BRUTUS
(After Michelagnolo. Florence: Museo Nazionale)
Brogi
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Michelagnolo had been seventeen years in the fabric of S. Pietro, and several times the deputies had tried to remove him from that position, but they had not succeeded, and they were seeking to oppose him in every matter now with one vexatious pretext and now with another, hoping that out of weariness, being now so old that he could do no more, he would retire before them. It happened in those days that Cesare da Castel Durante, who had been the overseer, died, and Michelagnolo, to the end that the fabric might not suffer, sent there Luigi Gaeta, who was too young but very competent, until he should find a man after his desire. The deputies (some of whom had many times made efforts to place there Nanni di Baccio Bigio, who was always urging them and promising great things), in order to be able to disturb the affairs of the fabric at their pleasure, sent Luigi Gaeta away, which having heard, Michelagnolo, as in anger, would no longer show himself at the fabric; whereupon they began to give out that he could do no more, that it was necessary to give him a substitute, and that he himself had said that he did not wish to be embroiled any longer with S. Pietro. All this came to the ears of Michelagnolo, who sent Daniello Ricciarelli of Volterra to Bishop Ferratino, one of the superintendents, who had said to the Cardinal of Carpi that Michelagnolo had told one of his servants that he did not wish to be mixed up with the fabric any longer; and Daniello said that this was by no means Michelagnolo's desire. Ferratino complained that Michelagnolo would not make his conception known, adding that it would be well for him to provide a substitute, and that he would have gladly accepted Daniello; and with this Michelagnolo appeared to be content. Thereupon Ferratino, having had the deputies informed in the name of Michelagnolo that they now had a substitute, presented not Daniello, but in his place Nanni di Baccio Bigio, who came in and was accepted by the superintendents. Before very long he gave orders to make a scaffolding of wood from the side of the Pope's stables, where the hill is, to rise above the great recess that is turned towards that side, and caused some stout beams of fir to be cut, saying that too many ropes were consumed in drawing up the materials, and that it was better to raise them by his method. Which having heard, Michelagnolo went straight to the Pope, who was on the Piazza di Campidoglio, and made so much noise that his Holiness made him go at once into a room, where he said: "Holy Father, there has been appointed as my substitute by the deputies a man of whom I know nothing; but if they are convinced, and also your Holiness, that I am no longer the proper man, I will return to rest in Florence, where I will enjoy the favours of that great Duke who has so long desired me, and will finish my life in my own house; I therefore beg your gracious leave." The Pope was vexed at this, and, consoling him with kind words, ordained that he should come to speak with him on the following day at the Araceli. There, having caused the deputies of the fabric to be assembled together, he desired to be informed of the reasons of what had happened: whereupon their answer was that the fabric was going to ruin, and that errors were being made in it. Which having heard not to be the truth, the Pope commanded Signor Gabrio Scerbellone that he should go to see the fabric for himself, and that Nanni, who was making these assertions, should show it to him. This was carried out, and Signor Gabrio found that the whole story was a malicious slander, and not the truth; wherefore Nanni was dismissed from that fabric with no very flattering words in the presence of many lords, being also reproached that by his fault the bridge of Santa Maria fell into ruin, and that at Ancona, seeking to do great things at little cost in the matter of cleaning out the harbour, he filled it up more in one day than the sea had done in ten years. Such was the end of Nanni in the fabric of S. Pietro. For that work Michelagnolo for seventeen years attended constantly to nothing but to establishing it securely with directions, doubting on account of those envious persecutions lest it might come to be changed after his death; so that at the present day it is strong enough to allow the vaulting to be raised with perfect security. Thus it has been seen that God, who is the protector of the good, defended him as long as he lived, and worked for the benefit of the fabric and for the defence of the master until his death. Moreover, Pius IV, living after him, commanded the superintendents of the fabric that nothing of what Michelagnolo had directed should be changed; and with even greater authority his successor, Pius V, caused it to be carried out, who, lest disorder should arise, insisted that the designs made by Michelagnolo should be carried into execution with the utmost fidelity, so that, when the architects Pirro Ligorio and Jacopo Vignuola were in charge of it, and Pirro wished presumptuously to disturb and alter those directions, he was removed with little honour from that fabric, and only Vignuola remained. Finally, that Pontiff being full of zeal no less for the honour of the fabric of S. Pietro than for the Christian religion, in the year 1565, when Vasari went to kiss the feet of his Holiness, and in the year 1566, when he was again summoned, nothing was discussed save the means to ensure the observing of the designs left by Michelagnolo; and his Holiness, in order to obviate all chance of disorder, commanded Vasari that he should go with Messer Guglielmo Sangalletti, the private treasurer of his Holiness, to seek out Bishop Ferratino, the head of the superintendents of S. Pietro, with orders from the Pontiff that he should listen to all the suggestions and records of importance that Vasari might impart to him, to the end that no words of any malignant and presumptuous person might ever cause to be disturbed any line or order left by the excellent genius of Michelagnolo of happy memory; and at that interview was present Messer Giovan Battista Altoviti, who was much the friend of Vasari and of these arts. And Ferratino, having heard a discourse that Vasari made to him, readily accepted every record, and promised to observe and to cause to be observed with the utmost fidelity in that fabric every order and design that Michelagnolo had left for that purpose, and, in addition, to be the protector, defender, and preserver of the labours of that great man.

But to return to Michelagnolo: I must relate that about a year before his death, Vasari secretly prevailed upon Duke Cosimo de' Medici to persuade the Pope by means of Messer Averardo Serristori, his Ambassador, that, since Michelagnolo was much reduced, a diligent watch should be kept on those who were about him to take care of him, or who visited him at his house, and that, in the event of some sudden accident happening to him, such as might well happen to an old man, he should make arrangements for his property, designs, cartoons, models, money, and all his other possessions at the time of his death, to be set down in an inventory and placed in security, for the sake of the fabric of S. Pietro, so that, if there were things pertaining to that fabric, and also to the sacristy, library, and façade of S. Lorenzo, they might not be taken away, as is often wont to happen; and in the end, all this being duly carried out, such diligence had its reward. Leonardo, the nephew of Michelagnolo, was desirous to go during the coming Lent to Rome, as one who guessed that he was now come to the end of his life; and at this Michelagnolo was content. When, therefore, he fell sick of a slow fever, he straightway caused Daniello to write to Leonardo that he should come; but the illness grew worse, although Messer Federigo Donati, his physician, and his other attendants were about him, and with perfect consciousness he made his will in three sentences, leaving his soul in the hands of God, his body to the earth, and his substance to his nearest relatives, and enjoining on his friends that, at his passing from this life, they should recall to him the agony of Jesus Christ. And so at the twenty-third hour of the seventeenth day of February, in the year 1563 (after the Florentine reckoning, which according to the Roman would be 1564), he breathed his last, to go to a better life.

Michelagnolo was much inclined to the labours of art, seeing that everything, however difficult, succeeded with him, he having had from nature a genius very apt and ardent in these most noble arts of design. Moreover, in order to be entirely perfect, innumerable times he made anatomical studies, dissecting men's bodies in order to see the principles of their construction and the concatenation of the bones, muscles, veins, and nerves, the various movements and all the postures of the human body; and not of men only, but also of animals, and particularly of horses, which last he much delighted to keep. Of all these he desired to learn the principles and laws in so far as touched his art, and this knowledge he so demonstrated in the works that fell to him to handle, that those who attend to no other study than this do not know more. He so executed his works, whether with the brush or with the chisel, that they are almost inimitable, and he gave to his labours, as has been said, such art and grace, and a loveliness of such a kind, that (be it said without offence to any) he surpassed and vanquished the ancients; having been able to wrest things out of the greatest difficulties with such facility, that they do not appear wrought with effort, although whoever draws his works after him finds enough in imitating them.

The genius of Michelagnolo was recognized in his lifetime, and not, as happens to many, after death, for it has been seen that Julius II, Leo X, Clement VII, Paul III, Julius III, Paul IV, and Pius IV, all supreme Pontiffs, always wished to have him near them, and also, as is known, Suleiman, Emperor of the Turks, Francis of Valois, King of France, the Emperor Charles V, the Signoria of Venice, and finally, as has been related, Duke Cosimo de' Medici; all offering him honourable salaries, for no other reason but to avail themselves of his great genius. This does not happen save to men of great worth, such as he was; and it is evident and well known that all these three arts were so perfected in him, that it is not found that among persons ancient or modern, in all the many years that the sun has been whirling round, God has granted this to any other but Michelagnolo. He had imagination of such a kind, and so perfect, and the things conceived by him in idea were such, that often, through not being able to express with the hands conceptions so terrible and grand, he abandoned his works—nay, destroyed many of them; and I know that a little before he died he burned a great number of designs, sketches, and cartoons made with his own hand, to the end that no one might see the labours endured by him and his methods of trying his genius, and that he might not appear less than perfect. Of such I have some by his hand, found in Florence, and placed in my book of drawings; from which, although the greatness of that brain is seen in them, it is evident that when he wished to bring forth Minerva from the head of Jove, he had to use Vulcan's hammer. Thus he used to make his figures in the proportion of nine, ten, and even twelve heads, seeking nought else but that in putting them all together there should be a certain harmony of grace in the whole, which nature does not present; saying that it was necessary to have the compasses in the eyes and not in the hand, because the hands work and the eye judges; which method he used also in architecture.

No one should think it strange that Michelagnolo delighted in solitude, he having been one who was enamoured of his art, which claims a man, with all his thoughts, for herself alone; moreover, it is necessary that he who wishes to attend to her studies should shun society, and, while attending to the considerations of art, he is never alone or without thoughts. And those who attributed it to caprice and eccentricity are wrong, because he who wishes to work well must withdraw himself from all cares and vexations, since art demands contemplation, solitude, and ease of life, and will not suffer the mind to wander. For all this, he prized the friendship of many great persons and of learned and ingenious men, at convenient times; and these he maintained. Thus the great Cardinal Ippolito de' Medici loved him greatly, and, having heard that a Turkish horse that he possessed pleased Michelagnolo because of its beauty, it was sent as a present to him by the liberality of that lord, with ten mules laden with fodder, and a serving-man to attend to it; and Michelagnolo accepted it willingly. The illustrious Cardinal Pole was much his friend, Michelagnolo being enamoured of his goodness and his talents; also Cardinal Farnese, and Santa Croce, which latter afterwards became Pope Marcellus, Cardinal Ridolfi, Cardinal Maffeo, Monsignor Bembo, Carpi, and many other Cardinals, Bishops, and Prelates, whom it is not necessary to name. Others were Monsignor Claudio Tolomei, the Magnificent Messer Ottaviano de' Medici, his gossip, whose son he held at baptism, and Messer Bindo Altoviti, to whom he presented that cartoon of the Chapel in which Noah, drunk with wine, is derided by one of his sons, and his nakedness is covered by the two others; M. Lorenzo Ridolfi, M. Annibale Caro, and M. Giovan Francesco Lottini of Volterra. But infinitely more than any of the others he loved M. Tommaso de' Cavalieri, a Roman gentleman, for whom, being a young man and much inclined to these arts, he made, to the end that he might learn to draw, many most superb drawings of divinely beautiful heads, designed in black and red chalk; and then he drew for him a Ganymede rapt to Heaven by Jove's Eagle, a Tityus with the Vulture devouring his heart, the Chariot of the Sun falling with Phaëthon into the Po, and a Bacchanal of children, which are all in themselves most rare things, and drawings the like of which have never been seen. Michelagnolo made a life-size portrait of Messer Tommaso in a cartoon, and neither before nor afterwards did he take the portrait of anyone, because he abhorred executing a resemblance to the living subject, unless it were of extraordinary beauty. These drawings, on account of the great delight that M. Tommaso took in them, were the reason that he afterwards obtained a good number, miraculous things, which Michelagnolo once drew for Fra Sebastiano Viniziano, who carried them into execution; and in truth he rightly treasures them as reliques, and he has courteously given craftsmen access to them. Of a truth Michelagnolo always placed his affections with persons noble, deserving, and worthy of them, for he had true judgment and taste in all things.

UNFINISHED FIGURE
(After Michelagnolo. Florence: Museo Nazionale)
Brogi
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M. Tommaso afterwards caused Michelagnolo to make many designs for friends, such as that of the picture for Cardinal di Cesis, wherein is Our Lady receiving the Annunciation from the Angel, a novel thing, which was afterwards executed in colours by Marcello Mantovano and placed in the marble chapel which that Cardinal caused to be built in the Church of the Pace at Rome. So, also, with another Annunciation coloured likewise by the hand of Marcello in a picture in the Church of S. Giovanni Laterano, the design of which belongs to Duke Cosimo de' Medici, having been presented after Michelagnolo's death by his nephew Leonardo Buonarroti to his Excellency, who cherishes it as a jewel, together with a Christ praying in the Garden and many other designs, sketches, and cartoons by the hand of Michelagnolo, and likewise the statue of Victory with a captive beneath, five braccia in height, and four captives in the rough which serve to teach us how to carve figures from the marble by a method secure from any chance of spoiling the stone; which method is as follows. You take a figure in wax or some other solid material, and lay it horizontally in a vessel of water, which water being by its nature flat and level at the surface, as you raise the said figure little by little from the level, so it comes about that the more salient parts are revealed, while the lower parts—those, namely, on the under side of the figure—remain hidden, until in the end it all comes into view. In the same manner must figures be carved out of marble with the chisel, first laying bare the more salient parts, and then little by little the lower parts; and this method may be seen to have been followed by Michelagnolo in the above-mentioned captives, which his Excellency wishes to be used as exemplars for his Academicians.