Leonardo had met his youthful rival with goodwill and every consideration; but Michelangelo hated him with all the fire of his impetuous nature. Leonardo's calm he fancied contempt: he listened to calumnies, he sought pretexts for quarrels, he seized every occasion to damage his rival. When the 'David' was finished the best painters and sculptors were invited by the Signoria to discuss where it should be placed. Leonardo agreed with Giuliano da San Gallo, the architect, that the most suitable position would be under the Loggia de' Priori, and not, as others suggested, in front of the Palazzo della Signoria. Michelangelo swore that Leonardo, prompted by envy, wished his rival's work hidden in a corner where no one could properly see it.
Discussions on abstract questions were at this time much the vogue, and on one occasion a company, including the brothers Pollaiuoli, the aged Botticelli, Filippino Lippi, and Lorenzo di Credi, assembled in Leonardo's studio to debate whether sculpture or painting held the higher place among the arts. Leonardo quickly, with a whimsical expression, gave his opinion thus:—
'The further art is removed from a handicraft the nearer it approaches perfection. The major distinction between the two arts lies in the fact that painting demands greater effort of mind, sculpture greater effort of body. The shape, contained like a kernel in the block of marble, is slowly set free by the sculptor's blows of chisel and mallet, needing the exertion of all his bodily powers. Great fatigue ensues, the labourer is drenched with sweat, which mingling with dust becomes a miry crust upon his garments; his face is smeared and covered with white like a baker's, his studio is filled with chips. Whereas the painter, perfectly calm, in elegant habiliments, seated at ease in his chair, plies a light brush and manipulates pleasant paints. His house is clean, and quiet, so that his toil can be sweetened by converse, or music, or reading, undisturbed by hammerings or scrapings.'
These words came to the ears of Michelangelo, who imagined them aimed at himself. He took occasion to make venomous reply:—
'Let this Messer da Vinci, a kitchen-wench's bastard, be ashamed of dirty work; I, the heir of an old and honourable house, despise neither sweat nor mire. The dispute is foolish, for all the arts are equal, proceeding from one source, aiming at one goal. He who maintains that painting is nobler than sculpture knows no more of either than my serving-maid.'
He set to work with feverish energy on his picture for the council chamber, wishing to overtake his rival—a feat by no means difficult. His subject was an incident in the Pisan campaign: a sudden attack by the enemy while the soldiers were bathing. The men hurry to the bank, scramble out of the pleasant waves, draw on their sweated and dusty clothes, don their cuirasses and helmets, which are burning hot under the fiery sunshine. Michelangelo thus showed war as a contrast to Leonardo's representation: not as 'the most bestial of madnesses,' but as the performance of hard and manful duty to the denial of ease and pleasure; as the struggle of heroes for the greatness and glory of their country.
The Florentines watched the growth of the two pictures and the rivalry between the artists with all the keenness of spectators at a raree show; and as strife unconnected with politics seemed to them tasteless as broth without salt, they affirmed that Michelangelo was for the republic against the Medici, Leonardo for the Medici against the republic. The artistic duel now became intelligible to everybody; the town was divided into two parties; and men, to whom art was a sealed book, declared themselves the adherents of one or other of the two artists whose works had become the ensigns of hostile camps. Stones were thrown secretly at the 'David'; the rich accused the poor of this outrage, the demagogues accused the substantial burghers; the artists, the pupils; and Buonarroti, in the presence of the Gonfaloniere, asserted that ruffians had been hired by Leonardo to damage his statue.
One day Leonardo, working at his portrait in the presence of Boltraffio and Salaino, said to Monna Lisa:—
'Could I but come to speech with Messer Michelangelo, face to face, as I speak with you, madonna, all would be explained, and no trace would remain of this stupid quarrel. He would learn that I am not his enemy, and that there is no man living could love him better than I.'
Madonna Lisa shook her head.