The century of Columbus

by James J. Walsh

When Michelangelo was an old man of seventy-five, however, he was ready to give advice to his grandnephew Leonardo in the matter of marriage. That advice is interesting [{46}] from a good many standpoints, but especially because Michelangelo thought that the choice of a wife was something to pray and ask for special aid from on High about:

"Leonardo, I wrote thee about taking a wife, and told thee of three girls which have been here mentioned to me. ... I do not know any of them, and cannot say either good or evil of them, nor advise you about one more than the other. ... Giov. Francesco might give you good advice; he is old and knows the world. [Michelangelo himself was seventy-five years young at this time.] Remember me to him. Above all, seek the counsel of God, for it is a great step. Remember that the husband should be at least ten years older than the wife, and that she should be healthy." Again he wrote, "Leonardo, I sent thee in my last a note as to marriageable girls, which had been sent me from Florence. ... Thou needst a wife to associate with, and whom thou canst rule, and who will not care about pomps, and run about every day to parties and marriages. It is easy for a woman to go wrong who does these things. Nor is it to be said by anyone that thou wishest to ennoble thyself by marriage, for it is well known that we are as ancient and noble citizens of Florence as those of any other house. Recommend thyself to God and He may aid thee." [Footnote 4]

[Footnote 4: It may be interesting to know that the grand-nephew did take a wife, one of those recommended by his grand-uncle, and that Michelangelo dictated the names of the children, often went to see them, loaded them with presents and was their mother's best friend and confidant.]

The great artist did not escape the disturbing cares of family life by his bachelorhood, however, for it became the custom of his brothers to turn to him for aid whenever there was trouble. His family had objected to his becoming a sculptor because it was beneath the dignity of their nobility, but now that he was successful they were quite willing to use his money freely. He had a scapegrace younger brother who was particularly a thorn in his side, ever getting into trouble and being helped out, above all constantly demanding money. Michelangelo once wrote to him while he was at work on the great ceiling of the Sistine.

"If you take care to do well, and to honor and revere your [{47}] father, I will aid you like the others, and will soon establish you in a good shop. ... I have gone about throughout all Italy for twelve years, leading a dog's life, bearing all manner of insults, enduring all sorts of drudgery, lacerating my body with many toils, placing my life itself under a thousand perils solely to aid my family, and now that I have commenced to raise it up a little, thou alone wishest to do that which shall confound and ruin in an hour everything that I have done in so many years and with so many fatigues."

Michelangelo's letters of consolation to his brother's (Leonardo's) daughter, who was delicate and ailing, show how tender were his family affections. He has sometimes been pictured as the self-centred bachelor, occupied only with his art. Any such picture of him is but one of the many one-sided false impressions of these geniuses of the Renaissance, all of whom, when known intimately, prove to be whole-hearted human beings with all the human interests deeply developed.

One of the most interesting incidents in Michelangelo's life is his association with Vittoria Colonna. This is one of the most charming episodes of platonic friendship with wonderful mutual influence for good chronicled in history. Vittoria was an inspiration to Michelangelo in his work, and his tributes to her are full of the loftiest admiration and almost saintlike worship. On the other hand, no one could have held a higher place in the esteem of Vittoria than Michelangelo. She had suggested the subjects for certain pictures and Michelangelo painted them. She wrote in thankfulness and said with regard to one of them:

"I had the greatest faith in God, that He would give you a supernatural grace to paint this 'Christ'; then I saw it, so wonderful that it surpassed in every way my expectations. Being emboldened by your miracles, I desired that which I now see marvellously fulfilled--that is, that it should stand in every part in the highest perfection, and that one could not desire more nor reach forward to desire so much. And I tell you that it gave me joy that the angel on the right hand is so beautiful; for the Archangel Michael will place you, Michelangelo, on the right hand of the Lord at the Judgment Day. And, meanwhile, I know not how to serve you otherwise than to [{48}] pray to this sweet 'Christ,' Whom you have so well and perfectly painted, and to entreat you to command me as altogether yours in all and through all."

This friendship of Michelangelo and Vittoria has become so celebrated that to many it may seem that time has woven a romantic halo around it, far transcending the reality. Only a little study of contemporary documents, however, is needed to show that the facts are interesting beyond even the stories that are told. Modern biographers have enriched the tradition with many details, and Grimm has given a most beautiful picture of this most famous of friendships between man and woman which reflects so much honor on both the participants. Nothing that I know contradicts so many false notions as to the Renaissance that are widely disseminated and that are only too often taken as a criterion of modes of thinking and of conduct in this period. All the so-called Pagan tendencies of the Renaissance are contradicted by it.

Condivi, Angelo's pupil, who wrote about his master during his master's lifetime and who was intimately associated with him for many years, pays an affectionate tribute to Michelangelo's purity of mind and speech. The great master was a model of magnanimity, and Condivi says: