[From the marble, by Filippo Albaccini. The bust resembles the painted portraits, of which there are several of undoubted accuracy and truth, painted by himself, at Florence, Venice, Paris, and Milan. The works of Leonardo on Anatomy and Painting are still invaluable to students in art. His treatise on Painting was first printed at Paris in 1651. The MS. was in a curious hand-writing, and written backwards with the left hand.]
142. Fra Bartolomeo, or Baccio della Porta. Painter.
[Born at Savignano, in Italy, 1469. Died 1517. Aged 49.]
At an early age he carefully studied the works of Leonardo da Vinci, and the effect of the study is visible in his own productions. Whilst his fame was growing, he became deeply influenced by the preaching of Savonarola, at whose instigation he publicly burnt some of his finest studies of the undraped figure. In 1500, Bartolomeo assumed the habit of a Dominican friar, and forsook painting. But after the lapse of four years he resumed his art, made the acquaintance of Raffaelle at Florence, and the influence of these two eminent painters on each other was mutually advantageous. Among the finest works of Fra Bartolomeo are, the large picture of St. Mark, esteemed in painting equal to the “Moses” of Michael Angelo in sculpture, and the “Madonna della Misericordia.” He was the inventor of the lay figure, which he was the first to employ. His style is characterized by calm seriousness, unaffected dignity, and grace. The religious expression of his holy figures reveals conscious elevation, not mere sentimentality; and in his Madonnas holiness is always exquisitely blended with beauty. But Bartolomeo lacked inward power. Sometimes he is cold and formal; at others, impetuous and wanting in repose. The colouring of flesh is peculiarly soft in his pictures, and his draperies are excellent.
[By Domenico Manera. In the last work of Bartolomeo, which is now in the Uffizzi, at Florence, representing the patron saints of Florence, and others, he has introduced his own portrait.]
143. Michael Angelo Buonarotti. Sculptor, Painter, Architect.
[Born at Caprese, in Tuscany, 1474. Died at Rome, 1563. Aged 89.]
A demigod in art. All learning and all knowledge came to Michael Angelo, perhaps even more than to Leonardo da Vinci, his mighty contemporary, as a rightful inheritance, to be magnificently accepted and sumptuously enjoyed. Poet, musician, sculptor, architect, engineer, painter, anatomist, man of science—his titles to renown are inexhaustible. His genius was universal, his grasp boundless. All his works, of whatever kind, bear the broad, deep stamp of his haughty, masculine spirit, and constitute the immortal expression of strength, energy, and sublimest passion. The feeling of Michael Angelo was strong, intense, grand, penetrating; his thought as clear as it was profound. His life is a series of conquests in the world of intellect. Domenico Ghirlandaio has the honour of claiming Buonarotti for his pupil. By Ghirlandaio the stripling was introduced to Lorenzo de’ Medici, who, as well as his successor, became the steady friend of the great artist. Upon the expulsion of the Medici, he went to Bologna, thence to Florence, and thence again, upon the invitation of the Pope, to Rome. In 1503, commissioned to paint one end of the great Hall of Council, Leonardo da Vinci being intrusted with the other. Never before had two such spirits met to contend for glory. His statue of Moses, and the ceiling of the Sistine Chapel, were produced under Pope Julius II. Under Leo X., and Adrian, works of equal power issued from his inspired brain. In 1546, he was commanded by the Pope to undertake the direction of the works at St. Peter’s. He consented only upon condition that he received no salary, and laboured “for the love of God alone.” For seventeen years he prosecuted the pious service, and raised the sacred edifice as far as the base of the cupola. The undying memorials of his chisel and pencil speak the intellectual supremacy of the man beyond all words of praise. They will command wonder, delight, admiration, respect, and awe, whilst the world lasts. There is nothing factitious, no studied allurement, no imposture in his work. It is all true, simple, sublime. Michael Angelo, in 1530, directed in person the defence of Florence, and erected its fortifications—which yet exist—when that city was besieged, and, after a year of heroic defence, taken by the army of Charles V. The fall of Florence, at this time, witnessed the last breath of Italian independence. Look on his face! You see many furrowed lines there, and a potent brow. The features and expression betray irascibility of temper, jealous self-consciousness, towering sense of power. Michael Angelo had all these. He was a lion aware of his strength. What if he used it as a lion, at times vehemently, and regardless of the pain inflicted upon others! He was also a staunch friend, disinterested, liberal, temperate, upright, conscientious. The ancients had their Titans. Michael Angelo too is the son of Heaven and Earth.
[This Bust is from the marble by Alessandro d’Este, and one of those contributed to the Capitoline Museum, at the expense of Canova, when he was President of the Academy of Saint Luke, at Rome. It conveys an idea of coarseness which would hardly seem to belong to Michael Angelo’s natural expression, marked as it is with power and energy. It will be remembered how his nose was broken by a blow from his fellow-student, Torrigiano. He was buried in Sta. Croce, at Florence, his noble monument there being designed and executed under the superintendence of Vasari, the historian of the painters. It consists of a sarcophagus, supported by three figures, representing Painting, Sculpture, and Architecture, and surmounted by his bust (of which No. 143A is a cast) and three crowns, with the motto “tergeminis tollit honoribus.” This tomb and the bust were executed by three sculptors, Domenico Lorenzi, a pupil of Bandinelli, Valerio Cioli, and Giovanni dell’ Opera. There is, in the Capitoline Museum a bust of Michael Angelo, said to be by his own hand; the head is of bronze, and the rest of marble; and in the same place a painted portrait of him, by Andrea del Sarto. Vasari mentions an alto-relievo of him in bronze, by Danielo Ricciarelli, and a medal (“a very close resemblance”) by Cav. Lioni, which was abundantly copied and distributed in his honour.]
143A. Michael Angelo Buonarotti. Sculptor, Painter, Architect.