"I have something else to say to you, which I have said before. If you will endeavour to live rightly, and to honour and revere your father, I am willing to help you like the rest, and will put it shortly within your power to open a good shop. If you act otherwise, I shall come and settle your affairs in such a way that you will recognise what you are better than you ever did, and will know what you have to call your own, and will have it shown to you in every place where you may go. No more. What I lack in words I will supply with deeds.
"Michelangelo in Rome.
"I cannot refrain from adding a couple of lines. It is as follows. I have gone these twelve years past drudging about through Italy, borne every shame, suffered every hardship, worn my body out in every toil, put my life to a thousand hazards, and all with the sole purpose of helping the fortunes of my family. Now that I have begun to raise it up a little, you only, you alone, choose to destroy and bring to ruin in one hour what it has cost me so many years and such labour to build up. By Christ's body this shall not be; for I am the man to put to the rout ten thousand of your sort, whenever it be needed. Be wise in time, then, and do not try the patience of one who has other things to vex him."
Even Buonarroto, who was the best of the brothers and dearest to his heart, hurt him by his graspingness and want of truth. He had been staying at Rome on a visit, and when he returned to Florence it appears that he bragged about his wealth, as if the sums expended on the Buonarroti farms were not part of Michelangelo's earnings. The consequence was that he received a stinging rebuke from his elder brother. "The said Michele told me you mentioned to him having spent about sixty ducats at Settignano. I remember your saying here too at table that you had disbursed a large sum out of your own pocket. I pretended not to understand, and did not feel the least surprise, because I know you. I should like to hear from your ingratitude out of what money you gained them. If you had enough sense to know the truth, you would not say: 'I spent so and so much of my own;' also you would not have come here to push your affairs with me, seeing how I have always acted toward you in the past, but would have rather said: 'Michelangelo remembers what he wrote to us, and if he does not now do what he promised, he must be prevented by something of which we are ignorant,' and then have kept your peace; because it is not well to spur the horse that runs as fast as he is able, and more than he is able. But you have never known me, and do not know me. God pardon you; for it is He who granted me the grace to bear what I do bear and have borne, in order that you might be helped. Well, you will know me when you have lost me."
Michelangelo's angry moods rapidly cooled down. At the bottom of his heart lay a deep and abiding love for his family. There is something caressing in the tone with which he replies to grumbling letters from his father. "Do not vex yourself. God did not make us to abandon us." "If you want me, I will take the post, and be with you in two days. Men are worth more than money." His warm affection transpires even more clearly in the two following documents:
"I should like you to be thoroughly convinced that all the labours I have ever undergone have not been more for myself than for your sake. What I have bought, I bought to be yours so long as you live. If you had not been here, I should have bought nothing. Therefore, if you wish to let the house and farm, do so at your pleasure. This income, together with what I shall give you, will enable you to live like a lord." At a time when Lodovico was much exercised in his mind and spirits by a lawsuit, his son writes to comfort the old man. "Do not be discomfited, nor give yourself an ounce of sadness. Remember that losing money is not losing one's life. I will more than make up to you what you must lose. Yet do not attach too much value to worldly goods, for they are by nature untrustworthy. Thank God that this trial, if it was bound to come, came at a time when you have more resources than you had in years past. Look to preserving your life and health, but let your fortunes go to ruin rather than suffer hardships; for I would sooner have you alive and poor; if you were dead, I should not care for all the gold in the world. If those chatterboxes or any one else reprove you, let them talk, for they are men without intelligence and without affection."
References to public events are singularly scanty in this correspondence. Much as Michelangelo felt the woes of Italy—and we know he did so by his poems—he talked but little, doing his work daily like a wise man all through the dust and din stirred up by Julius and the League of Cambrai. The lights and shadows of Italian experience at that time are intensely dramatic. We must not altogether forget the vicissitudes of war, plague, and foreign invasion, which exhausted the country, while its greatest men continued to produce immortal masterpieces. Aldo Manuzio was quietly printing his complete edition of Plato, and Michelangelo was transferring the noble figure of a prophet or a sibyl to the plaster of the Sistine, while young Gaston de Foix was dying at the point of victory upon the bloody shores of the Ronco. Sometimes, however, the disasters of his country touched Michelangelo so nearly that he had to write or speak about them. After the battle of Ravenna, on the 11th of April 1512, Raimondo de Cardona and his Spanish troops brought back the Medici to Florence. On their way, the little town of Prato was sacked with a barbarity which sent a shudder through the whole peninsula. The Cardinal Giovanni de' Medici, who entered Florence on the 14th of September, established his nephews as despots in the city, and intimidated the burghers by what looked likely to be a reign of terror. These facts account for the uneasy tone of a letter written by Michelangelo to Buonarroto. Prato had been taken by assault upon the 30th of August, and was now prostrate after those hideous days of torment, massacre, and outrage indescribable which followed. In these circumstances Michelangelo advises his family to "escape into a place of safety, abandoning their household gear and property; for life is far more worth than money." If they are in need of cash, they may draw upon his credit with the Spedalingo of S. Maria Novella. The constitutional liability to panic which must be recognised in Michelangelo emerges at the close of the letter. "As to public events, do not meddle with them either by deed or word. Act as though the plague were raging. Be the first to fly." The Buonarroti did not take his advice, but remained at Florence, enduring agonies of terror. It was a time when disaffection toward the Medicean princes exposed men to risking life and limb. Rumours reached Lodovico that his son had talked imprudently at Rome. He wrote to inquire what truth there was in the report, and Michelangelo replied: "With regard to the Medici, I have never spoken a single word against them, except in the way that everybody talks—as, for instance, about the sack of Prato; for if the stones could have cried out, I think they would have spoken. There have been many other things said since then, to which, when I heard them, I have answered: 'If they are really acting in this way, they are doing wrong;' not that I believed the reports; and God grant they are not true. About a month ago, some one who makes a show of friendship for me spoke very evilly about their deeds. I rebuked him, told him that it was not well to talk so, and begged him not to do so again to me. However, I should like Buonarroto quietly to find out how the rumour arose of my having calumniated the Medici; for if it is some one who pretends to be my friend, I ought to be upon my guard."
The Buonarroti family, though well affected toward Savonarola, were connected by many ties of interest and old association with the Medici, and were not powerful enough to be the mark of violent political persecution. Nevertheless, a fine was laid upon them by the newly restored Government. This drew forth the following epistle from Michelangelo:—
"Dearest Father,—Your last informs me how things are going on at Florence, though I already knew something. We must have patience, commit ourselves to God, and repent of our sins; for these trials are solely due to them, and more particularly to pride and ingratitude. I never conversed with a people more ungrateful and puffed up than the Florentines. Therefore, if judgment comes, it is but right and reasonable. As for the sixty ducats you tell me you are fined, I think this a scurvy trick, and am exceedingly annoyed. However, we must have patience as long as it pleases God. I will write and enclose two lines to Giuliano de' Medici. Read them, and if you like to present them to him, do so; you will see whether they are likely to be of any use. If not, consider whether we can sell our property and go to live elsewhere…. Look to your life and health; and if you cannot share the honours of the land like other burghers, be contented that bread does not fail you, and live well with Christ, and poorly, as I do here; for I live in a sordid way, regarding neither life nor honours—that is, the world—and suffer the greatest hardships and innumerable anxieties and dreads. It is now about fifteen years since I had a single hour of well-being, and all that I have done has been to help you, and you have never recognised this nor believed it. God pardon us all! I am ready to go on doing the same so long as I live, if only I am able."
We have reason to believe that the petition to Giuliano proved effectual, for in his next letter he congratulates his father upon their being restored to favour. In the same communication he mentions a young Spanish painter whom he knew in Rome, and whom he believes to be ill at Florence. This was probably the Alonso Berughetta who made a copy of the Cartoon for the Battle of Pisa. In July 1508 Michelangelo wrote twice about a Spaniard who wanted leave to study the Cartoon; first begging Buonarroto to procure the keys for him, and afterwards saying that he is glad to hear that the permission was refused. It does not appear certain whether this was the same Alonso; but it is interesting to find that Michelangelo disliked his Cartoon being copied. We also learn from these letters that the Battle of Pisa then remained in the Sala del Papa.