WHILE industrious and choice spirits, aided by the light afforded by Giotto and his followers, strove to show the world the talent with which their happy stars and well-balanced humours had endowed them, and endeavoured to attain to the height of knowledge by imitating the greatness of Nature in all things, the great Ruler of Heaven looked own and, seeing these vain and fruitless efforts and the presumptuous opinion of man more removed from truth than light from darkness, resolved, in order to rid him of these errors, to send to earth a genius universal in each art, to show single-handed the perfection of line and shadow, and who should give relief to his paintings, show a sound judgment in sculpture, and in architecture should render habitations convenient, safe, healthy, pleasant, well proportioned, and enriched with various ornaments. He further endowed him with true moral philosophy and a sweet poetic spirit, so that the world should marvel at the singular eminence of his life and works and all his actions, seeming rather divine than earthy.
In the arts of painting, sculpture and architecture the Tuscans have always been among the best, and Florence was the city in Italy most worthy to be the birthplace of such a citizen to crown her perfections. Thus in 1474 the true and noble wife of Ludovico di Lionardo Buonarotti Simone, said to be of the ancient and noble family of the Counts of Canossa, gave birth to a son in the Casentino, under a lucky star. The son was born on Sunday, 6 March, at eight in the evening, and was called Michelangelo, as being of a divine nature, for Mercury and Venus were in the house of Jove at his birth, showing that his works of art would be stupendous. Ludovico at the time was podestaat Chiusi and Caprese near the Sasso della Vernia, where St. Francis received the stigmata, in the diocese of Arezzo. On laying down his office Ludovico returned to Florence, to the villa of Settignano, three miles from the city, where he had a property inherited from his ancestors, a place full of rocks and quarries of maeigno which are constantly worked by stonecutters and sculptors who are mostly natives. There Michelangelo was put to nurse with a stonecutter's wife. Thus he once said jestingly to Vasari: "What good I have comes from the pure air of your native Arezzo, and also because I sucked in chisels and hammers with my nurse's milk." In time Ludovico had several children, and not being well off, he put them in the arts of wool and silk. Michelangelo, who was older, he placed with Maestro Francesco da Urbino to school. But the boy devoted all the time he could to drawing secretly, for which his father and seniors scolded and sometimes beat him, thinking that such things were base and unworthy of their noble house.
About this time Michelangelo made friends with Francesco Granacci, who though quite young had placed himself with Domenico del Grillandaio to learn painting. Granacci perceived Michelangelo's aptitude for design, and supplied him daily with drawings of Grillandaio, then reputed to be one of the best masters not only in Florence but throughout Italy. Michelagnolo's desire to achieve thus increased daily, and Ludovico perceiving that he could not prevent the boy from studying design, resolved to derive some profit from it, and by the advice of friends put him with Domenico Grillandaio that he might learn the profession. At that time Michelangelo was fourteen years old. The author of his Life, 1 written after 1550 when I first published this work, has stated that some through not knowing him have omitted things worthy of note and stated others that are not true, and in particular he taxes Domenico with envy, saying that he never assisted Michelagnolo. This is clearly false, as may be seen by a writing in the hand of Ludovico written in the books of Domenico no win the possession of his heirs. It runs thus: “1488. bow this 1st April that I Ludovico di Lionardo Buonarroto apprentice my son Michelangelo to Domenico and David di Tommaso di Currado for the next three years, with the following agreements: that the said Michelangelo shall remain‚ with them that time to learn to paint and practice that art and shall do what they bid him, and they shall give him 24 florins in the three years, 6 in the first, 8 in the second and 10 in the third, in all 96 lire". Below this Ludovico has written: "Michelangelo has received 2 gold florins this 16th April, and I Ludovico di Lionardo, his father, have received 12 lire 12 soldi." I have copied this from the book to show that I have written the truth, and I do not think that there is anyone who has seen more of Michelangelo, who has been a greater and more faithful friend to him, or who can show a larger number of autograph letters than I. I have made this digression in the interests of truth, and let this suffice for the rest of the life. We will now return to the story.
Michelangelo's progress amazed Domenico when he saw him doing things beyond a boy, for he seemed likely not only to surpass the other pupils, of whom there were a great number, but would also frequently equal the master's own works. One of the youths happened one day to have made a pen sketch of draped women by his master, Michelangelo took the sheet, and with a thicker pen made a new outline for one of the women, representing her as she should be and making her perfect. The difference between the two styles is as marvellous as the audacity of the youth whose good judgment led him to correct his master. The sheet is now in my possession, treasured as a relic. I had it from Granaccio with others of Michelangelo, to place in the Book of Designs. In 1550, when Giorgio showed it to Michelangelo at Rome, he recognised it with pleasure, and modestly said that he knew more of that art when a child than later on in life.
One day, while Domenico was engaged upon the large chapel of S. Maria Novella, Michelangelo drew the scaffolding and all the materials with some of the apprentices at work. When Bomenico returned and saw it, he said, "He knows more than I do," and remained amazed at the new style produced by the judgment of so young a boy, which was equal to that of an artist of many years' experience. To this Michelangelo added study and diligence so that he made progress daily, as we see by a copy of a print engraved by Martin the German, 2 which brought him great renown. When a copper engraving by Martin of St. Anthony beaten by the devils reached Florence, Michelangelo made a pen drawing and then painted it. To counterfeit some strange forms of devils he bought fish with curiously coloured scales, and showed such ability that he won much credit and reputation. He also made perfect copies of various old masts, making them look old with smoke and other things so that they could not be distinguished from the originals. He did this to obtain the originals in exchange for the copies, as he wanted the former and sought to surpass them, thereby acquiring a great name.
At this time Lorenzo de' Medici the Magnificent kept Bertoldo the sculptor in his garden on the piazza of S. Marco, not so much the custodian of the numerous collections of beautiful antiquities there, as because he wished to create a school of great painters and sculptors with Bertoldo as the head, who had been pupil of Donato. Although old and unable to work, he was a master of skill and repute, having diligently finished Donatos pulpits and cast many bronze reliefs of battles and other small things, so that no one then in Florence could surpass him in such things. Lorenzo, who loved painting and sculpture, was grieved that no famous sculptors lived in his day to equal the great painters who then flourished, and so he resolved to found a school. Accordingly he asked Domenico Ghirlandajo that if he had any youths in his shop inclined to this he should send them to the garden, where he would have them instructed so as to do honour to him and to the city. Domenico elected among others Michelangelo and Francesco Granaccio as being the best. At the garden they found that Torrigiano was modelling clay figures given to him by Bertoldo. Michelangelo immediately did some in competition, and Lorenzo, seeing his genius, always expected great things of him. Thus encouraged, the boy began in a few days to copy in marble an antique faun's head, smiling, with a broken nose. 3 Although he had never previously touched marble or the chisel, he imitated it so well that Lorenzo was amazed. Seeing that in addition the boy had opened its mouth and made the tongue and all the teeth, Lorenzo jestingly said, for he was a pleasant man, "You ought to know that the old never have all their teeth, and always lack some." Michelangelo, who loved and respected his patron, took him seriously in his simplicity, and so soon as he was gone he broke out a tooth and made the gum look as if it had fallen out. He anxiously awaited the return of Lorenzo, who, when he saw Michelangelo's simplicity and excellence, laughed more than once, and related the matter to his friends as a marvel. He returned to help and favour the youth, and sending for his father, Ludovico, asked him to allow him to treat the boy as his own son, a request that was readily granted. Accordingly Lorenzo gave Michelangelo. a room in the palace, and he ate regularly at table with the family and other nobles staying there. This was the year after he had gone to Domenico, when he was fifteen or sixteen, and he remained in the house for four years until after the death of Lorenzo in `92. I hear that he received a provision at this time from Lorenzo and five ducats a month to help his father. The Magnificent also gave him a violet mantle, and conferred an office in the customs upon his father. Indeed all the youths in the garden received a greater or less salary from that noble citizen, as well as rewards.
By the advice of Poliziano, the famous man of letters, Michelangelo did a fight between Hercules and the Centaurs 4 on a piece of marble given him by that signor, of such beauty that it seems the work of a consummate master and not of a youth. It is now preserved in his house by his nephew Lionardo as a precious treasure, in memory of him. Not many years since this Lionardo had a Madonna in bas-relief 5 by his uncle, more than a braccia high, in imitation of Donatello's style, so fine that it seems the world of that master, except that it possesses more grace and design. Lionardo gave it to Duke Cosimo, who values it highly, as he possesses no other bas-relief of the master.
To return to Lorenzo's garden. It was full of antiquities and excellent paintings, collected there for beauty, study and pleasure. Michelangelo had the keys, and was much more studious than the others in every direction, and always showed his proud spirit. For many months he drew Masaccio's paintings in the Carmine, showing such judgment that he amazed artists and others, and also roused envy. It is said that Torrigiano made friends with him, but moved by envy at seeing him more honoured and skilful than himself, struck him so hard on the nose that he broke it and disfigured him for life. For this Torrigiano was banished from Florence, as is related elsewhere.
On the death of Lorenzo Michelangelo returned home, much grieved at the loss of that great man and true friend of genius. Buying a large block of marble, he made a Hercules 6 of four braccia, which stood for many years in the Strozzi palace, and was considered remarkable. In the year of the siege it was sent to King Francis of France by Giovambattista della Palla. It is said that Piero de' Medici, who had long associated with Michelangelo, often sent for him, wishing to buy antique cameos and other intaglios, and one snowy winter he got him to make a beautiful snow statue in the court of his palace. He so honoured Michelangelo for his ability that his father, seeing him in such favour with the great, clothed him much more sumptuously than before. For S. Spirito in Florence Michelangelo made a wooden crucifix, 7 put over the lunette above the high altar to please the prior, who gave him suitable rooms, where he was able, by frequently dissecting dead bodies, to study anatomy, and thereby he began to perfect his great design. At the time of the expulsion of the Medici from Florence, Michelangelo had gone to Bologna a few weeks before the event, and had then proceeded to Venice, fearing evil consequences from piero's arrogance and bad government, for he was a member of the household. Finding no means of existence at Venice, he returned to Bologna, where he had the misfortune not to take the countersign on entering the gate to permit him to go out again, for M. Giovanni Bentivogli had ordained that those who had not the countersign should be condemned to pay fifty lire. Michelangelo was in great distress, being unable to pay, but M. Giovanfrancesco Aldovrandi, one of the sixteen governors, took compassion on him, made him relate the circumstances, released him, and entertained him in his house for more than a year. One day Aldovrandi took him to see the ark of St. Dominic, made by Giovan Pisano and Maestro Niccolo dal l'Arca, the old sculptors. He asked him if he had the courage to do an angel holding a candle stick,and a St. Petronius, figures of about a braccia, that were wanting. Michelangelo replied in the affirmative, and on receiving the marble made them, and they are the best figures there. He received thirty ducats for both from M. Francesco Aldovrandi. He remained rather more than a year at Bologna, and would have stayed longer to please Aldovrandi, who loved him for his design and liked to hear him read Dante, Petrarch, Boccaccio and other Tuscan poets with his Tuscan accent. But perceiving that he was wasting time, Michelangelo gladly returned to Florence. There he did a marble St. John for Lorenzo di Pierfrancesco de' Medici, and then began a life-size sleeping Cupid also in marble. When it was done Baldassare del Milanese caused it to be shown to Pierfrancesco, who said, "If you buried it, I feel sure that it would pass for an antique at Rome if made to appear old, and you would get much more than by selling it here." It is said that Michelangelo made it appear antique, and indeed it was an easy matter as he had wit enough for this and more. Others state that Milanese took it to Rome, buried it at his villa, and then sold it as an antique for two hundred ducats to the Cardinal S. Giorgio. It is also said that Milanese wrote to Pierfrancesco telling him to give thirty crowns to Michelangelo, as he had not obtained more for the Cupid, thus deceiving the cardinal, Pierfrancesco and Michelangelo. But it afterwards became known that the Cupid had been made in Florence, and Milanese's agent was forced to restore the money and take back the figure. It came subsequently into the hands of Duke Valentino, who gave it to the Marchioness of Mantua, and she took it home to that city where it now is The Cardinal S. Giorgio did not escape blame for not recognising the merit of the work, for when the moderns equal the ancients in perfection it is a mere empty preference of a name to the reality when men prefer the works of the latter to those of the former, though such men are found in every age. The noise of this matter. so increased Michelangelo's reputation that he was immediately invited to Rome 8 and engaged by the cardinal S. Giorgio. He stayed nearly a year, but the cardinal, knowing little of art, gave him nothing to do.
At that time the cardinal's barber, who coloured in tempera very diligently but could not design, made friends with Michelangelo, who made him a cartoon of St. Francis receiving the stigmata which the barber executed in colours on a small panel with great diligence. It is now in the first chapel on the left on entering S. Piero a Montorio. 9 M. Jacopo Galli, an intelligent Roman noble, recognized Michelangelo's ability, and employed him to make a marble Cupid of life-size, 10 and then to do a Bacchus of ten palms holding a cup in the right hand, and in the left a tiger's skin and a bunch of grapes with a satyr trying to eat them. This figure shows that he intended a marvellous blending of limbs, uniting the slenderness of a youth with the fleshy roundness of the female, proving Michelangelo's superiority to all the moderns in statuary. During his stay in Rome he made such progress in art that his conceptions were marvellous, and he executed difficulties with the utmost ease, frightening those who were not accustomed to see such things, for when they were done the works of others appeared as nothing beside them. Thus the cardinal of St. Denis, called Cardinal Rohan, a Frenchman, desired to leave a memorial of himself in the famous city by such a rare artist, and got him to do a marble Pieth, which was placed in the chapel of S. Maria della Febbre in the temple of Mars, in S. Pietro 11 The rarest artist could add nothing to its design and grace, or finish the marble with such polish and art, for it displays the utmost limits of sculpture. Among its beauties are the divine draperies, the foreshortening of the dead Christy and the beauty of the limbs with the muscles, veins, sinews, while no better presentation of a corpse was ever made. The sweet air of the head and the harmonious joining of the arms and legs to the torso, with the pulses and veins, are marvellous, and it is a miracle that a once shapeless stone should assume a form that Nature with difficulty produces in flesh. Michelangelo devoted so much love and pains on this work that he put his name on the girdle crossing the Virgin's breast, a thing he never did again. One morning he had gone to the place to where it stands and observed a number of Lombards who were praising it loudly. One of them asked another the name of the sculptor, and he replied, "Our Gobbo of Milan." 12 Michelangelo said nothing, but he resented the injustice of having his work attributed to another, and that night he shut himself in the chapel with a light and his chisels and carved his name on it. It has been thus aptly described:
Bellezza ed onestateE doglia e pieta on vivo marmo morte,Deh, come voi pur fateNort piangete si forteChe anzi tempo risveglisi da morteE pur, mai grado suoNostro Signore e tuoSposo, figliuolo e padreUnica sposa sua figliuola e madre.
It brought him great renown, and though some fools say that he has made the Virgin too young, they ought to know that spotless virgins keep their youth for a long time, while people afflicted like Christ do the reverse, so that should contribute more to increase the fame of his genius than all the things done before.
Some of Michelangelo's friends wrote from Florence urging him to return, as they did not want that block of marble on the opera to be spoiled which Piero Soderini, then gonfaloniere for life in the city, had frequently proposed to give to Lionardo da Vinci, and then to Andrea Contucci, an excellent sculptor, who wanted it. Michelangelo on returning tried to obtain it, although it was difficult to get an entire figure without pieces, and no other man except himself would have had the courage to make the attempt, but he had wanted it for many years, and on reaching Florence he made efforts to get it. 13 It was nine braecia high, and unluckily one Simone da Fiesole had begun a giant, cutting between the legs and mauling it so badly that the wardens of S. Maria del Fiore had abandoned it without wishing to have it finished, and it had rested so for many years. Michelangelo examined it afresh, and decided that it could be hewn into something new while following the attitude sketched by Simone, and he decided to ask the wardens and Soderini for it. They gave it to him as worthless, thinking that anything he might do would be better than its present useless condition. Accordingly Michelangelo made a wax model of a youthful David holding the sling to show that the city should be boldly defended and righteously governed, following David's example. He began it in the opera, making a screen between the wall and the tables, and finished it without anyone having seen him at work. 14 The marble had been hacked and spoiled by Simone so that be could not do all that he wished with it, though he left some of Simone's work at the end of the marble, which may still be seen. This revival of a dead thing was a veritable miracle. When it was finished various disputes arose as to who should take it to the piazza of the Signori, so Giuliano da Sangallo and his brother Antonio made a strong wooden frame and hoisted the figure on to it with ropes; they then moved it forward by beams and windlasses and placed it in position. The knot of the rope which held the statue was made to slip so that it tightened as the weight increased, an ingenious device, the design for which is in our book, showing a very strong and safe method of suspending heavy weights. Piero Soderini came to see it, and expressed great pleasure to Michelangelo who was retouching it, though he said he thought the nose large. Michelangelo seeing the gonfaloniere below and knowing that he could not see properly, mounted the scaffolding and taking his chisel dexterously let a little marble dust fall on to the gonfaloniere, without, however, actually altering his work. Looking down he said, "Look now." "I like itbetter," said the gonfaloniere," you have given it life." Michelangelo therefore came down with feelings of pity for those who wish to seem to understand matters of which they know nothing. When the statue was finished and set up Michelangelo uncovered it. It certainly bears the palm among all modern and ancient works, whether Greek or Roman, and the Marforio of Rome, the Tiber and Nile of Belvedere, and the colossal statues of Montecavallo do not compare with it in proportion and beauty. 15 The legs are finely turned, the slender flanks divine, and the graceful pose unequalled, while such feet, hands and head have never been excelled. Alter seeing this no one need wish to look at any other sculpture or the work of any other artist. Michelangelo received four hundred crowns from Piero Soderini, and it was set up in 1504.Owing to his reputation thus acquired, Michelangelo did a beautiful bronze David 16 for the gonfaloniere, which he sent to France, and he‚sketched out two marble medallions, 17 one for Taddeo Taddei, and now in his house, the other for Bartolommeo Pitti, which was given by Fra Miniato Pitti of Monte Oliveto, a master of cosmography and many sciences, especially painting, to his intimate friend Luigi Guicciardini. These works were considered admirable. At the same time he sketched a marble statue of St. Matthew in the opera of S. Mariadel Fiore, 18 which showed his perfection and taught sculptors the way to make statues without spoiling them, by removing the marble so as to enable them to make such alterations as may be necessary. He also did a bronze Madonna in a circle, 19 carved at the request of some Flemish merchants of the Moscheroni, noblemen in their country, who paid him one hundred crowns and sent it to Flanders. His friend, Agnolo Doni, citizen of Florence, and the lover of all beautiful works whether ancient or modern, desired to have something of his. Michelangelo therefore began a round painting of the Virgin kneeling and offering the Child to Joseph, 8 where he shows his marvellous power in the head of the Mother fixedly regarding the beauty of the Child, and the emotion of Joseph in reverently and tenderly taking it, which is obvious without examining it closely. As this did not suffice to display his powers, he made seated, standing and reclining nude figures in the background, completing the work with such finish and polish that it is considered the finest of his few panel paintings. When finished he sent it wrapped up to Agnolo's house, by a messenger, with a note and a request for seventy ducats as payment. Agnolo being a careful man, thought this a large sum for one picture, though he knew it was worth more. So he gave the bearer forty ducats, saying that was enough. Michelangelo at once sent demanding one hundred ducats or the return of the picture. Andrea being delighted with the picture, then agreed to give seventy ducats, but Michelangelo being incensed by Agnolo's mistrust, demanded double what he had asked the first time, and Agnolo, who wanted the picture, was forced to send him one hundred and forty crowns.
When Lionardo da Vinci was painting in the Great Hall of the Council, 20 as related in his Life, Piero Soderini, the gonfaloniere, his great genius, and the artist chose the war of Pisa as his subject. 21 He was given a room in the dyers' hospital at S. Onofrio, and there began a large cartoon which he allowed no one to see. He filled it with nude figures bathing in the Arno owing to the heat, and running in this condition to their arms on being attacked by the enemy. He represented them hurrying out of the water to dress, and seizing their arms to go to assist their comrades, some buckling their cuirasses and many putting on other armour, while others on horseback are beginning the fight. Among other figures is an old man wearing a crown of ivy to shade his head trying to pull his stockings on to his wet feet, and hearing the cries of the soldiers and the beating of the drums he is struggling violently, all his muscles to the tips of his toes and his contorted mouth showing the effects of the exertion. It also contained drums and nude figures with twisted draperies running to the fray, foreshortened in extraordinary attitudes, some upright, some kneeling, some bent, and some lying. There were also many groups sketched in various ways, some merely outlined in carbon, some with features filled in, some hazy or with white lights, to show his knowledge of art. And indeed artists were amazed when they saw the lengths he had reached in this cartoon. Some in seeing his divine figures declared that it was impossible for any other spirit to attain to its divinity. When finished 22 it was carried to the Pope's hall amid the excitement of artists and to the glory of Michelangelo, and all those who studied and drew from it, as foreigners and natives did for many years afterwards, became excellent artists, as we see by Aristotile da Sangallo, his friend, Ridolfo Ghirlandaio, Raphael Sanzio, FrancescoGranaccio, Baccio Bandinelli, AIonso Berugetta a Spaniard, with Andrea del Sarto, Franciabigio, Jacopo Sansovino, Rosso, Maturino, Lorenzetto, Tribolo, then a child, Jacopo da Pontormo, and Perino del Vaga, all great Florentine masters. Having become a school for artists, this cartoon was taken to the great hall of the Medici palace, where it was entrusted too freely to artists, for during the illness of Duke Giuliano it was unexpectedly torn to pieces and scattered in many places, 23 some fragments still being in the house of M. Uberto Strozzi, a Mantuan noble, where they are regarded with great reverence, indeed they are more divine than human.
The Pieta, the colossal statue and the cartoon gave Michelagnolo such a name that when, in 1503, 24 Julius II. succeeded Alexander VI., he sent for the artist, who was then about twenty nine, to make his tomb, paying him one hundred crowns for the journey. After reaching Rome, it was many months before he did anything. At last he settled on a design for the tomb, surpassing in beauty and richness of ornamental ancient and imperial tombs, affording the best evidence of his genius. Stimulated by this, Julius decided to rebuild S. Pietro in order to hold the tomb, as related elsewhere. Michelangelo set to work with spirit, and first went to Cartara to obtain all the marble, accompanied by two apprentices, receiving 1000 crowns for this from Alamanno Salviati at Florence. He spent eight months there without receiving any further provision, his mind being full of projects for making great statues there as a memorial to himself, as the ancients had done, for he felt the fascination of the blocks. Having chosen his marble, he sent it by sea to Rome, where it filled half the piazza of S. Pietro towards S. Caterina, and the space between the church and the corridor leading to Castello. Here Michelangelo made his studio for producing his figures and the rest of the tomb. In order that the Pope might readily come to see him work, he made a drawbridge from the cortidor to the studio. His intimacy with the Pope grew out of this, but it afterwards brought him great annoyance and persecution, giving rise to much envy among artists. Of this work, during Julius's life and after his death, Michelangelo did four complete statues and sketched eight, as I shall relate.
The work being devised with great invention, I will describe the ordering of it. Michelangelo wished it to stand isolated, in arranged a series of niches separated by terminal figures clothed order to make it appear larger, showing all four sides, from the middle upwards and bearing the first cornice on their heads, each one in a curious attitude and having a nude prisoner bound, standing on a projection from the basement. These prisoners were to represent the provinces subdued by the Pope and rendered obedient to the Church. Other statues, also bound, represented the sciences and fine arts doomed to death like the Pope who had protected them. At the corners of the first cornice were four large figures, Active and Contemplative Life, St. Paul and Moses. Above the cornice the work was on a smaller scale with a frieze of bronze bas-reliefs and other figures, infants and ornaments. As a completion there were two figures above, one a smiling Heaven, supporting the bier on her shoulders, with Cybele, goddess of the earth, who seems to grieve that the world has lost such a man, while the other rejoices that his soul has passed to celestial glory. There was an arrangement to enter at the top of the work between the niches, and an oval place to move about in the middle, like a church, in the midst of which the sarcophagus to contain the Pope's body was to be placed. In all it was to have forty marble statues without counting the reliefs, infants and ornaments, the carved cornices and other architectural parts. For greater convenience Michelangelo ordered that a part of the marble should be taken to Florence, where he proposed to spend the summer to escape from the malaria of Rome. There he completed one face of the work in several pieces, and at Rome divinely finished two prisoners 25 and other statues which are unsurpassed. That they might not be otherwise employed, he gave the prisoners to Signor Ruberto Strozzi, in whose house Michelangelo had fallen sick. They were afterwards sent to King Francis as a gift, and are now at Ecouen inFrance. He sketched eight statues at Rome and five at Florence, and finished a Victory 26 above a prisoner, now owned by Duke Cosimo, who had it from the artist's nephew Lionardo. The duke has placed it in the great hall of the palace painted by Vasari. Michelangelo finished the Moses in marble, a statue of five braccia, unequalled by any modern or ancient work. Seated in a serious attitude, he rests with one arm on the tables, and with the other holds his long glossy beard, the hairs, so difficult to render in sculpture, being so soft and downy that it seems as if the iron chisel must have become a brush. The beautiful face, like that of a saint and mighty prince, seems as one regards it to need the veil to cover it, so splendid and shining does it appear, and so well has the artist presented in the marble the divinity with which God had endowed that holy countenance. The draperies fall in graceful folds, the muscles of the arms and bones of the hands are of such beauty and perfection, as are the legs and knees, the feet being adorned with excellent shoes, that Moses may now be called the friend of God more than ever, since God has permitted his body to be prepared for the resurrection before the others by the hand of Michelangelo. The Jews still go every Saturday in troops to visit' and adore it as a divine, not a human thing. At length he finished this part, which was afterwards set up in S. Pietro ad Vincola.
It is said that while Michelangelo was engaged upon it, the remainder of the marble from Carrara arrived at Ripa, and was taken with the rest to the piazza of S. Pietro. As it was necessary to pay those who brought it, Michelangelo went as usual to the Pope. But the Pope had that day received important news concerning Bologna, so Michelangelo returned home and paid for the marble himself, expecting to be soon repaid. He returned another day to speak to the Pope, and found difficulty in entering, as a porter told him to wait, saying he had orders to admit no one. A bishop said to the porter, "Perhaps you do not know this man." "I know him very well," said the porter," but I am here to execute my orders." Unaccustomed to this treatment, Michelangelo told the man to inform the Pope he was away when next His Holiness inquired for him. Returning home, he set out post at two in the morning, leaving two servants with instructions to sell his things to the Jews, and to follow him to Florence. Reaching Poggibonsi, in Florentine territory, he felt safe, not being aware that five couriers had arrived with letters from the Pope with orders to bring him back. But neither prayers nor letters which demanded his return upon pain of disgrace moved him in the least. However, at the instance of the couriers, he at length wrote a few lines asking the Pope to excuse him, saying he would never return as he had been driven away like a rogue, that his faithful service merited better treatment, and that he should find someone else to serve him.
On reaching Florence, Michelangelo finished in three months the cartoon of the great hall which Piero Soderini the gonfaloniere desired him to finish. The Signoria received at that time three letters from the Pope demanding that Michelangelo should be sent back to Rome. On this account it is said that, fearing the Pope's wrath, he thought of going to Constantinople to serve the Turk by means of some Franciscan friars, from between Constantinople and Pera. However, Piero Soderini persuaded him, against his will, to go to the Pope, and sent him as ambassador of Florence, to secure his person, to Bologna whither the Pope had gone from Rome 27, with letters of recommendation to Cardinal Soderini, the gonfaloniere's brother, who was charged to introduce the Pope. There is another account of this departure from Rome: that the Pope was angry with Michelangelo, who would not allow him to see any of his things. The artist suspected his assistants of having received bribes from the Pope more than once to admit him to look at the chapel of his uncle Sixtus, which he was having painted, on certain occasions when Michelangelo was not at home, or at work. It happened once that Michelangelo hid himself, for he suspected the betrayal by his apprentices, and threw down some planks as the Pope entered the chapel, and not thinking who it was, caused him to be summarily ejected. At all events, whatever the cause, he was angry with the Pope and also afraid of him, and so he ran away.
Arrived at Bologna, he first approached the footmen and was taken to the palace of the Sixteen by a bishop sent by Cardinal Soderini, who was sick. He knelt before the Pope, who looked wrathfully at him, and said as if in anger:' "Instead of coming to us, you have waited for us to come and find you," inferring that Bologna is nearer Florence than Rome. Michelangelo spread his hands and humbly asked for pardon in aloud voice, saying he had acted in anger through being driven away, and that he hoped for forgiveness for his error. The bishop who presented him made excuses, saying that such men are ignorant of everything except their art. At this the Pope waxed wroth, and striking the bishop with a mace he was holding, said: "It is you who are ignorant, to reproach him when we say nothing." The bishop therefore was hustled out by the attendants, and the Pope's anger being appeased, he blessed Michelangelo, who was loaded with gifts and promises, and ordered to prepare a bronze statue of the Pope, five braccia high, in a striking attitude of majesty, habited in rich vestments, and with determination and courage displayed in his countenance. This was placed in a niche above the S. Petronio gate.
It is said that while Michelangelo was engaged upon it Francia the painter came to see it, having heard much of him and his works, but seen none. He obtained the permission, and was amazed at Michelangelo's art. When asked what he thought of the figure, he replied that it was a fine cast and good material. Michelangelo, thinking that he had praised the bronze rather than the art; said: "I am under the same obligation to Pope Julius, who gave it to me, as you are to those who provide your paints,'' and in the presence of the nobles he angrily called him a blockhead. Meeting one day a son of Francia, who was said to be a very handsome youth, he said: "Your father knows how to make living figures better than to paint them. ''One of the nobles asked him which was the larger, the Pope's statue of a pair of oxen, and he replied, "It depends upon the oxen, those of Bologna are certainly larger than our Florentine ones. ''Michelangelo finished the statue in clay before the Pope left for Rome; His Holiness went to see it, and the question was raised of what to put in the left hand, the right being held up with such a proud gesture that the Pope asked if it was giving a blessing or a curse. Michelangelo answered that he was admonishing the people of Bologna to be prudent. When he asked the Pope whether he should put a book in his left hand, the pontiff replied, "Give me a sword; I am not a man of letters." The Pope left 1000 crowns wherewith to finish it in the bank of M. Antonmaria da Lignano. Alter sixteen months of hard work it was placed in front of the church of S. Petronio, as already related it was destroyed by the Bentivogli, and the bronze sold to Duke Alfonso of Ferrara, who made a cannon of it, called the Julius, the head only being preserved, which is now in his wardrobe.
After the Pope had returned to Rome, and when Michelangelo had finished the statue, Bramante, the friend and relation of Raphael and therefore ill-disposed to Michelangelo, seeing the Pope's preference for sculpture, schemed to divert his attention, and told the Pope that it would be a bad omen to get Michelagnolo to go on with his tomb, as it would seem to be an invitation to death. He persuaded the Pope to get Michelangelo, on his return, to paint the vaulting of the Sixtine Chapel. In this way Bramante and his other rivals hoped to confound him, for by taking him from sculpture, in which he was perfect, and putting him to colouring in fresco, in which he had had no experience, they thought he would produce less admirable work than Raphael, and even if he succeeded he would become embroiled with the Pope, from whom they wished to separate him. Thus, when Michelangelo returned to Rome, the Pope was disposed not to have the tomb finished for the time being, and asked him to paint the vaulting of the chapel. Michelangelo tried every means to avoid it, and recommended Raphael, for he saw the difficulty of the work, knew his lack of skill in colouring, and wanted to finish the tomb. But the more he excused himself, the more the impetuous Pope was determined he should do it, being stimulated by the artist's rivals, especially Bramante, and ready to become incensed against Michelangelo. At length, seeing that the Pope was resolute, Michelangelo decided to do it. 28 The Pope commanded Bramante to make preparations for the painting, and he hung a scaffold on ropes, making holes in the vaulting. When Michelangelo asked why he had done this, as on the completion of the painting it would be necessary to fill up the holes again, Bramante declared there was no other way. Michelagnolo thus recognised either that Bramante was incapable or else hostile, and he went to complain to the Pope that the scaffolding would not do, and that Bramante did not know how it should be constructed. The Pope answered, in Bramante's presence, that Michelangelo should design one for himself. Accordingly he erected one on poles not touching the wall, a method which guided Bramante and others in similar work. He gave so much rope to the poor carpenter who made it, that it sufficed, when sold, for the dower of the man's daughter, to whom Michelangelo presented it. He then Get to work on the cartoons. The Pope wanted to destroy the work on the walls done by masters in the time of Sixtus, and he set aside 15,000 ducats as the cost, as valued by Giuliano da San Gallo. Impressed by the greatness of the work, Michelangelo sent to Florence for help, resolving to prove himself superior to those who had worked there before, and to show modern artists the true way to design and paint. The circumstances spurred him on in his quest of fame and his desire for the good of art. When he had completed the cartoons, he waited before beginning to colour them in fresco until some friends of his, who were painters, should arrive from Florence, as he hoped to obtain help from them, and learn their methods of fresco-painting, in which some of them were experienced, namely Granaccio, Giulian Dugiardini, Jacopo di Sandro, Indaco the elder, Agnolo di Donnino and Aristotile. He made them begin some things as a specimen, but perceiving their work to be very far from his expectations, he decided one morning to destroy everything which they had done, and shut- ting himself up in the chapel he refused to admit them, and would not let them see him in his house. This jest seemed to them to be carried too far, and so they took their departure, returning with shame and mortification to Florence. Michelangelo then made arrangements to do the whole work single handed. His care and labour brought everything into excellent train, and he would see no one in order to avoid occasions for showing any- thing, so that the most lively curiosity was excited. Pope Julius was very anxious to see his plans, and the fact of their being hidden greatly excited his desire. But when he went one day he was not admitted. This led to the disturbance already referred to, when Michelangelo had to leave Rome. Michelangelo has himself told me that, when he had painted a third of the vault, a certain mouldiness began to appear one winter when the north wind was blowing; This was because the Roman lime, being white and made of travertine, does not dry quickly enough, and when mixed with pozzolana, which is of a tawny colour, it makes a dark mixture. If this mixture is liquid and watery, and the wall thoroughly wetted, it often effloresces in drying. This happened here, where the salt effloresced in many places, although in time the air consumed it. In despair at this, Michelangelo wished to abandon the work, and when he excused himself, telling the Pope that he was not succeeding, Julius sent Giuliano da San Gallo, who explained the difficulty and taught him how to obviate it. When he had finished half, the Pope, who sometimes went to see it by means of steps and scaffolds, wanted it to be thrown open, being an impatient man; unable to wait until it had received the finishing-touches. Immediately all Rome flocked to see it, the Pope being the first, arriving before the dust of the scaffolding had been removed. Raphael, who was excellent in imitating, at once changed his style after seeing it, and to show his skill did the prophets and sybils in 29 a Pace, while Bramante tried to have the other half of the chapel given to Raphael. On hearing this Michelangelo became incensed against Bramante, and pointed out to the Pope without mincing matters many faults in his life and works, the latter of which he afterwards corrected in the building of S. Pietro. But the Pope daily became more convinced of Michelangelo's genius, and wished him to complete the work, judging that he would do the other half even better. Thus, single handed, he completed the work in twenty months, aided of fly by his mixer of colours. He sometimes complained that owing to the impatience of the Pope he had not been able to finish it as be would have desired, as the Pope was always asking him when he would be done. On one occasion Michelangelo replied that he would be finished when he had satisfied his own artistic sense. "And we require you to satisfy us in getting it done quickly," replied the Pope, adding that if it was not done soon he would have the scaffolding down. Fearing the Pope's impetuosity. Michelangelo finished what he had to do without devoting enough time to it, and the scaffold being removed it was opened on All Saints day, when the Pope went there to sing Mass amid the enthusiasm of the whole city. Like the old masters who had worked below, Michelangelo wanted to retouch some things a secco, such as the backgrounds, draperies, the gold ornaments and things, to impart greater richness and a better appearance. When the Pope learned this he wished it to be done, for he heard what he had seen so highly praised, but as it would have taken too long to reconstruct the scaffold it remained as it was. The Pope often saw Michelagnolo, and said, "Have the chapel enriched with colours and gold, in which it is poor." He would answer familiarly, "Holy Father, in those days they did not wear gold; they never became very rich, but were holy men who despised wealth." Altogether Michelangelo received 3000 crowns from the Pope for this work, and he must have spent twenty-five on the colours. The work was executed in great discomfort, as Michelangelo had to stand with his head thrown back, and he so injured his eyesight that for several months he could only read and look at designs in that posture. I suffered similarly when doing the vaulting of four large rooms in the palace of Duke Cosimo, and I should never have finished them had I not made a seat supporting the head, which enabled me to work lying down, but it so enfeebled my head and injured my sight that I feel the effects still, and I marvel that Michelangelo supported the discomfort. However, he became more eager every day to be doing and making progress, and so he felt no fatigue, and despised the discomfort.
The work had six corbels on each side and one at each end, containing sibyls and prophets, six braccia high, with the Creation of the World in the middle, down to the Flood and Noah's drunkenness, and the generations of Jesus Christ in the lunettes. He used no perspective or foreshortening, or any fixed point of view, devoting his energies rather to adapting the figures to the disposition than the disposition to the figures, contenting himself with the perfection of his nude and draped figures, which are of unsurpassed design and excellence. This work has been a veritable beacon to our art, illuminating all painting and the world which had remained in darkness for so any centuries. Indeed, painters no longer care about novelties, inventions, attitudes and draperies, methods of new expression or striking subjects painted in different ways, because this work contains every perfection that can be given. Men are stupefied by the excellence of the figures, the perfection of the foreshortening, the stupendous rotundity of the contours, the grace and slenderness and the charming proportions of the fine nudes showing every perfection; every age, expression and form being represented in varied attitudes, such as sitting, turning, holding festoons of oak-leaves and laurel, the device of Pope Julius, showing that his was a golden age, for Italy had yet to experience her miseries. Some in the middle hold medals with, scenes, painted like bronze or gold, the subject being taken from the Book of Kings. To show the greatness of God and the perfection of art he represents the Dividing of Light from Darkness, showing with love and art the Almighty, self-supported, with extended arms. With fine discretion and ingenuity he then did God making the sun and moon, supported by numerous cherubs, with marvellous foreshortening of the arms and legs. The same scene contains the blessing of the earth and the Creation, God being foreshortened in the act of flying, the figure following you to whatever part of the chapel you turn. In another part he did God dividing the waters from the land, marvellous figures showing the highest intellect and worthy of being made by the divine hand of Michelangelo. He continued with the creation of Adam, God being borne by a group of little angels, who seem also to be supporting the whole weight of the world. ‚The venerable majesty of God with the motion as He surrounds some of cherubs with one arm and stretches the other to an Adam of marvellous beauty of attitude and outline, seem a new creation of the Maker rather than one of the brush and design of such a man. He next did the creation of our mother Eve, showing two nudes, one in a heavy sleep like death, the other quickened by the blessing of God. The brush of this great artist has clearly marked the difference between sleeping and waking, and the firmness presented by the Divine Majesty, to speak humanly.
He then did Adam eating the apple, persuaded by a figure half woman and half serpent, and he and Eve expelled from Paradise, the angel executing the order of the incensed Deity with grandeur and nobility, Adam showing at once grief for his sin and the fear of death, while the woman displays shame, timidity and a desire to obtain pardon as she clasps her arms and hands over her breast, showing, in turning her head towards the angel, that she has more fear of the justice than hope of the Divine mercy. No less beautiful is the sacrifice of Cain and Abel, one bringing wood, one bending over the fire, and some killing the victim, certainly not executed with less thought and care than the others. He employed a like art and judgment in the story of the Flood, containing various forms of death, the terrified men trying every possible means to save their lives. Their heads show that they recognise the danger with their terror and utter despair. Some are humanely assisting each other to climb to the top of a rock; one of them is trying to remove a half-dead man in a very natural manner. It is impossible to describe the excellent treatment of Noah's drunkenness, showing incomparable and unsurpassable art. Encouraged by these he attacked the five sibyls and seven prophets, showing himself even greater. They are of five braccia and more, in varied attitudes, beautiful draperies and displaying miraculous judgment and invention, their expressions seeming divine to a discerning eye. Jeremiah, with crossed legs, holds his beard with his elbow on his knee, the other hand resting in his lap, and his head being bent in a melancholy and thoughtful manner, expressive of his grief, regrets, reflection, and the bitterness he feels concerning his people. Two boys behind him show similar power; and in the first sibyl nearer the door, in representing old age, in addition to the involved folds of her draperies, he wishes to show that her blood is frozen by time, and in reading she holds the book close to her eyes, her sight having failed. Next comes Ezekiel, an old man with fine grace and movement, in copious draperies, one hand holding a scroll of his prophecies, the other raised and his head turned as if he wished to declare things high and great. Behind him are two boys holding his books. Next comes a sibyl, who, unlike the Erethrian sibyl just mentioned, holds her book at a distance, and is about to turn the page; her legs are crossed, and she is reflecting what she shall write, while a boy behind her is lighting her lamp. This figure has an expression of extraordinary beauty, the hair and draperies are equally fine, and her arms are bare, and as perfect as the other parts. He did next the Joel earnestly reading a scroll, with the most natural expression of satisfaction at what he finds written, exactly like one who has devoted close attention to some subject. Over the door of the chapel Michelangelo placed the aged Zachariah, who is searching for something n a book, with one leg raised and the other down, though in his eager search he does not feel the discomfort. He is a fine figure of old age somewhat stout in person, his fine drapery falling in few folds. There is another sibyl turned towards the altar showing writings, not less admirable with her I" boys than the others. But for Nature herself one must see the Isaiah, a figure wrapped in thought, with his legs crossed, one hand on his book to keep the place, and the elbow of the other arm also on the volume, and his chin in his hand. Being called by one of the boys behind, he rapidly turns his head without moving the rest of his body. This figure, when well studied, is a liberal education in all the principles of painting. Next to him is a beautiful aged sibyl who sits studying a book, with extraordinary grace, matched by the two boys beside her. It would not be possible to add to the excellence of the youthful Daniel, who is writing in a large book, copying with incredible eagerness from some writings, while a boy standing between his legs supports the weight as he writes. Equally beautiful is the Lybica, who, having written a large volume drawn from several books, remains in a feminine attitude ready to rise and shut the book, a difficult thing practically impossible for any other master. What can I say of the four scenes in the angles of the corbels of the vaulting? A David stands with his boyish strength triumphant over a giant, gripping him by the neck while soldiers about the camp marvel. Very wonderful are the attitudes in the story of Judith, in which we see the headless trunk of Holofernes, while Judith puts the head into a basket carried b her old attendant, who being tall bends down to permit Judith to do t, while she prepares to cover it, and turning towards the trunk shows her fear of the camp and of the body, a well-thought-out painting. Finer than this and than all the rest is the story of the Brazen Serpent, over the left corner of the altar, showing the death of many, the biting of the serpents, and Moses raising the brazen serpent on a staff, with a variety in the manner of death and in those who being bitten have lost all hope. The keen poison causes the agony and death of many, who lie still with twisted legs and arms, while many fine heads are crying out in despair. Not less beautiful are those regarding the serpent, who feels their pains diminishing with returning life. Among them is a woman, supported by one whose aid is as finely shown as her need in her fear and distress. The scene of Ahasuerus in bed having the annals read to him is very fine. There are three figures eating at a table, showing the council held to liberate the Hebrews and impale Haaman, a wonderfully foreshortened figure, the stake supporting him and an arm stretched out seerifing real, not painted, as do his projecting leg and the parts of the body turned inward. It would take too long to enumerate all the beauties and various circumstances in the genealogy of the patriarchs, beginning with the sons of Noah, forming the generation of Christ, containing a great variety of draperies, expressions, extraordinary and novel fancies; nothing in fact but displays genius, all the figures being finely foreshortened, and everything being admirable and divine. But who can see without wonder and amazement the tremendous Jonah, the last figure of the chapel, for the vaulting which curves forward from the wall is made by a triumph of art to appear straight, through the posture of the figure, which by the mastery of the drawing and the light and shade, appears really to be bending backwards. O, happy age O, blessed artists who have been able to refresh your darkened eyes at the fount of such clearness, and see difficulties made plain by this marvellous artist His labours have removed the bandage from your eyes, and he has separated the true from the false which clouded the mind. Thank Heaven, then, and try to imitate Michelangelo in all things.
When the work was uncovered everyone rushed to see it from every part and remained dumbfounded. The Pope, being thus encouraged to greater designs, richly rewarded Michelangelo, who sometimes said in speaking of the great favours showered upon him by the Pope that he fully recognised his powers, and if he sometimes used hard words, he healed them by signal gifts and favours. Thus, when Michelangelo once asked leave to go and spend the feast of St. John in Florence, and requested money for this, the Pope said, "When will this chapel be ready?" "When I can get it done, Holy Father." The Pope struck him with his mace, repeating, "When I can, when I can, I will make you finish it !"Michelangelo, however, returned to his house to prepare for his journey to Florence, when the Pope sent Cursio, his chamberlain, with five hundred crowns to appease him and excuse the Pope, who feared what Michelangelo might do. As Michelangelo knew the Pope, and was really devoted to him, he laughed, especially as such things always turned to this advantage, and the Pope did everything to retain his goodwill.
On the completion of the chapel the Pope directed Cardinal Santiquattro and the Cardinal of Agen, his nephew, to have his tomb finished on a smaller scale than at first proposed. Michelagnolo readily began it anew, hoping to complete it without the hindrance which afterwards caused him so much pain and trouble. It proved the bane of his life, and for some time made him appear ungrateful to the Pope who had so highly favoured him. On returning to the tomb he worked ceaselessly upon designs for the walls of the chapel; but envious Fortune would not allow him to complete the monument he had begun so superbly, for the death of Julius occurred then. 30 It was abandoned at the election of Leo X., a Pope of no less worth and splendour, who, being the first Florentine Pope, desired to adorn his native city with some marvel executed by a great artist and worthy of his position. Accordingly he directed Michelangelo to prepare designs for the facade of S. Lorenzo, the church of the Medici at Florence, as he was to direct the work, and so the tomb of Julius was abandoned. When Michelangelo made every possible objection, saying that he was under obligation to Santiquattro and Agen, Leo replied that he had thought of this, and had induced them to release him, promising that Michelangelo should do the figure for the tomb at Florence he had already begun to do. But this caused great dissatisfaction to the cardinals and Michelangelo, who departed weeping.
Endless disputes now arose, because the facade should have been divided among several persons. Moreover, many artists flocked to Rome, and designs were prepared by Baccio d'Agnolo, Antonio da San Gallo, Andrea and Jacopo Sansovino, and the gracious Raphael of Urbino, who afterwards went to Florence with the Pope for the purpose: Michelangelo therefore deter- mined to make a model, not acknowledging any superior or guide in architecture. But his resolve to do without help led to the inactivity of himself and the other masters, who in despair returned to their accustomed avocations. Michelangelo went to Carrara 31 with a commission to receive 1000 crowns from Jacopo Salviati. But Jacopo being closeted in a room with some citizens on certain affairs, Michelangelo would not wait, but left at once for Carrara without a word. On hearing of Michelangelo's arrival, Jacopo, who could not find him in Florence, sent the 2000 crowns to Carrara. The messenger desired him to give a receipt, but Michelangelo said that he was working for the Pope and not for himself, and it was not take it with you for your requirements." Cristofano replied, I do not want money, take it for yourself. I shall be content to remain near you, and to live and die with you." "I am not in the habit of profiting by the labours of others," replied Vasari if you do not want it I will send it to your father Guido. "Do not do that," said Cristofano, for he would be sure to put it to a bad use as he always does." At length he took it and went to Borgo, sick in body and troubled in mind. In a few days his grief at his brother's death, whom he had loved dearly, and a cruel disorder of the reins, caused his death. He received the sacraments, and distributed the money he had brought with him to the members of his house and the poor. It is said that his only cause of grief before his death was that he had left Vasari with too much on his hands in the duke's palace. Not long after the duke heard with sorrow of Cristofano's death, and ordered a marble bust, with the following epitaph, to be made and sent to the Borgo, where it as placed in S. Francesco:
D.O.M.CHRISTOPHORO GHERARDOBVRGENSIPINGENDI ARTE PRAESTANTISS.QUOD GE0RGIVS VASARIUS ARETINUSHUIUS ARTIS FACILE PRINcEPSIN EXORNANDOCOSMI FLORENTIN. DUCIS PALATIOILLIVS OPERAM QUAM MAXIMEPROBAVERITPICTORES HETRVCI POSVEREOBIIT. A.D. MDLVI.VIXIT ANN. LVI. M. III. D. VI. 1 Ascanio Condivi.2 Martin Sehos.3Now in the Bargello, Florence.4 Between Lapiths and Centanrs; now in the Casa Buonarotti, Florence.5 Also in the Casa Buonarotti.6 It went to Fontainebleau and remained in the garden of the Palace until 1713, since which time it has been lost.7 In 1494, now lost.8 It has since vanished. in 1496. a Now lost.9 Probably the one now in South Kensington Museum.10 Now in the Bargello, Florence.11 The contract was made in 1498. The patron was Jean de Groslaye deVilliers, abbot of St. Denis and cardinal of St. Sabina, not the Cardinal de Rohan.12 i.e. Cristoforo Solari of Milan.13In 1501. It had been given to Agostino di Duccio in 1463and taken from him three years later.14 In 1504.15 It was removed to the Accademia in 1873.16 In 1502, now lost.17 One in the Royal Academy, London, and the other in the Bargello.18 In 1503.19 Now in Notre Dame, Bruges, done for John and Alexander Mouscron in 1505.20 Painted in 1503; now in the Uffizi.21 In I504.22 The scene represented the battle of Cascina, which took place on 28 July, 1364, when Sir John Hawkwood surprised the Florentines.23 In 1506.24 See Vol III., p. 190. Mr. Symonds gives reasons for doubting this story, Life of Michelangelo, i. 164.25 It was in 1505.26 In 1513. They are now in the Louvre.27 Now in the Bargello.28 In 1506.29 He was engaged upon this work from 1508 to 1512.30 On 22 September, 1513.31 In 1517.