Pictures Every Child Should Know / A Selection of the World's Art Masterpieces for Young People

by Mary Schell Hoke Bacon

Finally, Rome so resented his frowning looks and his surly ways that work was provided for him at a distance. He was sent to Florence again to build a facade. While there, the city was conquered, and Angelo was one who fought for its freedom, but even so, he fled just at the crisis. Thus he ever did the wrong thing--excepting when he worked. In Florence he had planned to do mighty things, but he never accomplished any one of them. He planned to make a wonderful colossal statue on a cliff near Carrara, and also he resolved to make the tomb of Julius the nucleus of a "forest of statues."

Michael Angelo never married, but he was burdened with a family and all its cares. He supported his brothers and even his nephews, and took care of his father. All of those people came to him with their difficulties and with their demands for money. He chided, quarreled, repelled, yet met every obligation. He would sit beside the sick-bed of a servant the night through, but growl at the demands of his near relatives--and it is not unlikely that he had good reason.

At last he withdrew himself from all human society but that of little children, whom he cared to speak with and to please. He would have naught to do with men of genius like himself; and when he fell from a scaffolding and injured himself, the physician had to force his way through a barred window, in order to get into the sick man's presence to serve him.

An illustration of his determined solitude is given in the "Young People's Story of Art:"

"There had long been lying idle in Florence an immense block of marble. One hundred years before a sculptor had tried to carve something from it, but had failed. This was now given to Michael Angelo. He was to be paid twelve dollars a month, and to be allowed two years in which to carve a statue. He made his design in wax; and then built a tower around the block, so that he might work inside without being seen."

Everything Angelo undertook bore the marks of gigantic enterprise. Although he never succeeded in making the tomb of Julius II. the central piece in his forest of statues, the undertaking was marvellous enough. His original plan was to make the tomb three stories high and to ornament it with forty statues, and if St. Peter's Church was large enough to hold it, the work was to be placed therein; but if not, a church was to be built specially to hold the tomb. When at last, in spite of his difficulties with workmen and shipowners, the marbles were deposited in the great square before St. Peter's, they filled the whole place; and the pope, wishing to watch the progress of the work and not himself to be observed, had a covered way built from the Vatican to the workshop of Angelo in the square, by which he might come and go as he chose, while an order was issued that the sculptor was to be admitted at all times to the Vatican. No sooner was this arrangement completed than Angelo's enemies frightened the pope by telling him there was danger in making his tomb before his death; and with these superstitions haunting him Julius II. stopped the work, leaving Angelo without the means to pay for his marbles. With the doors of the Vatican closed to him, Angelo withdrew, post haste to Florence--and who can blame him? Nevertheless, the work was resumed after infinite trouble on the pope's part. He had to send again and again for Angelo and after forty years, the work was finished. There the sequel of the sculptor's forty-years war with self and the world stands to-day in "Moses," the wonderful, commanding central figure which seems to reflect all the fierce power which Angelo had to keep in check during a life-time.

The command of Julius that he should paint the ceiling of the Sistine Chapel aroused all his fierce resistance. He did it under protest, all the while accusing those about him of having designs upon his life.

"I am not a painter, but a sculptor," he said.

"Such a man as thou is everything that he wishes to be," the pope replied.

"But this is an affair of Raphael. Give him this room to paint and let me carve a mountain!" But no, he must paint the ceiling; but to render it easier for him the pope told him he might fill in the spaces with saints, and charge a certain amount for each. This Angelo, who was first of all an artist, refused to do. He would do the work rightly or not at all. So he made his own plans and cut himself a cardboard helmet, into the front of which he thrust a candle, as if it were a Davy lamp, and he lay upon his back to work day and night at the hated task. During those months he was compelled to look up so continually, that never afterward was he able to look down without difficulty. When he had finished the work Julius had some criticisms to make.