not the brain, and hard wax takes a bad impression. Ascanio della Ripa Transone (Condivi) worked very hard, but nothing came of it either in work or in designs." Jacopo l'Indaco and Mineghella were boon companions of the master. A stone-cutter Domenico Fancelli nicknamed Topolino, Pilote the goldsmith, Giuliano Bugiardini the painter, were of this company. The melancholy Michael Angelo is said to have burst his sides with laughing at Mineghella's stupidity. The very proper Vasari describes the latter as "a mean and stupid painter of Valdarno, but a very amusing person; and Michael Angelo, who could with difficulty be made to work for kings, would leave everything to make simple drawings for this fellow, San Rocco, San Antonio, or San Francesco, to be coloured for one of the man's many peasant patrons; among others Michael Angelo made him a very beautiful model of a Christ on the Cross, made a mould from it, and Mineghella cast it in papier-maché and went about selling it all over the country-side." It may be that the familiar and often-repeated Crucifix in common use is an adaptation or copy, far removed from this original; it has something of the style of Michael Angelo's later work, the figure is most beautifully disposed.
[pg 265]Sebastiano del Piombo lightened the old man's labour by his genial humour and jovial companionship; Sebastiano followed his teaching with great industry and skill, as all his later works show; such as the Scourging of Christ, in San Pietro in Montorio, and the Raising of Lazarus, in our own National Gallery: drawings by the hand of Michael Angelo still exist for the principal figures in both these pictures. There is a Pietà by Sebastiano, at Viterbo, evidently following the lines of one of Michael Angelo's religious drawings; it is so beautiful in the expression of its colour and the high finish of the nude, that we cannot but think that Michael Angelo's exacting eyes were peering over the shoulder of Sebastiano when he painted it.
Per ritornar là donde venne fora,