THE TOMB OF JULIUS II. SAN PIETRO IN VINCOLI, ROME
(By permission of Sig. Giacomo Brogi, Florence)
The cartoon, The Apostles for the Duomo, and all these works, had to be left unfinished, as Michael Angelo was summoned to Rome in the beginning of 1505 by Pope Julius II. From this period Michael Angelo was the servant, often the unwilling servant, of the Popes (his Medusa as he said). Much of his time was wasted owing to the different dispositions and likings of his patrons, yet we must be thankful to them for the opportunities they gave him in their great undertakings. Now began what Condivi called "The Tragedy of the Tomb"; the phrase is so apt that we imagine he must have got it from Michael Angelo himself. Julius appears to have appreciated his artist from the first; both were what the Italians call uomini terribili, men whose brains worked with furious energy, grand and formidable in their imaginations. Michael Angelo was packed off to Carrara for marble as soon as his design was approved. There is a contract signed by him and two shipowners of Lavagna, dated November 18, 1505. Thirty-four cartloads of marble were then ready for shipment, together with two blocked-out figures. He probably left Carrara soon afterwards, returning to Rome by way of Florence. The only authoritative account of the original project of the Tomb is that [pg 129]of Condivi; Vasari's account was not published until his second edition in 1558. The architectural drawings, said to be designs for this Tomb, are of doubtful authenticity; most of them are certainly not by Michael Angelo. We must therefore study Condivi, who probably got the details from Michael Angelo himself, though he, too, must have had great difficulty in recalling the ideas of forty-eight years ago.85 The plans for the new church of St. Peter's, the largest church in Christendom, were altered to embrace this huge monument, but a transept of the little church of San Pietro in Vincoli gave ample space for the final scheme, when it was set up in 1545. The only statues we know belonging to it by Michael Angelo are the Moses and the two bound Slaves in the Louvre; the other six statues in San Pietro in Vincoli were finished by assistants. The unfinished marble figures so unworthily housed in the stupid rock-work grotto of the Boboli Gardens, Florence, may have been for the Tomb, although their measurements do not agree with the Slaves of the Louvre. How well these superlative fragments would look in the corners of the Loggia dei Lanzi, or in the courtyard of the Bargello. In the Bargello two groups, the Victory and the Dying Adonis, may have been originally intended for the Tomb, but we believe they have been finished and considerably altered by some later workman; possibly they were only blocked out by Michael Angelo. The movement of the figure and the position of the head have been altered [pg 130]in the Victory, and the whole subject of the Adonis has been changed by the introduction of the insignificant boar. Vasari tells us that in his time there were, besides the Moses, Victory, and two Slaves, eight figures blocked out by Michael Angelo at Rome, and five at Florence; possibly these five at Florence were the four in the Boboli Gardens and an earlier state of the Adonis.
After his flight from Rome in 1506 Michael Angelo had some six months at Florence, working on his cartoon in the workshop at the Spedale dei Tintori. When he went to Julius at Bologna in November it was finished, and was exhibited in the Sala del Papa at Santa Maria Novella. All this time Bramante and his set had the Pope's ear in Rome. He has been accused of suggesting that Michael Angelo should paint the vault of the Sistine Chapel, in the hope that he would ignominiously fail in such an unusual task; but we do not think we can thank Bramante even for that indirect service, for Michael Angelo's friend, Pietro Rosselli, wrote on May 6, 1506:—
(By permission of the Fratelli Alinari, Florence)
"Dearest in place of a brother, after salutations and kind regards:—I inform you how on Saturday evening, when the Pope was at supper, I showed him certain designs that Bramante and I had to examine. When the Pope had supped and I had showed them to him, he sent for Bramante and said to him: 'Sangallo goes to Florence and will bring Michael Angelo back with him.' Bramante replied to the Pope, and said: 'Holy Father, he will do no such thing, because I know Michael Angelo well enough, and he has told me many a time that he will not undertake the Chapel, which you wanted to put upon him; and that he intended to apply himself to sculpture [pg 131]all the time and not to painting.' And he said: 'Holy Father, I believe that he has not courage enough for it, because he has not painted many figures, and especially as these will be high up and foreshortened; and that is quite another thing to painting on the ground.' Then the Pope replied, and said: 'If he does not come he will do me wrong, so I think he will return anyhow.' Upon this I up and abused him soundly there in the presence of the Pope; and said what I believe you would have said for me, so that he did not know what to reply, and he seemed to think he had made a mistake. And I said further: 'Holy Father, he has never spoken to Michael Angelo, and as to what he has now told you, if it be true may you cut my head off, for he never did speak to Michael Angelo; and I believe he will return by all means, whenever your Holiness desires.' And so the thing ended. I have nothing more to tell you. God keep you from harm. If I can do anything for you let me know; I will do it willingly. Remember me to Simone il Pollaiuolo."86
Bramante was not far wrong in what he said about vault painting. He alluded to the method of foreshortening employed by his fellow countryman, Melozzo da Forli, by which he made figures painted on domes and vaults look as if they were suspended in the air really above the spectators, and not simply a pattern painted on the surface of the plaster; this method was perfected by Correggio, but was never practised successfully by a Florentine.
The Pope entered Bologna in triumph on November 11, 1506, after the marvellous campaign by which he restored two rich provinces to the Church with only five hundred men-at-arms and his twenty-four Cardinals. Less than ten days afterwards he inquired for his artist. The Cardinal of Pavia wrote an autograph letter to the Signory of Florence on the 21st, urgently requesting that they would despatch Michael Angelo immediately to that town, inasmuch as the Pope was impatient for his arrival, and wanted to employ him on important works. On November 27 Soderini wrote to the Cardinal of Pavia introducing Michael Angelo and praising the cartoon the artist had to leave unpainted, and to the Cardinal of Volterra more formally as follows:—
"The bearer will be Michael Angelo, the sculptor, whom we send to please and satisfy his Holiness our Lord. We certify your Lordship that he is a worthy young man, and in his own art without a peer in Italy; perhaps also in the universe. We cannot recommend him too highly. He is of such a nature, that with good words and kindness one can make him do anything. Show him love and show him kindness, and he will do things that will make all who see [pg 133]them wonder. We inform your Lordship that he has begun a story for the Republic which will be admirable, and also XII Apostles, each 4-1/2 to 5 braccia high, which will be remarkable. We recommend him to your lordship as much as we can.
"The XXVII of November, 1506."87
Michael Angelo says in his letter to Fattucci88 that the portrait he now modelled of Pope Julius was in bronze, sitting, about seven cubits in height.89 At the end of the two years that it took him to finish the work he had to cast it twice. He says. "I found that I had four and a half ducats left. I never received anything more for this work; and all the moneys paid out during the said two years were the 1000 ducats with which I promised to cast it." Michael Angelo worked in the Stanza del Pavaglione behind the Cathedral; he employed three assistants, from Florence—Lapo Antonio di Lapo, a sculptor; Lodovico del Buono, called Lotti, a founder; and Pietro Urbano, a man who worked for him for a long time. His way of life was frugal and sordid in the extreme. In his letter to his brother Buonarroto he says90:—
"With regard to Giovansimone coming here, I do not advise it as yet, for I am lodged in one wretched room, and have bought one single bed, in which we all four of us sleep. And I shall not be able to receive him suitably. But if he will come all the same, let him wait till I have [pg 134]cast the figure I am doing, and I will send away Lapo and Lodovico who are helping me, and I will send him a horse so that he may come decently and not like a beggar. No more. Pray to God for me that things may go well.
"Michael Angelo, Sculptor, in Bologna."
Another letter tells of a visit from the Pope, troubles with his workmen, and his usual generosity to his brothers and father.
"To Buonarroto di Lodovico Simone, in Firenze91
"To be delivered at the shop of Strozzi, wool merchant, in the street of the Porta Rossa.
"Buonarroto,—I hear by one of yours how things went about the little farm; it is a great comfort to me and pleases me well, if it is a sure thing. Of the affairs of Baronciello I am well informed, and from what I understand it is a much more serious thing than you make out; and for my part, it not being to my taste, I do not ask it. We are all obliged to do all we can for Baronciello, and so we will, especially everything that is in our power. You must know that on Friday evening at twenty-one o'clock Pope Julius came to my house where I work, and stayed about half an hour while I was at work; then he gave me the benediction, and went away, and showed himself well pleased with what I am doing. For all this we must thank God heartily; and so I beg you to do, and pray for me. I inform you further, how that on Friday morning I sent away Lapo and Lodovico, who were with me. Lapo I dismissed because he is good for nothing and a rogue, and would not serve me. Lodovico is better, and I would [pg 135]have kept him another two months; but Lapo, so as not to be the only one blamed, so corrupted him that they both had to go. I write this not because I care for them, for they are not worth three halfpence between them, but because, if they come to talk to Lodovico, he must not be surprised. Tell him by no means to lend them his ears; and if you want to know about them go to Messer Agnolo, the Herald of the Signoria, for I have written all the story to him, and he, out of his kindness, will relate it to you. Of Giovansimone I have heard. I shall be pleased if he goes to the shop of your master and is careful to do his best; and so comfort him, because, if all goes well, I have hopes of placing you both in a good position, if you will be discreet. About that land which is beside that of Mona 92 Zanobia, if Lodovico likes it, tell him to see about it and let me know. I think, according to what is rumoured here, the Pope will leave about the time of Carnival.
"The first day of February, 1506.
"Michael Angelo di Lodovico
"di Buonarrota Simoni,
"Sculptor, in Bologna."
Notwithstanding this warning, the silly old man, his father, wrote a scolding letter to his son about the workmen. Michael Angelo's humble reply was dated February 8, 1507.93
"Most Revered Father,—I have received a letter from you to-day, from which I learn that you have been talked to by Lapo and Lodovico. I am glad that you [pg 136]should rebuke me, because I deserve to be rebuked as a miserable sinner, as much as any one, perhaps more. But you must know that I have not been guilty in this affair for which you blame me now."
He goes on to explain his dealings with the rogue Lapo. There is also trouble about a sword-hilt94 Michael Angelo had designed for Pietro Aldobrandini. However, Aldobrandini objected that the blade was too short. Michael Angelo affirmed that it was ordered exactly to the measure sent, and bade his brother present it to Filippo Strozzi as a compliment from the Buonarroti family; but the stupid fellow bungled it in some way, for Michael Angelo writes to say that he is sorry "he behaved so scurvily towards Filippo in so trifling an affair."
Michael Angelo must have spent his spare time in studying the bas-reliefs by Jacopo della Quercia upon the façade of San Petronio, for he used many of the motives in his next great work, the Sistine vault. When the wax model of the statue of Pope Julius was ready, Michael Angelo sent to Florence for the ordnance founder to the Republic, Maestro dal Ponte, of Milan, to cast it for him. This master's leave of absence was signed on May 15, 1507. Just before the casting Michael Angelo wrote to Buonarroto:—
"To Buonarroto di Lodovico Simoni, in Florence, at the Shop of Lorenzo Strozzi, Wool Merchant, in Porta Rossa, Florence.
"Buonarroto,—I have received yours by the hand of Master Bernardo, who has arrived; by it I hear all are [pg 137]well except Giovansimone, who has not yet recovered. I am very sorry, and it grieves me not to be able to help him. But soon I hope to be with you, and I will do something that will please him, and you others, too. Therefore comfort him and tell him to be of good cheer. Tell Lodovico also that about the middle of next month I hope to cast my figure without fail; therefore, if he will offer prayers, or anything else for its good success, let him do so betimes, and say I beg this of him. I have no time to write more. Things go well.
"The twenty-sixth day of May (1507).
"Michael Angelo, in Bologna."95
At last, on July 1, it is done, but done badly; and he writes:—
To the same.
"Buonarroto,—We have cast my figure, and it has come out so badly that I truly believe I shall have to do it all again. I cannot write all the particulars, because I have other things to think of. Enough that it has come badly. Thanks be to God all the same, because I believe everything is for the best. Before long I shall know what I have to do and will write to you. Tell Lodovico about it, and be of good cheer. And if it should be that I have to do it all again, and that I am not able to return to you, I will find means somehow to do what I have promised in the best way I can.
"The first day of July.
"Michael Angelo, in Bologna."96
[pg 138]He gives further details in his next letter:—
"Buonarroto,—Understand how that we have cast my figure. I have not had much luck in it; for Master Bernardino, either by ignorance or misfortune, did not sufficiently melt the bronze. How it happened would be long to tell; it is enough that my figure has come out up to the girdle; the rest of the stuff, that is to say the metal, remained in the furnace; it was not melted; so that to get it out I shall have the furnace taken to pieces, and that I am doing now, and I will have it remade again this week. Next week I will recast the upper part and finish filling the mould, and I believe that this bad business will go very well, but not without the greatest devotion, labour, and expense. I would have believed that Master Bernardino could have cast it without fire, so much faith had I in him; all the same, it is not that he is not a good master and that he did not work with a will. But he who fails, fails. And he has failed enough to my loss and his own, for he blames himself so much that he cannot lift his eyes in Bologna. If you see Baccio d'Agnolo read him this letter and ask him to tell San Gallo, at Rome, and remember me to him and to Giovanni da Ricasoli, and to Granaccio give my respects. I hope, if the thing goes well, in from fifteen to twenty days to be through with it and to return to you. If it should not go well, I should perhaps have to do it again. I will tell you all. Let me know how Giovansimone is.
"The sixth day of July. (No signature.)
"With this will be a letter to go to Rome for Giuliano da San Gallo. Send it safely and as quickly as you can; but if he should happen to be in Florence, give it to him."97
"Buonorroto,—I hear by one of yours that you are well and happy. It pleases me very much. My business here, I hope, will turn out well after all, but as yet I know nothing. We have recast the upper part which was wanting, as I informed you, but have not been able to see how it has come, for the sand is so hot that we cannot as yet uncover it. By next week I shall know and will tell you. Master Bernardino left here yesterday. When he salutes you receive him kindly enough.
"The tenth day of July.
"Michael Angelo, in Bologna."98
To the same, later (July 18, 1501):—
"Buonarroto,—My affairs might have turned out much better and also much worse; at any rate, all of it is there as far as I can make out, for it is not yet all uncovered. I estimate that it will take some months to chase, for it has come out with a bad surface; all the same, we must thank God! for, as I say, it might have been worse. If anything is said to you by Salvestro del Pollaiolo99 or others, tell them that I do not need any one, so that no one will be sent here to be on my shoulders, because I have spent so much that there hardly remains enough for me to live on, let alone keeping others. About next week I will let you know more when I have uncovered the whole figure.
"Michael Angelo, in Bologna."100
[pg 140]After several letters describing his labours, he writes, ultimately, to the same:—
"Buonarroto,—I marvel you write to me so seldom. I am sure you have much more time to write to me than I to write to you, so let me hear often how things go. I understand by your last how, with good reason, you wish me to return soon. It made me anxious for several days; therefore, when you write to me, write strongly and clearly what the matter is so that I may understand it—and enough. Know that I desire to return soon even more than you desire it, for I pass my life here in the greatest discomfort and with the hardest labour, doing nothing but work day and night, and I have endured so much fatigue and hardship that if I should have to go through it again, I do not believe my life would hold out, for it has been an enormous undertaking, and if it had been in any one else's hands it would have come out very badly. But I believe the prayers of some one have sustained me and kept me in health, for all Bologna was of opinion that I should never finish it after it was cast, and before also, when no one would believe that I should ever cast it. Enough that I have brought it to a good end, but I shall not quite have finished it by the end of this month, as I hoped; but next month, at any rate, it will be done, and I will return. So be all of good cheer, for I will do as I promised whatever happens. Comfort Lodovico and Giovansimone for me and write to me how Giovansimone does. Mind and learn to keep shop, so that you will know how to do it when you need, which will be soon.
"The tenth day of November.
"Michael Angelo, in Bologna."101
[pg 141]He worked on until February, and wrote to the same:—
"Buonarroto,—It is now a fortnight since I expected to be with you, for I thought that directly my figure was finished they would place it. And now these people are dawdling and doing nothing; and I have orders from the Pope not to leave until it is placed, so that it seems to me I shall be prevented. I shall stay and look after it all this week too; if there are no further orders I will come away at all costs, without observing the command. With this will be a letter to go to the Cardinal of Pavia, in which I reply to him about it all, so that he cannot complain. So put it in a cover and direct it to Giuliano da San Gallo on my part, and desire him to deliver it with his own hand.
"Di Bologna (the 18th day of February, 1508)."102
On February 21, 1508, the statue of Pope Julius II. was hoisted on to its pedestal above the great central door of San Petronio. Alas! this work which cost Michael Angelo a year and three months of hard, unremitting labour only existed for about twice that period. It was destroyed by the worst enemy of art—war. The Papal Legate fled from Bologna in 1511 and the Bentivogli again entered the city. The people of their party dragged the heavy bronze to the ground and broke it into pieces on December 30. The broken fragments were sent to Alfonso d'Este, Duke of Ferrara, who cast a huge cannon with the metal, which the Italians, with their usual mocking spirit, immediately called La Giulia. The Duke kept the head only, and said he would not take its weight in gold for it; it weighed six hundred pounds. This head has disappeared too; [pg 142]there is no drawing, engraving, or any fragment to help us to reconstruct in our minds this mighty bronze; only, perhaps, we may imagine that we have an echo of this Pope by Michael Angelo when we turn our eyes from the bare front of San Petronio to the niche on the Palazzo Comunale to the right of the square, where a bronze Pope, Gregory XIII., stretches his hand to curse the iconoclastic people. In the Piazza Dante, at Perugia, is the bronze statue of Pope Julius III., by Vincenzio Dante, that makes us think of the master, and in Rimini a mighty bronze form stretches out his right hand with a threatening gesture. He, too, is a Pope—Paul V.
SISTINE CHAPEL, ROME
(By permission of the Fratelli Alinari, Florence)