Part 12

The result of all this was as follows. Vasari was desirous of setting his hand to the Great Hall, and since, as has been said elsewhere, the ceiling was low, making it stunted and wanting in lights, he had a desire to raise that ceiling. Now the Duke would not make up his mind to give him leave that it should be raised; not that the Duke feared the cost, as was seen afterwards, but rather the danger of raising the beams of the roof thirteen braccia. However, like a man of judgment, his Excellency consented that the advice of Michelagnolo should be taken, and Michelagnolo, having seen in that model the Hall as it then was, and afterwards, all the beams having been removed and replaced by other beams with a new invention in the ceiling and walls, the same Hall as it has since been made, with the invention of the stories likewise designed therein, liked it and straightway became not a judge but a supporter, and the rather as he saw the facile method of raising the beams and the roof, and the plan for executing the whole work in a short time. Wherefore, on Vasari's return, he wrote to the Duke that he should carry out that undertaking, since it was worthy of his greatness.

[Illustration: PORTA PIA

(_After =Michelagnolo=. Rome_)

_Alinari_]

The same year Duke Cosimo went to Rome with the Lady Duchess Leonora, his consort, and Michelagnolo, after the Duke's arrival, went straightway to see him. The Duke, after receiving him with many endearments, caused him, out of respect for his great genius, to sit by his side, and with much familiarity talked to him of all that he had caused to be done in painting and sculpture at Florence, and also of all that he was minded to have done, and in particular of the Hall; and Michelagnolo again encouraged and reassured him in that matter, lamenting, since he loved that Lord, that he was not young enough to be able to serve him. His Excellency said that he had discovered the way to work porphyry, a thing which Michelagnolo could not believe, and the Duke therefore sent him, as has been related in the first chapter of the Treatise on Theory, the head of Christ wrought by the sculptor Francesco del Tadda, at which he was astonished; and he visited the Duke several times the while that he stayed in Rome, to his vast satisfaction. He did the same a short time afterwards when the most Illustrious Don Francesco de' Medici, the Duke's son, went there, in whom Michelagnolo took much delight from the marks of regard and affection shown to him by his most Illustrious Excellency, who spoke with him always cap in hand, having infinite reverence for so rare a man; and Michelagnolo wrote to Vasari that it vexed him to be old and infirm, for he would have liked to do something for that Lord, but he was going about trying to buy some beautiful antique to send to him in Florence.

Being requested at this time by the Pope for a design for the Porta Pia, Michelagnolo made three, all fantastic and most beautiful, of which the Pope chose the least costly for putting into execution; and it is now to be seen erected there, with much credit to him. Perceiving the inclination of the Pope, and hoping that he would restore the other gates of Rome, he made many other designs for him; and he did the like, at the request of the same Pontiff, in the matter of the new Church of S. Maria degli Angeli in the Baths of Diocletian, in order to convert them into a temple for the use of Christians. A design by his hand prevailed over many others made by excellent architects, being executed with such beautiful considerations for the convenience of the Carthusian Friars, who have now carried it almost to completion, that it caused his Holiness and all the prelates and lords of the Court to marvel at the judgment of the lovely conceptions that he had drawn, availing himself of all the skeleton of those baths, out of which was seen formed a most beautiful temple, with an entrance surpassing the expectations of all the architects; from which he acquired infinite praise and honour. For that place, also, he designed for his Holiness a Ciborium of the Sacrament in bronze, cast for the most part by Maestro Jacopo Ciciliano, an excellent bronze-caster, who makes his works come out very delicate and fine, without any roughness, so that they can be polished with little labour; in which field he is a rare master, and gave much satisfaction to Michelagnolo.

[Illustration: S. MARIA DEGLI ANGELI

(_After =Michelagnolo=. Rome_)

_Alinari_]

The Florentine colony had often talked among themselves of giving a good beginning to the Church of S. Giovanni in the Strada Giulia. Finally, all the heads of the richest houses having assembled together, they each promised to contribute in due proportion according to their means towards that fabric, insomuch that they contrived to collect a good sum of money; and then it was discussed among them whether it were better to follow the old lines or to have something new and finer. It was determined that something new should be erected upon the old foundations, and finally they elected three men to have the charge of the fabric, who were Francesco Bandini, Uberto Ubaldini, and Tommaso de' Bardi; and these requested Michelagnolo for a design, recommending themselves to him on the ground that it was a disgrace to their colony to have thrown away so much money without any kind of profit, and that, if his genius did not avail to finish the work, they had no other resource. He promised them to do it, with as much lovingness as he had ever shown in any work in the past, because in this his old age he readily gave his attention to sacred things, such as might redound to the honour of God, and also from affection for his fellow-Florentines, whom he loved always. Michelagnolo had with him at this conference the Florentine sculptor Tiberio Calcagni, a young man very ardent to learn art, who, after going to Rome, had turned his mind to the study of architecture. Loving him, Michelagnolo had given him to finish, as has been related, the Pietà in marble that he had broken, and, in addition, a head of Brutus in marble with the breast, considerably larger than life, to the end that he might finish it. Of this the head alone was carved, with certain most minute gradines, and he had taken it from a portrait of Brutus cut in a very ancient cornelian that was in the possession of Signor Giuliano Cesarino; which Michelagnolo was doing for Cardinal Ridolfi at the entreaty of Messer Donato Giannotti, his very dear friend, and it is a rare work. Michelagnolo, then, in matters of architecture, not being able by reason of old age to draw any more or to make accurate lines, was making use of Tiberio, because he was very gentle and discreet; and thus, desiring to avail himself of him in such an undertaking, he laid on him the charge of tracing the plan of the site of the above-named church. That plan having been traced and carried straightway to Michelagnolo, at a time when it was not thought that he was doing anything, he gave them to understand through Tiberio that he had carried out their wishes, and finally showed them five most beautiful ground-plans of temples; which having seen, they marvelled. He said to them that they should choose one that pleased them, and they, not wishing to do it, left the matter to his judgment, but he insisted that they should decide of their own free will; wherefore they all with one accord chose the richest. This having been adopted, Michelagnolo said to them that if they carried such a design to completion, neither the Greeks nor the Romans ever in their times executed such a work; words that neither before nor afterwards ever issued from the mouth of Michelagnolo, for he was very modest. Finally it was agreed that the direction should be left entirely to Michelagnolo, and that the labour of executing that work should fall to Tiberio; with all which they were content, Buonarroti promising them that Tiberio would serve them excellently well. And so, having given the ground-plan to Tiberio to be drawn accurately and with correct measurements, he drew for him the profiles both within and without, and bade him make a model of clay, teaching him the way to execute it so that it might stand firm. In ten days Tiberio executed a model of eight palms, which much pleased the whole Florentine colony, so that afterwards they caused to be made from it a model of wood, which is now in the residence of the Consuls of that colony; a thing as rare in its beauty, richness, and great variety, as any temple that has ever been seen. A beginning was made with the building, and five thousand crowns were spent; but the funds for the fabric failed, and so it was abandoned, at which Michelagnolo felt very great displeasure. He obtained for Tiberio the commission to finish under his direction, at S. Maria Maggiore, a chapel begun for Cardinal Santa Fiore; but it was left unfinished, on account of the death of the Cardinal, of Michelagnolo, and of Tiberio himself, the death of which young man was a very great loss.

[Illustration: BRUTUS

(_After =Michelagnolo=. Florence: Museo Nazionale_)

_Brogi_]

Michelagnolo had been seventeen years in the fabric of S. Pietro, and several times the deputies had tried to remove him from that position, but they had not succeeded, and they were seeking to oppose him in every matter now with one vexatious pretext and now with another, hoping that out of weariness, being now so old that he could do no more, he would retire before them. It happened in those days that Cesare da Castel Durante, who had been the overseer, died, and Michelagnolo, to the end that the fabric might not suffer, sent there Luigi Gaeta, who was too young but very competent, until he should find a man after his desire. The deputies (some of whom had many times made efforts to place there Nanni di Baccio Bigio, who was always urging them and promising great things), in order to be able to disturb the affairs of the fabric at their pleasure, sent Luigi Gaeta away, which having heard, Michelagnolo, as in anger, would no longer show himself at the fabric; whereupon they began to give out that he could do no more, that it was necessary to give him a substitute, and that he himself had said that he did not wish to be embroiled any longer with S. Pietro. All this came to the ears of Michelagnolo, who sent Daniello Ricciarelli of Volterra to Bishop Ferratino, one of the superintendents, who had said to the Cardinal of Carpi that Michelagnolo had told one of his servants that he did not wish to be mixed up with the fabric any longer; and Daniello said that this was by no means Michelagnolo's desire. Ferratino complained that Michelagnolo would not make his conception known, adding that it would be well for him to provide a substitute, and that he would have gladly accepted Daniello; and with this Michelagnolo appeared to be content. Thereupon Ferratino, having had the deputies informed in the name of Michelagnolo that they now had a substitute, presented not Daniello, but in his place Nanni di Baccio Bigio, who came in and was accepted by the superintendents. Before very long he gave orders to make a scaffolding of wood from the side of the Pope's stables, where the hill is, to rise above the great recess that is turned towards that side, and caused some stout beams of fir to be cut, saying that too many ropes were consumed in drawing up the materials, and that it was better to raise them by his method. Which having heard, Michelagnolo went straight to the Pope, who was on the Piazza di Campidoglio, and made so much noise that his Holiness made him go at once into a room, where he said: "Holy Father, there has been appointed as my substitute by the deputies a man of whom I know nothing; but if they are convinced, and also your Holiness, that I am no longer the proper man, I will return to rest in Florence, where I will enjoy the favours of that great Duke who has so long desired me, and will finish my life in my own house; I therefore beg your gracious leave." The Pope was vexed at this, and, consoling him with kind words, ordained that he should come to speak with him on the following day at the Araceli. There, having caused the deputies of the fabric to be assembled together, he desired to be informed of the reasons of what had happened: whereupon their answer was that the fabric was going to ruin, and that errors were being made in it. Which having heard not to be the truth, the Pope commanded Signor Gabrio Scerbellone that he should go to see the fabric for himself, and that Nanni, who was making these assertions, should show it to him. This was carried out, and Signor Gabrio found that the whole story was a malicious slander, and not the truth; wherefore Nanni was dismissed from that fabric with no very flattering words in the presence of many lords, being also reproached that by his fault the bridge of Santa Maria fell into ruin, and that at Ancona, seeking to do great things at little cost in the matter of cleaning out the harbour, he filled it up more in one day than the sea had done in ten years. Such was the end of Nanni in the fabric of S. Pietro. For that work Michelagnolo for seventeen years attended constantly to nothing but to establishing it securely with directions, doubting on account of those envious persecutions lest it might come to be changed after his death; so that at the present day it is strong enough to allow the vaulting to be raised with perfect security. Thus it has been seen that God, who is the protector of the good, defended him as long as he lived, and worked for the benefit of the fabric and for the defence of the master until his death. Moreover, Pius IV, living after him, commanded the superintendents of the fabric that nothing of what Michelagnolo had directed should be changed; and with even greater authority his successor, Pius V, caused it to be carried out, who, lest disorder should arise, insisted that the designs made by Michelagnolo should be carried into execution with the utmost fidelity, so that, when the architects Pirro Ligorio and Jacopo Vignuola were in charge of it, and Pirro wished presumptuously to disturb and alter those directions, he was removed with little honour from that fabric, and only Vignuola remained. Finally, that Pontiff being full of zeal no less for the honour of the fabric of S. Pietro than for the Christian religion, in the year 1565, when Vasari went to kiss the feet of his Holiness, and in the year 1566, when he was again summoned, nothing was discussed save the means to ensure the observing of the designs left by Michelagnolo; and his Holiness, in order to obviate all chance of disorder, commanded Vasari that he should go with Messer Guglielmo Sangalletti, the private treasurer of his Holiness, to seek out Bishop Ferratino, the head of the superintendents of S. Pietro, with orders from the Pontiff that he should listen to all the suggestions and records of importance that Vasari might impart to him, to the end that no words of any malignant and presumptuous person might ever cause to be disturbed any line or order left by the excellent genius of Michelagnolo of happy memory; and at that interview was present Messer Giovan Battista Altoviti, who was much the friend of Vasari and of these arts. And Ferratino, having heard a discourse that Vasari made to him, readily accepted every record, and promised to observe and to cause to be observed with the utmost fidelity in that fabric every order and design that Michelagnolo had left for that purpose, and, in addition, to be the protector, defender, and preserver of the labours of that great man.

But to return to Michelagnolo: I must relate that about a year before his death, Vasari secretly prevailed upon Duke Cosimo de' Medici to persuade the Pope by means of Messer Averardo Serristori, his Ambassador, that, since Michelagnolo was much reduced, a diligent watch should be kept on those who were about him to take care of him, or who visited him at his house, and that, in the event of some sudden accident happening to him, such as might well happen to an old man, he should make arrangements for his property, designs, cartoons, models, money, and all his other possessions at the time of his death, to be set down in an inventory and placed in security, for the sake of the fabric of S. Pietro, so that, if there were things pertaining to that fabric, and also to the sacristy, library, and façade of S. Lorenzo, they might not be taken away, as is often wont to happen; and in the end, all this being duly carried out, such diligence had its reward. Leonardo, the nephew of Michelagnolo, was desirous to go during the coming Lent to Rome, as one who guessed that he was now come to the end of his life; and at this Michelagnolo was content. When, therefore, he fell sick of a slow fever, he straightway caused Daniello to write to Leonardo that he should come; but the illness grew worse, although Messer Federigo Donati, his physician, and his other attendants were about him, and with perfect consciousness he made his will in three sentences, leaving his soul in the hands of God, his body to the earth, and his substance to his nearest relatives, and enjoining on his friends that, at his passing from this life, they should recall to him the agony of Jesus Christ. And so at the twenty-third hour of the seventeenth day of February, in the year 1563 (after the Florentine reckoning, which according to the Roman would be 1564), he breathed his last, to go to a better life.

Michelagnolo was much inclined to the labours of art, seeing that everything, however difficult, succeeded with him, he having had from nature a genius very apt and ardent in these most noble arts of design. Moreover, in order to be entirely perfect, innumerable times he made anatomical studies, dissecting men's bodies in order to see the principles of their construction and the concatenation of the bones, muscles, veins, and nerves, the various movements and all the postures of the human body; and not of men only, but also of animals, and particularly of horses, which last he much delighted to keep. Of all these he desired to learn the principles and laws in so far as touched his art, and this knowledge he so demonstrated in the works that fell to him to handle, that those who attend to no other study than this do not know more. He so executed his works, whether with the brush or with the chisel, that they are almost inimitable, and he gave to his labours, as has been said, such art and grace, and a loveliness of such a kind, that (be it said without offence to any) he surpassed and vanquished the ancients; having been able to wrest things out of the greatest difficulties with such facility, that they do not appear wrought with effort, although whoever draws his works after him finds enough in imitating them.

The genius of Michelagnolo was recognized in his lifetime, and not, as happens to many, after death, for it has been seen that Julius II, Leo X, Clement VII, Paul III, Julius III, Paul IV, and Pius IV, all supreme Pontiffs, always wished to have him near them, and also, as is known, Suleiman, Emperor of the Turks, Francis of Valois, King of France, the Emperor Charles V, the Signoria of Venice, and finally, as has been related, Duke Cosimo de' Medici; all offering him honourable salaries, for no other reason but to avail themselves of his great genius. This does not happen save to men of great worth, such as he was; and it is evident and well known that all these three arts were so perfected in him, that it is not found that among persons ancient or modern, in all the many years that the sun has been whirling round, God has granted this to any other but Michelagnolo. He had imagination of such a kind, and so perfect, and the things conceived by him in idea were such, that often, through not being able to express with the hands conceptions so terrible and grand, he abandoned his works--nay, destroyed many of them; and I know that a little before he died he burned a great number of designs, sketches, and cartoons made with his own hand, to the end that no one might see the labours endured by him and his methods of trying his genius, and that he might not appear less than perfect. Of such I have some by his hand, found in Florence, and placed in my book of drawings; from which, although the greatness of that brain is seen in them, it is evident that when he wished to bring forth Minerva from the head of Jove, he had to use Vulcan's hammer. Thus he used to make his figures in the proportion of nine, ten, and even twelve heads, seeking nought else but that in putting them all together there should be a certain harmony of grace in the whole, which nature does not present; saying that it was necessary to have the compasses in the eyes and not in the hand, because the hands work and the eye judges; which method he used also in architecture.