Next to these designs for the Capitol, the most important architectural work of Michelangelo's old age was the plan he made of a new church to be erected by the Florentines in Rome to the honour of their patron, S. Giovanni. We find him writing to his nephew on the 15th of July 1559: "The Florentines are minded to erect a great edifice—that is to say, their church; and all of them with one accord put pressure on me to attend to this. I have answered that I am living here by the Duke's permission for the fabric of S. Peter's, and that unless he gives me leave, they can get nothing from me." The consul and counsellors of the Florentine nation in Rome wrote upon this to the Duke, who entered with enthusiasm into their scheme, not only sending a favourable reply, but also communicating personally upon the subject with Buonarroti. Three of Michelangelo's letters on the subject to the Duke have been preserved. After giving a short history of the project, and alluding to the fact that Leo X. began the church, he says that the Florentines had appointed a building committee of five men, at whose request he made several designs. One of these they selected, and according to his own opinion it was the best. "This I will have copied and drawn out more clearly than I have been able to do it, on account of old age, and will send it to your Most Illustrious Lordship." The drawings were executed and carried to Florence by the hand of Tiberio Calcagni. Vasari, who has given a long account of this design, says that Calcagni not only drew the plans, but that he also completed a clay model of the whole church within the space of two days, from which the Florentines caused a larger wooden model to be constructed. Michelangelo must have been satisfied with his conception, for he told the building-committee that "if they carried it out, neither the Romans nor the Greeks ever erected so fine an edifice in any of their temples. Words the like of which neither before nor afterwards issued from his lips; for he was exceedingly modest." Vasari, who had good opportunities for studying the model, pronounced it to be "superior in beauty, richness and variety of invention to any temple which was ever seen." The building was begun, and 5000 crowns were spent upon it. Then money or will failed. The model and drawings perished. Nothing remains for certain to show what Michelangelo's intentions were. The present church of S. Giovanni dei Fiorentini in Strada Giulia is the work of Giacomo della Porta, with a façade by Alessandro Galilei.
Of Tiberio Calcagni, the young Florentine sculptor and architect, who acted like a kind of secretary or clerk to Michelangelo, something may here be said. The correspondence of this artist with Lionardo Buonarroti shows him to have been what Vasari calls him, "of gentle manners and discreet behaviour." He felt both veneration and attachment for the aged master, and was one of the small group of intimate friends who cheered his last years. We have seen that Michelangelo consigned the shattered Pietà to his care; and Vasari tells us that he also wished him to complete the bust of Brutus, which had been begun, at Donato Giannotti's request, for the Cardinal Ridolfi. This bust is said to have been modelled from an ancient cornelian in the possession of a certain Giuliano Ceserino. Michelangelo not only blocked the marble out, but brought it nearly to completion, working the surface with very fine-toothed chisels. The sweetness of Tiberio Calcagni's nature is proved by the fact that he would not set his own hand to this masterpiece of sculpture. As in the case of the Pietà, he left Buonarroti's work untouched, where mere repairs were not required. Accordingly we still can trace the fine-toothed marks of the chisel alluded to by Vasari, hatched and cross-hatched with right and left handed strokes in the style peculiar to Michelangelo. The Brutus remains one of the finest specimens of his creative genius. It must have been conceived and executed in the plenitude of his vigour, probably at the time when Florence fell beneath the yoke of Alessandro de' Medici, or rather when his murderer Lorenzino gained the name of Brutus from the exiles (1539). Though Vasari may be right in saying that a Roman intaglio suggested the stamp of face and feature, yet we must regard this Brutus as an ideal portrait, intended to express the artist's conception of resolution and uncompromising energy in a patriot eager to sacrifice personal feelings and to dare the utmost for his country's welfare. Nothing can exceed the spirit with which a violent temperament, habitually repressed, but capable of leaping forth like sudden lightning, has been rendered. We must be grateful to Calcagni for leaving it in its suggestively unfinished state.
II
During these same years Michelangelo carried on a correspondence with Ammanati and Vasari about the completion of the Laurentian Library. His letters illustrate what I have more than once observed regarding his unpractical method of commencing great works, without more than the roughest sketches, intelligible to himself alone, and useless to an ordinary craftsman. The Florentine artists employed upon the fabric wanted very much to know how he meant to introduce the grand staircase into the vestibule. Michelangelo had forgotten all about it. "With regard to the staircase of the library, about which so much has been said to me, you may believe that if I could remember how I had arranged it, I should not need to be begged and prayed for information. There comes into my mind, as in a dream, the image of a certain staircase; but I do not think this can be the one I then designed, for it seems so stupid. However, I will describe it." Later on he sends a little clay model of a staircase, just enough to indicate his general conception, but not to determine details. He suggests that the work would look better if carried out in walnut. We have every reason to suppose that the present stone flight of steps is far from being representative of his idea.
He was now too old to do more than furnish drawings when asked to design some monument. Accordingly, when Pius IV. resolved to erect a tomb in Milan Cathedral to the memory of his brother, Giangiacomo de' Medici, Marquis of Marignano, commonly called Il Medeghino, he requested Michelangelo to supply the bronze-sculptor Leone Leoni of Menaggio with a design. This must have been insufficient for the sculptor's purpose—a mere hand-sketch not drawn to scale. The monument, though imposing in general effect, is very defective in its details and proportions. The architectural scheme has not been comprehended by the sculptor, who enriched it with a great variety of figures, excellently wrought in bronze, and faintly suggesting Michelangelo's manner.
The grotesque barocco style of the Porta Pia, strong in its total outline, but whimsical and weak in decorative detail, may probably be ascribed to the same cause. It was sketched out by Michelangelo during the pontificate of Pius IV., and can hardly have been erected under his personal supervision. Vasari says: "He made three sketches, extravagant in style and most beautiful, of which the Pope selected the least costly; this was executed much to his credit, as may now be seen." To what extent he was responsible for the other sixteenth-century gates of Rome, including the Porta del Popolo, which is commonly ascribed to him, cannot be determined; though Vasari asserts that Michelangelo supplied the Pope with "many other models" for the restoration of the gates. Indeed it may be said of all his later work that we are dealing with uncertain material, the original idea emanating perhaps from Buonarroti's mind, but the execution having devolved upon journeymen.
Pius IV. charged Michelangelo with another great undertaking, which was the restoration of the Baths of Diocletian in the form of a Christian church. Criticism is reduced to silence upon his work in this place, because S. Maria degli Angeli underwent a complete remodelling by the architect Vanvitelli in 1749. This man altered the ground-plan from the Latin to the Greek type, and adopted the decorative style in vogue at the beginning of the eighteenth century. All that appears certain is that Michelangelo had very considerable remains of the Roman building to make use of. We may also perhaps credit tradition, when it tells us that the vast Carthusian cloister belongs to him, and that the three great cypress-trees were planted by his hand.
Henri the Second's death occurred in 1559; and his widow, Catherine de' Medici, resolved to erect an equestrian statue to his memory. She bethought her of the aged sculptor, who had been bred in the palace of her great-grandfather, who had served two Pontiffs of her family, and who had placed the mournful image of her father on the tomb at San Lorenzo. Accordingly she wrote a letter on the 14th of November in that year, informing Michelangelo of her intention, and begging him to supply at least a design upon which the best masters in the realm of France might work. The statue was destined for the courtyard of the royal château at Blois, and was to be in bronze. Ruberto degli Strozzi, the Queen's cousin, happened about this time to visit Rome. Michelangelo having agreed to furnish a sketch, it was decided between them that the execution should be assigned to Daniele da Volterra. After nearly a year's interval, Catherine wrote again, informing Michelangelo that she had deposited a sum of 6000 golden crowns at the bank of Gianbattista Gondi for the work, adding: "Consequently, since on my side nothing remains to be done, I entreat you by the affection you have always shown to my family, to our Florence, and lastly to art, that you will use all diligence and assiduity, so far as your years permit, in pushing forward this noble work, and making it a living likeness of my lord, as well as worthy of your own unrivalled genius. It is true that this will add nothing to the fame you now enjoy; yet it will at least augment your reputation for most acceptable and affectionate devotion toward myself and my ancestors, and prolong through centuries the memory of my lawful and sole love; for the which I shall be eager and liberal to reward you." It is probable that by this time (October 30, 1560) Michelangelo had forwarded his sketch to France, for the Queen criticised some details relating to the portrait of her husband. She may have remembered with what idealistic freedom the statues of the Dukes of Nemours and Urbino had been treated in the Medicean Sacristy. Anyhow, she sent a picture, and made her agent, Baccio del Bene, write a postscript to her letter, ordering Michelangelo to model the King's head without curls, and to adopt the rich modern style for his armour and the trappings of his charger. She particularly insisted upon the likeness being carefully brought out.
Michelangelo died before the equestrian statue of Henri II. was finished. Cellini, in his Memoirs, relates that Daniele da Volterra worked slowly, and caused much annoyance to the Queen-mother of France. In 1562 her agent, Baccio del Bene, came to Florence on financial business with the Duke. He then proposed that Cellini should return to Paris and undertake the ornamental details of the tomb. The Duke would not consent, and Catherine de' Medici did not choose to quarrel with her cousin about an artist. So this arrangement, which might have secured the completion of the statue on a splendid scale, fell through. When Daniele died in 1566, only the horse was cast; and this part served finally for Biard's statue of Louis XIII.