The madrigal recites that deity had chosen to embody in a single life the sum of beauty, to the end that the celestial gift might be more easily resumed. Similar concetti are to be found in the series of epitaphs composed on Cecchino Bracci, in 1544. Mr. Symonds very unjustly criticises the verse as constrained, affected, and exhibiting an absence of genuine grief.
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NOTES ON THE EPIGRAMS
1 [I] THE NIGHT OF THE MEDICI CHAPEL. According to Vasari, when the statues of the Medici Chapel were exposed to view, after Michelangelo’s departure for Rome, early in 1535, an unknown author affixed a quatrain to the image of Night. This person was afterwards known as Giovanni di Carlo Strozzi, at the time eighteen years of age. The verse, not ungraceful but superficial, recited that Night, carved by an angel, was living, for the very reason that she seemed to sleep, and if accosted, would make reply. To this fanciful compliment, Michelangelo responded in the beautiful quatrain, which exhibits his view of the Medicean usurpation.
It were to be wished that in presence of the awful forms, visitors would bear in mind the sculptor’s advice. I have heard a young American lady, in a voice somewhat strident, expound to her mother the theme of the statue, reading aloud the information furnished by Baedeker.
2 [II] DEATH AND THE COFFIN. The younger Buonarroti cites the statement of Bernardo Buontalenti, that in his house in Rome, halfway up the stair, Michelangelo[90] had drawn a skeleton Death carrying on his shoulder a coffin, on which were inscribed these lines. The story is interesting, in connection with the part taken by Death in the verse of the sculptor. Giannotti represents him as declining to attend a merry-making on the ground that it was necessary to muse on Death. (See madrigal No. 12 [XVI].) The idea appears to be that death cannot be dreadful, since it bequeaths to life not only the immortal soul, but even the body; probably the artist meant to say the body made immortal through art.
3 [V] DEFINITION OF LOVE. With this definition from the subjective point of view, may be compared madrigal No. 5 [VIII]. As usual the imagination of the poet takes plastic form; Love, in his mind, is a statue lying in the heart, and waiting to be unveiled. Akin is the celebrated sonnet of Dante, Amor e cor gentil sono una cosa, which contains the same conception, and which perhaps Michelangelo may have remembered. But the more mystical idea of the sculptor borrows only the suggestion.
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NOTES ON THE MADRIGALS
1 [I] During his Roman residence, Michelangelo was brought into intimate relations with Florentine exiles, who gathered in Rome, where ruled a Farnese pope, and where certain cardinals favored the anti-Medicean faction. From the course of a turbulent mountain-brook, Florence, following an inevitable law, was obliged to issue into the quiet but lifeless flow of inevitable despotism. It could not be expected that the fiery Michelangelo could comprehend the inexorableness of the fate which, in consequence of the necessities of trade, compelled Florence to prefer conditions ensuring tranquillity, though under an inglorious and corrupt personal rule. The sublime madrigal shows the depth of his republican sentiments. (See No. 22 [LXVIII].)