Now, to begin with one end: in the space of the first chapel that is beside the high-altar, as you go towards the old sacristy, was a picture six braccia in height and eight in length, in which, with novel and as it were poetical invention, was Michelagnolo in the centre, already come to the Elysian fields, where, on his right hand, were figures considerably larger than life of the most famous and most highly celebrated sculptors and painters of antiquity. Each of these could be recognized by some notable sign; Praxiteles by the Satyr that is in the Vigna of Pope Julius III, Apelles by the portrait of Alexander the Great, Zeuxis by a little panel on which were figured the grapes that deceived the birds, and Parrhasius with the covering counterfeited in painting over his picture; and, even as these, so the others were known by other signs. On the left hand were those who have been illustrious in these arts in our own centuries, from Cimabue to the present day. Thus Giotto could be recognized there by a little panel on which was seen the portrait of Dante as a young man, in the manner in which he may be seen in S. Croce, painted by Giotto himself; Masaccio by his portrait from life, Donatello likewise by his portrait, and also by his Zuccone from the Campanile, which was by his side, and Filippo Brunelleschi by the representation of his Cupola of S. Maria del Fiore; and there were portrayed from life, without other signs, Fra Filippo, Taddeo Gaddi, Paolo Uccello, Fra Giovanni Agnolo, Jacopo da Pontormo, Francesco Salviati, and others. All these were about him with the same expressions of welcome as the ancients, full of love and admiration, in the same manner as Virgil was received by the other poets on his return, according to the fable of the divine poet Dante, from whom, in addition to the invention, there was taken also the verse that could be read in a scroll both above and in the hand of the River Arno, which lay at the feet of Michelagnolo, most beautiful in features and in attitude:
TUTTI L'AMMIRAN, TUTTI ONOR GLI FANNO.
This picture, by the hand of Alessandro Allori, the pupil of Bronzino, an excellent painter and a not unworthy disciple and pupil of so great a master, was consummately extolled by all those who saw it. In the space of the Chapel of the most holy Sacrament, at the head of the transept, there was in a picture, five braccia in length and four in breadth, Michelagnolo with all the school of the arts about him, little children, boys, and young men of every age up to twenty-four, who were offering to him, as to a being sacred and divine, the firstfruits of their labours, such as pictures, sculptures, and models; and he was receiving them courteously, and was instructing them in the matters of art, while they were listening most intently and gazing upon him with expressions and attitudes truly full of beauty and grace. And, to tell the truth, the whole composition of this picture could not have been, in a certain sense, better done, nor could anything more beautiful have been desired in any of the figures, wherefore Battista, the pupil of Pontormo, who had done the work, received infinite praise for it; and the verses that were to be read at the foot of the scene, ran thus:
TU PATER, TU RERUM INVENTOR, TU PATRIA NOBIS
SUPPEDITAS PRÆCEPTA TUIS EX, INCLYTE, CHARTIS.
Going, then, from the place where was the picture described above, towards the principal doors of the church, almost at the corner and just before arriving at the organ, in a picture six braccia long and four high that was in the space of a chapel, there was depicted the extraordinary and unexampled favour that was paid to the rare genius of Michelagnolo by Pope Julius III, who, wishing to avail himself in certain buildings of the judgment of that great man, had him summoned to his presence at his villa, where, having invited him to sit by his side, they talked a good time together, while Cardinals, Bishops, and other personages of the Court, whom they had about them, remained constantly standing. This event, I say, was seen to have been depicted with such fine composition and so much relief, and with such liveliness and spirit in the figures, that perchance it might not have turned out better from the hands of an eminent, aged, and well-practised master; wherefore Jacopo Zucchi, a young man, the pupil of Giorgio Vasari, who executed the work in a beautiful manner, proved that a most honourable result could be expected from him. Not far from this, on the same side (namely, a little below the organ), Giovanni Strada, an able Flemish painter, had depicted in a picture six braccia long and four high the story of Michelagnolo's going to Venice at the time of the siege of Florence; where, living in that quarter of that most noble city which is called the Giudecca, the Doge Andrea Gritti and the Signoria sent some gentlemen and others to visit him and make him very great offers. In representing that event the above-named painter showed great judgment and much knowledge, which did him great honour, both in the whole composition and in every part of it, for in the attitudes, the lively expressions of the faces, and the movements of every figure, were seen invention, design, and excellent grace.
Now, returning to the high-altar, and facing towards the new sacristy: in the first picture found there, which came in the space of the first chapel, there was depicted by the hand of Santi Titi, a young man of most beautiful judgment and much practised in painting both in Florence and in Rome, another signal favour paid to the genius of Michelagnolo, as I believe I mentioned above, by the most illustrious Lord, Don Francesco de' Medici, Prince of Florence, who, happening to be in Rome about three years before Michelagnolo died, and receiving a visit from him, the moment that Buonarroti entered the Prince rose to his feet, and then, in order to do honour to that great man and to his truly venerable age, with the greatest courtesy that ever young Prince showed, insisted—although Michelagnolo, who was very modest, protested against it—that he should sit in his own chair, from which he had risen, standing afterwards on his feet to hear him with the attention and reverence that children are wont to pay to a well-beloved father. At the feet of the Prince was a boy, executed with great diligence, who had in his hands a mazzocchio,[6] or Ducal cap, and around them were some soldiers dressed in ancient fashion, and painted with much spirit and a beautiful manner; but beyond all the rest, most beautifully wrought, most lifelike and most natural were the Prince and Michelagnolo, insomuch that it appeared as if the old man were in truth speaking, and the young man most intently listening to his words.
In another picture, nine braccia in height and twelve in length, which was opposite to the Chapel of the Sacrament, Bernardo Timante Buontalenti, a painter much beloved and favoured by the most illustrious Prince, had figured with most beautiful invention the Rivers of the three principal parts of the world, come, as it were, all grieving and sorrowful, to lament with Arno on their common loss and to console him; and these Rivers were the Nile, the Ganges, and the Po. The Nile had as a symbol a crocodile, and, to signify the fertility of his country, a garland of ears of corn; the Ganges, a gryphon-bird and a chaplet of gems; the Po, a swan and a crown of black amber. These Rivers, having been conducted into Tuscany by the Fame, who was to be seen on high, as it were in flight, were standing round Arno, who was crowned with cypress and held his vase, drained empty, uplifted with one hand, and in the other a branch of cypress, and beneath him was a lion. And, to signify that the soul of Michelagnolo had flown to the highest felicity in Heaven, the judicious painter had depicted in the air a Splendour representing the celestial light, towards which the blessed soul, in the form of a little Angel, was winging its way; with this lyric verse:
VIVENS ORBE PETO LAUDIBUS ÆTHERA.
At the sides, upon two bases, were two figures in the act of holding open a curtain within which, so it appeared, were the above-named Rivers, the soul of Michelagnolo, and the Fame; and each of those two figures had another beneath it. That which was on the right hand of the Rivers, representing Vulcan, had a torch in the hand; and the figure representing Hatred, which had the neck under Vulcan's feet in an attitude of great constraint, and as it were struggling to writhe free, had as symbol a vulture, with this verse:
SURGERE QUID PROPERAS ODIUM CRUDELE? JACETO.