Famous European Artists

by Sarah Knowles Bolton

"It will cost a hundred thousand crowns," said the artist.

"Let it cost twice that sum," said the pope.

At once Michael Angelo hastened to the marble quarries of Carrara, in the most northern part of Tuscany, where he remained for eight months. His task was a difficult one. He wrote to his father after he had gone back to Rome, "I should be quite contented here if only my marble would come. I am unhappy about it; for not for two days only, but as long as I have been here, we have had good weather. A few days ago, a bark, which has just arrived, was within a hair's-breadth of perishing. When from bad weather the blocks were conveyed by land, the river overflowed, and placed them under water; so that up to this day I have been able to do nothing. I must endeavor to keep the pope in good humor by empty words, so that his good temper may not fail. I hope all may soon be in order, and that I may begin my work. God grant it!"

When the marble reached Rome, the people were astonished, for there seemed enough to build a temple, instead of a tomb. The sculptor resided in a house near the Vatican, a covered way being constructed by the pope between the atelier and the palace, that he might visit the artist familiarly and see him at his work.

Meantime an envious artist was whispering in the ears of Julius that it was an evil omen to build one's monument in one's lifetime, and that he would be apt to die early. This was not agreeable news, and when Michael Angelo returned from a second journey to Carrara the pope refused to advance any money, and even gave orders that he should not be admitted to the palace.

With commendable pride the artist left Rome at once, and hastened to Florence, leaving a letter in which he said, "Most Holy Father,—If you require me in the future, you can seek me elsewhere than in Rome."

The proud Julius at once perceived his mistake, and sent a messenger to bid him return, on pain of his displeasure. But Michael Angelo paid no attention to the mandate. Then Julius II. applied to Soderini the Gonfaloniere, who said to the sculptor, "You have treated the pope in a manner such as the King of France would not have done! There must be an end of trifling with him now. We will not for your sake begin a war with the pope, and risk the safety of the state."

The Sultan Bajazet II., who had heard of Michael Angelo's fame, now urged him to come to Turkey and build a bridge between Constantinople and Pera, across the Golden Horn. Soderini tried to persuade him that he had better "die siding with the pope, than live passing over to the Turk," and meantime wrote Julius that he could do nothing with him. The pope saw that kindness alone would win back the self-reliant and independent artist, and finally prevailed upon him to return to Rome.

When he arrived, Julius, half angry, said, "You have waited thus long, it seems, till we should ourselves come to seek you."

An ecclesiastic standing near officiously begged his Holiness not to be too severe with Michael Angelo, as he was a man of no education, and as artists did not know how to behave except where their own art was concerned.