While still a Cardinal, Paul III. began to rebuild the old palace of the Farnesi on the Tiber shore. It closes one end of the great open space called the Campo di Fiore, and stands opposite to the Villa Farnesina, on the right bank of the river. Antonio da Sangallo was the architect employed upon this work, which advanced slowly until Alessandro Farnese's elevation to the Papacy. He then determined to push the building forward, and to complete it on a scale of magnificence befitting the supreme Pontiff. Sangallo had carried the walls up to the second story. The third remained to be accomplished, and the cornice had to be constructed. Paul was not satisfied with Sangallo's design, and referred it to Michelangelo for criticism —possibly in 1544. The result was a report, which we still possess, in which Buonarroti, basing his opinion on principles derived from Vitruvius, severely blames Sangallo's plan under six separate heads. He does not leave a single merit, as regards either harmony of proportion, or purity of style, or elegance of composition, or practical convenience, or decorative beauty, or distribution of parts. He calls the cornice barbarous, confused, bastard in style, discordant with the rest of the building, and so ill suited to the palace as, if carried out, to threaten the walls with destruction. This document has considerable interest, partly as illustrating Michelangelo's views on architecture in general, and displaying a pedantry of which he was never elsewhere guilty, partly as explaining the bitter hostility aroused against him in Sangallo and the whole tribe of that great architect's adherents. We do not, unfortunately, possess the design upon which the report was made. But, even granting that it must have been defective, Michelangelo, who professed that architecture was not his art, might, one thinks, have spared his rival such extremity of adverse criticism. It exposed him to the taunts of rivals and ill-wishers; justified them in calling him presumptuous, and gave them a plausible excuse when they accused him of jealousy. What made it worse was, that his own large building, the Laurentian Library, glaringly exhibits all the defects he discovered in Sangallo's cornice.
I find it difficult to resist the impression that Michelangelo was responsible, to a large extent, for the ill-will of those artists whom Vasari calls "la setta Sangallesca." His life became embittered by their animosity, and his industry as Papal architect continued to be hampered for many years by their intrigues. But he alone was to blame at the beginning, not so much for expressing an honest opinion, as for doing so with insulting severity.
That Michelangelo may have been right in his condemnation of Sangallo's cornice is of course possible. Paul himself was dissatisfied, and eventually threw that portion of the building open to competition. Perino del Vaga, Sebastiano del Piombo, and the young Giorgio Vasari are said to have furnished designs. Michelangelo did so also; and his plan was not only accepted, but eventually carried out. Nevertheless Sangallo, one of the most illustrious professional architects then alive, could not but have felt deeply wounded by the treatment he received. It was natural for his followers to exclaim that Buonarroti had contrived to oust their aged master, and to get a valuable commission into his own grasp, by the discourteous exercise of his commanding prestige in the world of art.
In order to be just to Michelangelo, we must remember that he was always singularly modest in regard to his own performances, and severe in self-criticism. Neither in his letters nor in his poems does a single word of self-complacency escape his pen. He sincerely felt himself to be an unprofitable servant: that was part of his constitutional depression. We know, too, that he allowed strong temporary feelings to control his utterance. The cruel criticism of Sangallo may therefore have been quite devoid of malice; and if it was as well founded as the criticism of that builder's plan for S. Peter's, then Michelangelo stands acquitted. Sangallo's model exists; it is so large that you can walk inside it, and compare your own impressions with the following judgment:—
"It cannot be denied that Bramante's talent as an architect was equal to that of any one from the times of the ancients until now. He laid the first plan of S. Peter, not confused, but clear and simple, full of light and detached from surrounding buildings, so that it interfered with no part of the palace. It was considered a very fine design, and indeed any one can see now that it is so. All the architects who departed from Bramante's scheme, as Sangallo has done, have departed from the truth; and those who have unprejudiced eyes can observe this in his model. Sangallo's ring of chapels takes light from the interior as Bramante planned it; and not only this, but he has provided no other means of lighting, and there are so many hiding-places, above and below, all dark, which lend themselves to innumerable knaveries, that the church would become a secret den for harbouring bandits, false coiners, for debauching nuns, and doing all sorts of rascality; and when it was shut up at night, twenty-five men would be needed to search the building for rogues hidden there, and it would be difficult enough to find them. There is, besides, another inconvenience: the interior circle of buildings added to Bramante's plan would necessitate the destruction of the Paoline Chapel, the offices of the Piombo and the Ruota, and more besides. I do not think that even the Sistine would escape."
After this Michelangelo adds that to remove the out-works and foundations begun upon Sangallo's plan would not cost 100,000 crowns, as the sect alleged, but only 16,000, The material would be infinitely useful, the foundations important for the building, and the whole fabric would profit in something like 200,000 crowns and 300 years of time. "This is my dispassionate opinion; and I say this in truth, for to gain a victory here would be my own incalculable loss." Michelangelo means that, at the time when he wrote the letter in question, it was still in doubt whether Sangallo's design should be carried out or his own adopted; and, as usual, he looked forward with dread to undertaking a colossal architectural task.
V
Returning to the Palazzo Farnese, it only remains to be said that Michelangelo lived to complete the edifice. His genius was responsible for the inharmonious window above the main entrance. According to Vasari, he not only finished the exterior from the second story upwards, but designed the whole of the central courtyard above the first story, "making it the finest thing of its sort in Europe." The interior, with the halls painted by Annibale Caracci, owed its disposition into chambers and galleries to his invention. The cornice has always been reckoned among his indubitable successes, combining as it does salience and audacity with a grand heroic air of grace. It has been criticised for disproportionate projection; and Michelangelo seems to have felt uneasy on this score, since he caused a wooden model of the right size to be made and placed upon the wall, in order to judge of its effect.
Taken as a whole, the Palazzo Farnese remains the most splendid of the noble Roman houses, surpassing all the rest in pomp and pride, though falling short of Peruzzi's Palazzo Massimo in beauty.
The catastrophe of 1527, when Rome was taken by assault on the side of the Borgo without effective resistance being possible, rendered the fortification of the city absolutely necessary. Paul III determined to secure a position of such vital importance to the Vatican by bastions. Accordingly he convened a diet of notables, including his architect-in-chief, Antonio da Sangallo. He also wished to profit by Michelangelo's experience, remembering the stout resistance offered to the Prince of Orange by his outworks at S. Miniato. Vasari tells an anecdote regarding this meeting which illustrates the mutual bad feeling of the two illustrious artists. "After much discussion, the opinion of Buonarroti was requested. He had conceived views widely differing on those of Sangallo and several others, and these he expressed frankly. Whereupon Sangallo told him that sculpture and painting were his trade, not fortification. He replied that about them he knew but little, whereas the anxious thought he had given to city defences, the time he had spent, and the experience he had practically gained in constructing them, made him superior in that art to Sangallo and all the masters of his family. He proceeded to point out before all present numerous errors in the works. Heated words passed on both sides, and the Pope had to reduce the men to silence. Before long he brought a plan for the fortification of the whole Borgo, which opened the eyes of those in power to the scheme which was finally adopted. Owing to changes he suggested, the great gate of Santo Spirito, designed by Sangallo and nearly finished, was left incomplete."