"Most Reverend Monsignor,—If a plan has divers parts, those which are of one type in respect to quality and quantity have to be decorated in the same way and the same fashion. The like is true of their counterparts. But when the plan changes form entirely, it is not only allowable, but necessary, to change the decorative appurtenances, as also with their counterparts. The intermediate parts are always free, left to their own bent. The nose, which stands in the middle of the forehead, is not bound to correspond with either of the eyes; but one hand must balance the other, and one eye be like its fellow. Therefore it may be assumed as certain that the members of an architectural structure follow the laws exemplified in the human body. He who has not been or is not a good master of the nude, and especially of anatomy, cannot understand the principles of architecture."
It followed that Michelangelo's first object, when he became Papal architect-in-chief, was to introduce order into the anarchy of previous plans, and to return, so far as this was now possible, to Bramante's simpler scheme. He adopted the Greek cross, and substituted a stately portico for the long vestibule invented by Sangallo. It was not, however, in his nature, nor did the changed taste of the times permit him to reproduce Bramante's manner. So far as S. Peter's bears the mark of Michelangelo at all, it represents his own peculiar genius. "The Pope," says Vasari, "approved his model, which reduced the cathedral to smaller dimensions, but also to a more essential greatness. He discovered that four principal piers, erected by Bramante and left standing by Antonio da Sangallo, which had to bear the weight of the tribune, were feeble. These he fortified in part, constructing two winding staircases at the side, with gently sloping steps, up which beasts of burden ascend with building material, and one can ride on horseback to the level above the arches. He carried the first cornice, made of travertine, round the arches: a wonderful piece of work, full of grace, and very different from the others; nor could anything be better done in its kind. He began the two great apses of the transept; and whereas Bramante Raffaello, and Peruzzi had designed eight tabernacles toward the Campo Santo, which arrangement Sangallo adhered to, he reduced them to three, with three chapels inside. Suffice it to say that he began at once to work with diligence and accuracy at all points where the edifice required alteration; to the end that its main features might be fixed, and that no one might be able to change what he had planned." Vasari adds that this was the provision of a wise and prudent mind. So it was; but it did not prevent Michelangelo's successors from defeating his intentions in almost every detail, except the general effect of the cupola. This will appear in the sequel.
Antonio da Sangallo had controlled the building of S. Peter's for nearly thirty years before Michelangelo succeeded to his office. During that long space of time he formed a body of architects and workmen who were attached to his person and interested in the execution of his plans. There is good reason to believe that in Sangallo's days, as earlier in Bramante's, much money of the Church had been misappropriated by a gang of fraudulent and mutually indulgent craftsmen. It was not to be expected that these people should tamely submit to the intruder who put their master's cherished model on the shelf, and set about, in his high-handed way, to refashion the whole building from the bottom to the top. During Sangallo's lifetime no love had been lost between him and Buonarroti, and after his death it is probable that the latter dealt severely with the creatures of his predecessor. The Pope had given him unlimited powers of appointing and dismissing subordinates, controlling operations, and regulating expenditure. He was a man who abhorred jobs and corruption. A letter written near the close of his life, when he was dealing only with persons nominated by himself, proves this. He addressed the Superintendents of the Fabric of S. Peter's as follows: "You know that I told Balduccio not to send his lime unless it were good. He has sent bad quality, and does not seem to think he will be forced to take it back; which proves that he is in collusion with the person who accepted it. This gives great encouragement to the men I have dismissed for similar transactions. One who accepts bad goods needed for the fabric, when I have forbidden them, is doing nothing else but making friends of people whom I have turned into enemies against myself. I believe there will be a new conspiracy. Promises, fees, presents, corrupt justice. Therefore I beg you from this time forward, by the authority I hold from the Pope, not to accept anything which is not suitable, even though it comes to you from heaven. I must not be made to appear, what I am not, partial in my dealings." This fiery despatch, indicating not only Michelangelo's probity, but also his attention to minute details at the advanced age of eighty-six, makes it evident that he must have been a stern overseer in the first years of his office, terrible to the "sect of Sangallo," who were bent, on their part, to discredit him.
The sect began to plot and form conspiracies, feeling the violent old man's bit and bridle on their mouths, and seeing the firm seat he took upon the saddle. For some reason, which is not apparent, they had the Superintendents of the Fabric (a committee, including cardinals, appointed by the Pope) on their side. Probably these officials, accustomed to Sangallo and the previous course of things, disliked to be stirred up and sent about their business by the masterful new-comer. Michelangelo's support lay, as we shall see, in the four Popes who followed Paul III. They, with the doubtful exception of Marcellus II., accepted him on trust as a thoroughly honest servant, and the only artist capable of conducting the great work to its conclusion. In the last resort, when he was driven to bay, he offered to resign, and was invariably coaxed back by the final arbiter. The disinterested spirit in which he fulfilled his duties, accepting no pay while he gave his time and energy to their performance, stood him in good stead. Nothing speaks better for his perfect probity than that his enemies were unable to bring the slightest charge of peculation or of partiality against him. Michelangelo's conduct of affairs at S. Peter's reflects a splendid light upon the tenor of his life, and confutes those detractors who have accused him of avarice.
The duel between Michelangelo and the sect opened in 1547. A letter written by a friend in Florence on the 14th of May proves that his antagonists had then good hopes of crushing him. Giovan Francesco Ughi begins by saying that he has been silent because he had nothing special to report. "But now Jacopo del Conte has come here with the wife of Nanni di Baccio Bigio, alleging that he has brought her because Nanni is so occupied at S. Peter's. Among other things, he says that Nanni means to make a model for the building which will knock yours to nothing. He declares that what you are about is mad and babyish. He means to fling it all down, since he has quite as much credit with the Pope as you have. You throw oceans of money away and work by night, so that nobody may see what you are doing. You follow in the footsteps of a Spaniard, having no knowledge of your own about the art of building, and he less than nothing. Nanni stays there in your despite: you did everything to get him removed; but the Pope keeps him, being convinced that nothing good can be done without him." After this Ughi goes on to relate how Michelangelo's enemies are spreading all kinds of reports against his honour and good fame, criticising the cornice of the Palazzo Farnese, and hoping that its weight will drag the walls down. At the end he adds, that although he knows one ought not to write about such matters, yet the man's "insolence and blackguardly shamelessness of speech" compel him to put his friend on his guard against such calumnies.
After the receipt of this letter, Michelangelo sent it to one of the Superintendents of the Fabric, on whose sympathy he could reckon, with the following indorsement in his own handwriting: "Messer Bartolommeo (Ferrantino), please read this letter, and take thought who the two rascals are who, lying thus about what I did at the Palazzo Farnese, are now lying in the matter of the information they are laying before the deputies of S. Peter's. It comes upon me in return for the kindness I have shown them. But what else can one expect from a couple of the basest scoundrelly villains?"
Nanni di Baccio Bigio had, as it seems, good friends at court in Rome. He was an open enemy of Michelangelo, who, nevertheless, found it difficult to shake him off. In the history of S. Peter's the man's name will frequently occur.
Three years elapsed. Paul III. died, and Michelangelo wrote to his nephew Lionardo on the occasion: "It is true that I have suffered great sorrow, and not less loss, by the Pope's death. I received benefits from his Holiness, and hoped for more and better. God willed it so, and we must have patience. His passage from this life was beautiful, in full possession of his faculties up to the last word. God have mercy on his soul." The Cardinal Giovan Maria Ciocchi, of Monte San Savino, was elected to succeed Paul, and took the title of Julius III. This change of masters was duly noted by Michelangelo in a letter to his "dearest friend," Giovan Francesco Fattucci at Florence. It breathes so pleasant and comradely a spirit, that I will translate more than bears immediately on the present topic: "Dear friend, although we have not exchanged letters for many months past, still our long and excellent friendship has not been forgotten. I wish you well, as I have always done, and love you with all my heart, for your own sake, and for the numberless pleasant things in life you have afforded me. As regards old age, which weighs upon us both alike, I should be glad to know how yours affects you; mine, I must say, does not make me very happy. I beg you, then, to write me something about this. You know, doubtless, that we have a new Pope, and who he is. All Rome is delighted, God be thanked; and everybody expects the greatest good from his reign, especially for the poor, his generosity being so notorious."
Michelangelo had good reason to rejoice over this event, for Julius III. felt a real attachment to his person, and thoroughly appreciated both his character and his genius. Nevertheless, the enemies he had in Rome now made a strong effort to dislodge Buonarroti from his official position at S. Peter's. It was probably about this time that the Superintendents of the Fabric drew up a memorial expressive of their grievances against him. We possess a document in Latin setting forth a statement of accounts in rough. "From the year 1540, when expenditures began to be made regularly and in order, from the very commencement as it were, up to the year 1547, when Michelangelo, at his own will and pleasure, undertook partly to build and partly to destroy, 162,624 ducats were expended. Since the latter date on to the present, during which time the deputies have served like the pipe at the organ, knowing nothing, nor what, nor how moneys were spent, but only at the orders of the said Michelangelo, such being the will of Paul III. of blessed memory, and also of the reigning Pontiff, 136,881 ducats have been paid out, as can be seen from our books. With regard to the edifice, what it is going to be, the deputies can make no statement, all things being hidden from them, as though they were outsiders. They have only been able to protest at several times, and do now again protest, for the easement of their conscience, that they do not like the ways used by Michelangelo, especially in what he keeps on pulling down. The demolition has been, and to-day is so great, that all who witness it are moved to an extremity of pity. Nevertheless, if his Holiness be satisfied, we, his deputies, shall have no reason to complain." It is clear that Michelangelo was carrying on with a high hand at S. Peter's. Although the date of this document is uncertain, I think it may be taken in connection with a general meeting called by Julius III., the incidents of which are recorded by Vasari. Michelangelo must have demonstrated his integrity, for he came out of the affair victorious, and obtained from the Pope a brief confirming him in his office of architect-in-chief, with even fuller powers than had been granted by Paul III.