In 1550, Julius III. succeeded to the pontificate, and Michael to new vexations. His rivals endeavoured to displace him for unfitness in the conduct of St. Peter’s. A committee of architects was appointed to investigate the charge, in the presence of the pope. The committee alleged that the church wanted light; and they furnished the cardinals Salviati and Marcello Cervino with plans, to show that Michael had walled up a recess for three chapels, and made only three insufficient windows. “Over those windows are to be placed three others,” answered Michael. “You never said that before,” answered one of the cardinals. To this Michael indignantly replied, “I am not, neither will I ever be, obliged to tell your eminence, or any one else, what I ought or am disposed to do; it is your office to see that money be provided, to keep off the thieves, and to leave the building of St. Peter’s to me.” The pope decided in Michael’s favour. From that time Julius prosecuted no work in painting or sculpture without Michael’s advice; and his estimation of him was so high, that he told him at a public audience, that if he died before himself, he should be embalmed, and kept in his own palace, that his body might be as permanent as his works. Soon after the death of Julius III. in 1555, Paul IV., the new pontiff, expressed his displeasure of the academical figures in the Last Judgment, and intimated an intention to “reform” the picture. Michael sent this message to him: “What the pope wishes, is very little, and may be easily effected; for if his holiness will only ‘reform’ the opinions of mankind, the picture will be reformed of itself.” This holy father plunged Italy in blood by his vindictive passions; and while war ravaged its plains, Michael, at the age of 82, retreated for a while to a monastery. On coming from his seclusion, he wrote to Vasari, “I have had a great deal of pleasure in visiting the monks in the mountains of Spoleto: indeed, though I am now returned to Rome, I have left the better half of myself with them; for in these troublesome times, to say the truth, there is no happiness but in such retirement.” The death of this pope filled Rome with “tumultuous joy,” and the papal chair was ascended by Pius IV., in whose pontificate, wearied and reduced by the incessant attacks and artifices of his enemies, Michael, at the age of 87, resigned his office of architect to St. Peter’s; but the pope, informed of the frauds which had occasioned it, reinstated him, and to induce him to retain the appointment, ensured strict adherence to his designs until the building should be completed.
At the age of eighty-nine a slow fever indicated Michael Angelo’s approaching decease. His nephew, Leonardo Buonarrotti, was sent for; but not arriving, and the fever increasing, he ordered the persons who were in the house into his chamber, and in the presence of them and his physicians uttered this verbal will:—“My soul I resign to God, my body to the earth, and my worldly possessions to my nearest of kin:” then admonishing his attendants, he said, “In your passage through this life, remember the sufferings of Jesus Christ.”
Thus died one of the greatest artists, and one of the noblest men of modern times. The ceremony of his funeral was conducted at Rome with great pomp, but his remains were removed within a month to Florence, and finally deposited in the church of Santa Croce at Florence. In 1720, the vault was opened; the body retained its original form, habited in the costume of the ancient citizens of Florence, in a gown of green velvet, and slippers of the same.
According to his English biographer, Mr. Duppa, Michael Angelo was of the middle stature, bony in make, rather spare, and broad shouldered; his complexion good, his forehead square and “somewhat” projecting; his eyes hazel and rather small; his brows with little hair; his nose flat from a blow given him in his youth by Torrigiano; his lips thin; his cranium large in proportion to his face. Within these pages a detail of his works will not be sought. The few particulars mentioned are from Mr. Duppa’s quarto life, where many of them are enumerated, and outline sketches of some of them are engraved.
The portrait of Michael Angelo selected by Mr. Duppa, to precede his life, is engraved by Bartolozzi, from a profile in Gori’s edition of “Condivi’s Memoir.” He says its original was a drawing supposed to have been made by Julio Bonasoni, from which Mr. Duppa presumes that artist to have etched a print bearing his name, and dated in the year 1546. There is an engraved portrait dated 1545, without any artist’s name attached. Mr. Duppa says, “of these two prints Bonasoni’s is much the best; and although the second has a prior date, it appears to have been engraved from the same original.” That “original,” whatever it was, is no longer in existence. Certainly Bonasoni’s print is better as a print, for it has the grace of that master’s point, yet as a likeness the print of 1545 seems to the editor of the Every-day Book to have a stronger claim to regard; not because it is of prior date, but because it has more decisive marks of character. He conjectures, that the anonymous print of 1545 may have been executed from a bust or statue of Michael. There is a laboured precision in the contour, and a close mannered marking of the features, that denote the “original” to have been marble. The conjecture is strengthened by the fact, that the eye in the anonymous print is without an iris; a deficiency which exists in no engraved portraits unless they are executed from a marble “original.” While correctness seems to have been the aim of the engraver in this anonymous print, elegance appears to have been the object of the painter Bonasoni in his etching. Bonasoni’s portrait is comparatively common; the anonymous one is rare; a [copy] of it from the print in the editor’s possession, is executed on wood, by Mr. T. Williams, and placed under the reader’s eye.
Michael Angelo was remarkable for nothing but his genius. He slept little, and was abstemious; he was accustomed to say, “However rich I may have been, I have always lived as a poor man.” He obtained the reputation of being proud and odd; for he found little pleasure in the society of men from whom he could not learn, or whom he could not teach. He was pleased by originality of character in whatever rank he met with it; and cultivated in mature life the society of persons respected for their talents and learning. When young he endeavoured to acquaint himself with every branch of knowledge that could contribute to his improvement. In common with all who have obtained a deserved eminence, he was never satisfied with his performances; if he perceived an imperfection that might have been avoided, he either threw aside the work in disgust, or commenced it anew.
He continued to study to the end of his life. In his old age the cardinal Farnese found him walking in solitude amidst the ruins of the Coliseum and expressed his surprise. Michael answered, “I go yet to school that I may continue to learn.” He lived much alone. His great excess seems to have been indulgence in reflection, and the labours of his profession. The power of generalizing facts, and realizing what he conceived, he drew from this habit: without it some men have become popular for a time, but no man ever became great.