Chapter XXVI: Appendix (3)

"This sort of painting is a great undertaking," proceeded M. Angelo; "in order to imitate to some extent the venerable image of our Lord it is not sufficient merely to be a great master in painting and very wise, but I think that it is necessary for the painter to be very good in his mode of life, or even, if such were possible, a saint, so that the Holy Spirit may inspire his intellect. And we read that Alexander the Great put a heavy penalty upon any painter other than Apelles who should paint him, for he considered that man alone able to paint his appearance with that severity and liberal mind which could not be seen without being praised by the Greeks and feared and adored by the barbarians. And therefore if a poor man of this earth so commanded by edict concerning his image, how much more reason have the ecclesiastical or secular princes to take care to order that no one shall paint the benignity and meekness of our Redeemer or the purity of Our Lady and the Saints but the most illustrious painters to be found in their domains and provinces? And this would be a very famous and much praised work in any lord. And even in the Old Testament God the Father wished that those who only had to ornament and paint the _arca foederis_ should be masters not merely excellent and great, but also touched by His grace and wisdom, God saying to Moses that He would imbue them with the knowledge and intelligence of His Spirit so that they might invent and do everything that He could invent and do. And therefore if God the Father willed that the ark of His Covenant should be well ornamented and painted, how much more study and consideration must He wish applied to the imitation of His Serene Face and that of His Son our Lord, and of the composure, chastity and beauty of the glorious Virgin Mary, who was painted by St. Luke the Evangelist, the work is in the Sancto Sanctorum, and the head of our Saviour which is in San Giovanni in Laterano, as we all know, and especially Messer Francisco. Frequently the images badly painted distract and cause devotion to be lost, at least in those who possess little; and, on the contrary, those that are divinely painted provoke and lead even those who are little devout and but little inclined to worship to contemplation and tears, and by their grave aspect imbue them with reverence and fear."

M. Lactancio then said, having turned towards me:

"Why did M. Angelo say of the picture of the Saviour, 'as we all know and especially Messer Francisco'?"

I answered: "Because, Senhor, he has already met me two or three times on the road to San Giovanni Laterano, going to obtain His grace for my salvation."

And I thereupon wished to cease speaking, but he desiring me to continue, I recommenced thus:

"Senhor, the Most Serene Queen of Portugal, being desirous of seeing the precious face of Our Saviour, ordered our ambassador to have it drawn from the original, but I, not trusting this to anybody, wished, with the desire that I have to serve her, to dare to undertake this enterprise myself, for it is very fine as regards execution and no less as regards accuracy. And thus I have sent it to her, done under such difficulties as Your Excellencies can suspect."

"You cannot be a friend of the Lady Marchioness," said Joao Capata," for you did not show her a thing which is so much to her liking; but tell me, Messer Francisco, did you do it with that severe simplicity which the old painting has and with that fear in those divine eyes which in the original seem to belong to the very Saviour?"

"I did it that way," I said to him, "and in it I desired to put all the truth, neither to increase nor diminish anything of that grave severity. But I fear that this, which was my greatest work, will be the one the least known."

"No it will not," answered M. Lactancio Tolomei, "as in that they will trust to your knowledge, and it will be an image which will lead them to build a noble temple for it. I am astonished at your being able to reproduce and send it, for neither the Popes nor the Brothers of San Giovanni Laterano ever allowed the King of France or other devout princesses to do so."

Then M. Angelo said:

"It is astonishing how M. Francisco worked, and how he robbed Rome of this precious relic, and how he painted it in oils, although in all his life he had never been a painter in oils, and only made pictures hitherto easily contained on a small parchment."

"How can it be," said M. Lactancio, "that one who never painted in oils is capable of doing it, and that one who has always done little things can also do big ones?"

And as I did not reply, Michael Angelo answered him:

"Do not be surprised, sir, and as regards this I wish now to state my views about the noble art of painting. Let every man who is here understand this well: design, which by another name is called drawing, and consists of it, is the fount and body of painting and sculpture and architecture and of every other kind of painting, and the root of all sciences. Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure; he will be able to make figures higher than any tower, either in colours or carved from the block, and he will not be able to find a wall or enclosure which does not appear circumscribed and small to his brave imagination. And he will be able to paint in fresco in the manner of old Italy, with all the mixtures and varieties of colour usually employed in it. He will be able to paint in oils very suavely with more knowledge, daring and patience than painters. And, finally, on a small piece of parchment he will be most perfect and great, as in all other manners of painting. Because great, very great is the power of design and drawing. Senhor Francisco d'Ollanda can paint, if he wishes, everything that he knows how to draw."

"I will not ask again about another doubt," said M. Lactancio, "because I dare not."

"Please to dare, Your Excellency," said Michael Angelo, "for as we have already sacrificed the day to painting, let us likewise offer up the night which is setting in."

He then said: "I wish finally to know what this painting that is so fine and rare must possess or what it is? Whether there must be tourneys painted, or battles, or kings and emperors covered with brocade, or well-dressed damsels, or landscapes and fields and towns? Or whether perchance it must be some angel or some saint painted and the actual form of this world? Or what must it be? Whether it must be done with gold or with silver, whether with very fine tints or with very brilliant ones?"

"Painting," M. Angelo began, "is not such a great work as any of those which you have mentioned, sir, only the painting which I so much vaunt and praise will be the imitation of some single thing amongst those which immortal God made with great care and knowledge and which He invented and painted, like to a Master: and so downwards, whether animals or birds, dispensing perfection according as each thing merits it. And in my judgment that is the excellent and divine painting which is most like and best imitates any work of immortal God, whether a human figure, or a wild and strange animal, or a simple and easy fish, or a bird of the air or any other creature. And this neither with gold nor silver nor with very fine tints, but drawn only with a pen or a pencil, or with a brush in black and white. To imitate perfectly each of these things in its species seems to me to be nothing else but to desire to imitate the work of immortal God. And yet that thing will be the most noble and perfect in the works of painting which in itself reproduced the thing which is most noble and of the greatest delicacy and knowledge. And what barbarous judge is there that cannot understand that the foot of a man is more noble than his shoe? His skin than that of the sheep from which his clothes are made? And who from this will proceed to find the merit and degree in everything? But I do not mean that, because a cat or a wolf is vile, the man who paints them skilfully has not as much merit as one who paints a horse, or the body of a lion, as even (as I have said above) in the simple shape of a fish there is the same perfection and proportion as in the form of man, and I may say the same of all the world itself with all its cities. But all must be ranked according to the work and study which one demands more than another, and this should be taught to some ignorant persons who have said that some painters painted faces well but that they could not paint anything else. Others have said that in Flanders they painted clothes and trees extremely well, and some have maintained that in Italy they paint the nude and symmetry or proportions better. And of others they say other things. But my opinion is that he who knows how to draw well and merely does a foot or a hand or a neck, can paint everything created in the world; and yet there are painters who paint everything there is in the world so imperfectly and so much without worth that it would be better not to do it at all. One recognises the knowledge of a great man in the fear with which he does a thing the more he understands it. And on the contrary, the ignorance of others in the foolhardy daring with which they fill pictures with what they know nothing about. There may be an excellent master who has never painted more than a single figure, and without painting anything more deserves more renown and honour than those who have painted a thousand pictures: he knows better how to do what he has not done than the others know what they do.

"And not only is this as I tell you, but there is another wonder which seems greater, namely, that if a capable man merely makes a simple outline, like a person about to begin something, he will at once be known by it--if Apelles, as Apelles; if an ignorant painter, as an ignorant painter. And there is no necessity for more, neither more time, nor more experience, nor examination, for eyes which understand it and for those who know that by a single straight line Apelles was distinguished from Protogenes, immortal Greek painters."

And Michael Angelo having stopped, I proceeded:

"It is also a great thing that a great master, although he may wish and work hard to do so, cannot so change or injure his hand as to paint something appearing to have been done by an apprentice, for whoever carefully examines such a thing, will find in it some sign by which he will know that it was done by the hand of a skilful person. And on the contrary, one who knows little, although he may endeavour to do the smallest thing so that it may appear to have been done by a great man, will have his trouble in vain, because immediately, when placed beside the work of a great man, it will be recognised as having been done by a prentice hand. But I should like now to know something more from Senhor Michael Angelo, to see whether he agrees with my opinion, and that is that he should tell me whether it is better to paint a work quickly or slowly?"

And he answered:

"I will tell you: to do anything quickly and swiftly is very profitable and good, and it is a gift received from the immortal God to do in a few hours what another is painting during many days; for if it were not so Pausias of Sicyon would not work so hard in order to paint in one day the perfection of a child in a picture. If he who paints quickly does not on that account paint worse than one who paints slowly, he deserves therefore much greater praise. But should he through the hurry of his hand pass the limits which it is not right to pass in art, he ought rather to paint more slowly and studiously; for an excellent and skilful man is not entitled to allow his taste to err through his haste when thereby some part is forgotten or neglected of the great object perfection, which is what must be always sought; hence it is not a vice to work a little slowly or even to be very slow, nor to spend much time and care on works, if this be done for more perfection; only the want of knowledge is a defect.

"And I wish to tell you, Francisco d'Ollanda, of an exceedingly great beauty in this science of ours, of which perhaps you are aware, and which I think you consider the highest, namely, that what one has most to work and struggle for in painting is to do the work with a great amount of labour and study in such a way that it may afterwards appear, however much it was laboured, to have been done almost quickly and almost without any labour, and very easily, although it was not. And this is a very excellent beauty, at times some things are done with little work in the way I have said, but very seldom: most are done by dint of hard work and appear to have been done very quickly.

"But Plutarch says in his book _De Liberis educandis_, that a poor painter showed Apelles what he was doing, telling him: 'This painting has just this moment been done by my hand,' Apelles answered: 'Even if you had not said so I should have known that it was by your hand and that it was done quickly, and I am surprised that you do not do many of them every day.'

"However I should prefer (if one had either to err or be correct) to err or be correct quickly rather than slowly, and that my painter should rather paint diligently and a little less well than one who is very slow, painting better, but not much better.

"But now I wish to know this of you, M. Francisco, to see whether you agree with my opinion, namely, that you should tell me if there are many different ways of painting almost of equal goodness; which of them will you consider the worst, or which of them are bad?"

"That is still a greater question," I replied, "Senhor Michael, than the one I put to you; but just as Mother Nature has produced in one place men and animals, and in another place men and animals, all made according to one art and proportion, and yet very different to each other, so it is, almost miraculously, with the hands of painters, as you will find many great men each of whom paints in his own manner and style men and women and animals, their styles greatly differing, and yet they all of them retain the same proportions and principles; and yet all these different styles may be good and worthy of being praised in their differences. For in Rome Polidoro, a painter, had a very different style to that of Balthazar, of Siena; M. Perino different from that of Julius, of Mantua; Martorino did not resemble Parmesano; Cavalliere Tiziano in Venice was softer than Leonardo da Vinci; the sprightliness of Raphael of Urbino and his softness does not resemble the work of Bastiao Veneziano; your work does not resemble any other; nor is my small talent similar to any other. And although the famous ones whom I have mentioned have the light and shade, the design and the colours different from each other, they are none the less all great and famous men, and each distinguished by his difference and style, and their works very worthy of being valued at almost the same price, because each of them worked to imitate Nature and perfection in the manner that he considered to be the most proper, and his own, and in accordance with his idea and intention."

And this said, we rose and went away as it was already night.

THE WORKS OF MICHAEL ANGELO

The Rape of Deianira, or the Battle of the Centaurs, a bas-relief, 1490. Casa Buonarroti, Florence.

The Angel of the Shrine of Saint Dominic, a marble statuette, 1494. San Domenico, Bologna.

The Bacchus, a marble statue, 1497. National Museum, Florence.

The Madonna della Pieta, a marble group, 1499. St. Peter's, Rome.

The David, a colossal marble statue, 1504. Accademia della Belle Arti, Florence.

St. Matthew, an unfinished heroic marble statue. The Court of the Accademia delle Belle Arti, Florence.

The Madonna and Child, marble statue, 1506. St. Bavon, Bruges.

The Madonna and Child, a tondo, marble bas-relief, unfinished. National Museum, Florence.

The Madonna and Child, a tondo, marble bas-relief, unfinished. The Diploma Gallery of the Royal Academy, London.

The Holy Family, a tondo, painted on wood. No. 1139, The Uffizi, Florence.

The Moses, a heroic marble statue. San Pietro in Vincoli, Rome.

The Vault of the Sistine Chapel, ceiling frescoes, 1512. Vatican, Rome.

The Madonna and Infant Christ, St. John the Baptist and Angels, an unfinished painting on wood by Bugiardini, the Cartoon alone by Michael Angelo. No. 809, The National Gallery, London.

The Risen Christ, a marble statue, 1521. Santa Maria Sopra Minerva, Rome.

The Tombs of Lorenzo dei Medici, Duke of Urbino and Giuliano, Duc de Nemours, heroic marble statues, the figures of Day and Evening and the architecture left unfinished by the master in 1534. New Sacristy, San Lorenzo, Florence.

The Madonna and Child, heroic marble statue. New Sacristy, San Lorenzo, Florence.

Four Slaves, unfinished heroic marble statues. The Grotto of the Boboli Gardens, Florence.

The Apollo, an unfinished marble statue. The National Museum, Florence.

The Leda, a painting, damaged and restored as to the head, arms, and shoulder, 1529. Offices of the National Gallery, London.

The Slaves, two heroic marble statues. Room of Renaissance Sculpture, the Louvre, Paris.

The Brutus, an unfinished marble bust. The National Museum, Florence.

The Day of Judgment, fresco, 1541. The Sistine Chapel, Vatican, Rome.

The Entombment of our Lord, an unfinished painting on wood, the figures of our Lord and the men very much repainted, the three women and the background by the master. No. 790, the National Gallery, London.

The Martyrdom of St. Peter, a fresco, 1549. Cappella Paolina, Vatican, Rome.

The Conversion of St. Paul, a fresco, 1549. Cappella Paolina, Vatican, Rome.

The Pieta of Santa Maria del Fiore, a marble group. The Duomo, Florence.

A LIST OF THE PRINCIPAL BOOKS CONSULTED BY THE AUTHOR

BERENSON, BERNHARD. The Florentine Painters of the Renaissance. London and New York, 1896.

BLACK, CHARLES CHRISTOPHER. Michael Angelo Buonarroti, Sculptor, Painter and Architect. London, 1875.

CELLINI, BENVENUTO. Vita di, Scritta da lui Medesimo. Firenze, 1885.

CLEMENT, CHARLES. Michelangelo. London, 1880.

CONDIVI, ASCANIO. Vita di Michelangelo Buonarroti, Scritta da A.C. suo discepolo. Pisa, 1746. First edition Roma, 1553.

GOTTI, AURELIO. Vita di Michelangelo Buonarroti. Firenze, 1875.

HASENCLEVER, SOPHIE. Saumtliche Gedichte Michelangelo's. Leipzic, 1875.

HOLLANDA, FRANCESCO DE. Quatro Diologos da Pintura Antigua, La Renascenca Portugueza. Porto, 1896.

MILANESI, GAETANO; and LE DOCTEUR A LE PILEUR. Les Correspondants de Michel-Ange, i Sebastiano del Piombo. Librairie de l'Art. Paris, 1890.

MILANESI, GAETANO. Le Lettre di Michelangelo Buonarroti, publicate coi Ricordi ed i Contratti Artistici. Firenze, 1875.

SYMONDS, JOHN ADDINGTON. The Life of Michelangelo Buonarroti. London, 1893. The Sonnets of Michael Angelo Buonarroti and Tomaso Campanella. London, 1878.

VASARI, GIORGIO. Le Vite de' pin eccellenti Pittori, Scultori et Architetti. Bologna, 1647. And first edition, Firenze, 1550. Second edition, Firenze, 1558.

WILSON, CHARLES HEATH. Life and Works of Michelangelo Buonarroti. London, 1881.

ERRATUM

Page 27, note 1, line 2, _for_ 1831, _read_ 1873

INDEX

Abel, 44

Academy: Florence, 117, 260

Accursio: a messenger from Julius II., 51

Active Life; The Tomb of Julius II., 68, 225, 226, 227

Adam: Sistine Chapel, 13, note; 43, 163, 165, 171-175

Adonis, 129, 229

Adrian IV.: Pope 54, 190

Aginense: Cardinal, 51, 52, 146

Agnolo: Herald of Florence, 135

Agnolo: _see_ Doni

Agostino: _see_ Duccio

Agostino: San, the Isaiah of Raphael at, 177

Agnolo di Donnino: assistant, 151

Alberigo: Marchese, 52

Alberto: _see_ Duerer

Albertina: Vienna, 193

Albertini: his statement, 164

Albizzi: Anton Francesco degli, portrait by Sebastiano, 197

Alcibiades, 87

Aldobrandini: sword-hilt designed for, 136

Aldovrandi: Gian Francesco, his kindness to the master, 18

Aldovrandi: Ulisse, sees a statue of Apollo, 108

Alessandro da Carnossa, 3, note

Alessandro de' Medici: Duke, his ill-will to the master, 59, 60, 62; flight, 201; 250, 305

Alexander the Great, 285, 286, 309, 320

Alexander VI.: Pope, 29

Alfonso: Duke of Ferrara, 60, 61, 204

Alva: Duke of, 265

Aman, 45

Amanati: _see_ Bartolomeo

Ambrosio: Brother, 272-274; 289, 306

Anatomy: studies at Santo Spirito, 16; of animals as well as man, 75; dissection and a treatise upon it, 81

Ancestors of Christ: Sistine Chapel, 166, 169, 177

Andrea del Sarto, 103, note; studies the Cartoon, 127, 224

Angel: for the Shrine of San Domenico, 19, 104

Angelico: Fra, 219

Angeli: S.M. degli, 251

Anna: the Beautiful, 293

Antonio: a servant, successor to Urbino, 236, 258

Antonio: Maria da Legnia, 145

Antonio: San, copy, 7, 97; Cartoon for Mineghella, 264

Antonio: _see_ Mini

Apelles, 278, 309; 320, 325, 326

Apollo: in the Bargello, 204, 228

Arcadelt: Giacomo, sets the master's madrigals to music, 207

Aretino, 222, 283

Arezzo: fortifications at, 202

Arno, 193; and _see_ Cartoon

Arrigo Fiamingo: fresco, Sistine Chapel, 167

Ascanio: _see_ Condivi

Assumption: by Daniele, with a portrait of the master, 253

Assunta: oratory of, 260

Athletes: Sistine Chapel, 13, note; 164, 167, 168, 173-178, 211

Athens, 156

Attalante, 146

Avignon, 293

Bacchus: carved in Rome, 24, 107, 108

Baccio d'Agnolo, 116

Baglioni: the traitor, 203

Baldassare: _see_ Peruzzi

Baldassari: del Milanese, buys the god of Love, 21

Bandinelli: Baccio, studies the Cartoon, 126; Hercules and Cacus, 204, 270, 295

Bandini: Francesco, 236, 246

Baptistry: Florence, 255

Bargello: Florence, mask of a faun, 11; Tondo, 121, 129; Apollo, 205, 228; Brutus, 249

Bartolomei: Messer, 231

Bartolomeo: Amanati, letter to, 238

Bartolommea: widow of Buonarroto, 201

Bas-relief: Florentine love of, 121

Bassano, 174

Bathers: _see_ Cartoon

Battista Benti: carves details in the Tomb of Julius II., 226

Battista del Cinque: carpenter, 197

Batista Lorenzi, 253, 262

Beatrice: of Mantua, 3

Beaumont: Sir George, presents a tondo to the Royal Academy, 121

Belvedere: works ordered by Julius III., 78

Beinbo, 76

Bene: Benedetto, copies the Leda, 204

Bentivogli: law, 18; return to Bologna, 40, 141

Benvenuto: _see_ Cellini

Bernardo Cencio: Canon of St. Peter's, 180, 181

Bernardo da Bibbiena, 146

Bernardo della Ciecha, 116

Berlin, 106

Bertoldo: the master of Michael Angelo in Sculpture, 99, 100, 102

Berugetta: Alonso, 126

Biagio da Cesena: objects to nude figures, 222

Bibbiena: Cardinal, rebukes Cardieri, l7

Bible: the master's study, 86; of Raphael, 173

Bini: Bernardo, trustee for the Tomb, 51, 69

Blois: Chateau, 251

Boboli Gardens: the grotto with four statues, 129, 227

Boccaccio, 19

Bologna: flight to, 18-20; with Julius II. at, 39, 40; conversations at, 90, 132; the Colossal Bronze destroyed, 141, 171, 195, 291

Bonasoni: Giulio, engravings, a Pieta, 230; portrait of the master, 253

Bonifazio: Count, 3

Bononiensis: Tudius, engraves a Pieta, 230

Boon companions: of the master, 264

Borgerini: Pier Francesco, 182

Borghini: Don Vincenzo, opens the coffin, 261

Borgia: Cesare, _see_ Valentino

Borgo, 178, 238

Botticelli: Sandro, letter addressed to him, 23, 107, 116; Popes and histories by, 166

Bramante: destroys S. Petronilla, 25; Tomb of Julius, 31; his errors, 32; rebuilding of S. Peter's, 34; suggests the painting of the vault, 41; and Raphael to finish it, 47; his shortcomings, 48; scaffold, 82; has the Pope's ear in Rome, 130; vault painting, 131, 164; "a brave architect," 238, 240-242, 295

Brancacci Chapel: _see_ Masaccio

Brazen Serpent: Sistine Chapel, 46; 178

British Museum: drawings, advice to Mini, 192; for the tombs, 193

Bronze-coloured figures: Sistine Chapel, 169

Brothers of the master: _see_ Buonarroto, Giovan Simone, Sigismondo

Bruciolo: invites the master to Venice, 78

Bruges, 29, 121

Brunelleschi: the lantern of, 192; his dome, 208

Brutus: bust of, Bargello, 249; nickname of Lorenzino, 250

Buggiardini: Giuliano assistant, 150, 155; paints the master's portrait, and a Madonna and Child from a cartoon of the master's, 157, 158, 252, 264

Buonarroti: _see_ Michael Angelo

Buonarroti: Casa, bas-reliefs in, 102; 104; presented to Florence, 105; wax models of the David, 118

Buonarroti: Senator Filippo, 203

Buonarroto: brother of the master, 4; established in business, 109, 151, 152; letters to, 133, 134, 136, 141, 161, 181; his health, 165; dies of the plague in the master's arms, 201

Buoninsegna: Domenico, 183

Cain, 44

Calcagni: _see_ Tiberio

Camerino: Duke of, writes to the master, 217

Campidoglio: plans of the master, 248; his portrait there, 253, 270, 305

Campo Santo: Pisa, 219, 220

Canossa, 3-5

Capata: Joao, 306, 307, 310, 316, 318, 321

Capitol: _see_ Campidoglio

Capponi: Niccolo, 201

Caprese: the master born at, 5

Cardiere: improvisatore, his dream, 16, 17

Carlino: chamberlain, 147

Carlo degli Albizzi, 147

Caro: Annibal, 76, 85

Carota: woodcarver, 197

Carpi: Cardinal, 246

Carrara, 30, 52, 53, 183, 185, 190, 192

Cartoon of Pisa, 37, 124, 125; Vasari's account, 126; Cellini's, 127

Cassandra Ridolfi: marries Leonardo, 254

Caterina: Santa, 31

Catherine de' Medici: letter from, 251

Cavalcani, 24

Cavalcanti: altar of, 261

Cavalieri: Tomaso dei, a friend, 85; drawings for, 230; letter from, 231, 246, 248, 258, 259

Cellini: Benvenuto, 91, 92, 118; describes the Cartoon, 127, 202, 252, 255

Centaurs: battle of, _see_ Deianira

Cesena: Bishop of, 85

Charles: the Emperor, 309, 310, 312

Charon, 71

Chigi, 292

Chiostro Verde: S.M. Novella, 173

Christ: on the Cross, modelled for Mineghella, 264; taken down from the Cross, Vittoria Colonna, 85; the Risen, in the Minerva, 74, 180, 181, 187-189; a statuette, 259

Ciapino: carpenter, 197

Cioli: _see_ Valerio

Clement VII: Pope, 10; Medici Library, 54; clemency, 58; Medici Tombs, 59; recalls the master to Rome, 60, 64; orders the Day of Judgment, 64, 78; the New Sacristy, 186; elected Pope, 190-192, 195; his postscript, 197; and curious commission, 198; besieged in St. Angelo, 200; anger abates, 203, 207, 231, 277, 292, 308

Colombo: Realdo, anatomist, 81

Colonna: Vittoria, Marchioness of Pescara, poetry, 76; a Christ made for her, 74; the master is enamoured of her divine spirit, 85; visits her death-bed, 85; drawings and sonnets for her, 230, 234; conversations at St. Silvester, 271-304, 306-308, 312

Colossus: a proposed, 198, 199

Condivi: Ascanio della Ripa, the Life by, 3-93, 163, 164

Connetable: de Montmorenci, and the Slaves, 227

Consiglio: a mercer, 110, 111

Consiglio: Cartoon for the Sala del, 37

Constantinople: the designs to throw a bridge from Pera to, 37; is invited to, 78

Contemplative Life: Tomb of Julius II., 28, 225-227

Contracts: for the Madonna della Pieta of St. Peter's, 112; the David, 115; and the Risen Christ, 180, 181

Conversion of St. Paul, 232

Cornelia: wife of Urbino, 256

Correggio: perfected Melozzo's method, 131, 172

Cortono: Cardinal, 201

Cosimo: _see_ Medici

Cosmo: St., 194

Creation: the, 164, 165, 167, 170; of Eve, 171, 175, 291; of man, _see_ Adam

Creator: the, Sistine Chapel, 43, 44, 171

Crispo: Cardinal, 84

Croce: _see_ Santa Croce

Cronaca: Il, 116, 120

Crucifixion: in wood for Santo Spirito, 16; drawings, 234; by Daniele, 253

Cuio: Capitano, the master sups with, 197

Cupid: _see_ Love

Damino: St., 194

Dandolo: Marco, opinion of Baglioni, 203

Daniele da Volterra, 223, 251-253; writes for the master and acts as executor, 257-259, 263

Dante, 19, 68, 71; the master's special devotion to, 86, 184, 220

Danti: Vincenzio, 229

David and Goliath: Sistine Chapel, 46, 178

David: the bronze, 28, 119; sent to France, 120

David: the colossal statue, 27, 114; the contract, 115; contemporary account of the transport, 116; removed to the Academy, 117

Dawn: marble statue in the New Sacristy, 172, 194, 203, 209, 211, 214, 293.

Day: marble statue in the New Sacristy, 58, 194, 203, 209, 212

Day of Judgment: Sistine Chapel, 45, 166, 183; the fresco begun, 216; shown to the public, 219; described, 219; copies in the Corsini Palace, 222, and in the Naples Museum, 253

Death: the master's sayings on, 236, 236

Deianira: the rape of, a bas-relief, 14, 103

Deliverances of the Chosen People, 166, 169, 178

Delphic Sibyl, 174

Deluge: _see_ Flood

Demosthenes, 75, 298

Deposition: _see_ Pieta

Design: the power of, 295-298, 308-311, 322.

Desnoyers: orders the destruction of the Leda, 62, 204

Diocletian: the Baths of, a restoration, 251

Diognetus, 286

Diomede Leoni: letter to Leonardo, 257

Dionigi: Cardinal di, orders a Pieta, 25, 112

Diploma Gallery: Burlington House, the tondo, 121

Divina Commedia: the master's drawings for, 184

Dome of St. Peter's, 208, 233, 246

Domenico: _see_ Ghirlandaio

Domenico: San, Bologna, The Angel for the Shrine, 19, 104

Donatello: praised by the master, 28, who comes under the influence of his foreman, 99, 106; St. George, and Judith, 117; his influence, 118, 170, 178, 295

Donati: Federigo, physician, 258

Donato: _see_ Giannoti

Doni: Agnolo, the tondo painted for, 29, 122

Doria: Andrea, project for his statue 190; his portrait by Sebastiano, 191, 291, 313

Dosso, 290

Drawing: Ghirlandaio's book, 8; copies of old masters, 9; for the tombs of the Medici, 193; its power, 295-297; in war, 308, and in peace, 311, 322

Duccio: Agostino, and the block of marble, 27

Duke of Florence, 246, 248, 250, 259, 260, 262

Duoino of Florence: the shadow of, 127, 208; the Pieta, placed under, 236

Duerer: Albert, 29, 81, 281

Ecouen: the slaves at, 227

Enrico II., 3

Epiphany: a cartoon, 260

Ercole: Don, captain of Florence, 61

Esi, 291

Esther: Queen, 46

Euclid, 75

Eve, 43

Evening, 194, 203, 209, 214

Expulsion, 172, 175

Facade of San Lorenzo, 183, 185, 227, 228

Fall of Man: Sistine Chapel, 43, 164, 165, 170

Farnese Palace: the cornice, 233, 237

Farnese: the House of, the master's love for, 84

Father of the master: _see_ Lodovico

Fattore: Il, 256

Fattuci: Ser Giovan Francesco, letters to, 133, 143, 191, 193, 195, 199, 242; he rebukes the master for his modesty, 192

Faun: a copy in marble, 10; the Mask in the Bargello, 11, note; a drawing in the Louvre, 98, note

Febbre: Madonna della, _see_ Madonna

Fernando di Gonzaga: Signer, 205

Femes: Cardinal, 270, 313

Ferrara: the master visits the fortifications, 60, 202

Ferrara: Duke of, disposes of the Colossal Bronze, 141; the master's visit to, 202, 290

Festa: Constanza, sets the master's madrigals to music, 208

Ficino: Masilio, 102

Fidelissimi: Gherardo, physician, 258

Fight for the Standard: Leonardo da Vinci's cartoon, 124, 127

Figio Vanni: Battista, Pope's agent, 203

Filippiuo: _see_ Lippi

Flanders: the master's opinion of the painting of, 279-281, 324

Flood: the, Sistine Chapel, 44, 46, 165, 167, 170-173, 214

Florence, 3-6, 15-20, 22-29, 36, 37, 50, 51; siege of, 56, 201; is betrayed, 57, 203; 62; gossip, 97; 106-114; 130; 158; the master purchases land for a studio, 184, 208, 253-255, 260, 290, 293, 305

Fontainebleau: the Leda at, 204, 294

Forli: Bishop of, Pier Giovanni, 83

Fortification: the master made Commissary-General, 55; the Borgo, 238

France: statue of Hercules sent to, 14; painting in, 294

Francesca: daughter of Buonarroto, 201

Francesca: mother of the master, 109

Francesco d'Ollanda, 269-327

Francesco: San, a cartoon drawn for a barber, 107; and another for Mineghella, 264

Francesco: _see_ Bandini and Urbino

Francesco: Urbino, da, schoolmaster, 6

Franciabigio: Il, studies the Cartoon, 127

Francia: Il, 90

Francis I.: of France buys the Leda, 62; invites the master to France, 78; letter to, 232, 294

Frizzi: Frederigo, finishes the Risen Christ, 188

Gaeta: _see_ Pier Luigi

Galatea: by Raphael, 292

Galli: Jacopo, commissions the Bacchus, 24, 107, 112

Galli: owned the Bacchus and the little Cupid, 25

Gallio Subelloni, 247

Gallo: Antonio, 226

Ganymede: a drawing, 231

Gatta: Bartolommeo della, 166

Gems: engraved, shown to the master by the Magnificent, 13; motives from intaglios, Adam, 171; Judith, 178; Leda, 202

Genoa: the master proposes to retire to, 66; the Senate orders a statue of Doria, 190; the medallion, Albergo dei Poveri, 237, 291

George: St., by Donatello, 117

Germany, 200, 283, 291

Ghibelline, 4

Ghiberti: Lorenzo, 100, 170

Ghirlandaio: Domenico, the master's first teacher, 7, 8, 97; the master leaves him, 10, 99; histories in the Sistine Chapel, 166

Ghirlandaio: Ridolfo, Vasari's gossip, 97; worked from the Cartoon, 126

Giacomo del Duca: carves details on the Tomb of Julius II., 226

Giacomo della Porta, 249

Giangiacomo de' Medici: his monument at Milan, 250

Giannotti: Donato, a friend of the master's, 85, 246, 249

Giant: _see_ David

Gie: Marechal de, 119

Giorgio: _see_ Vasari

Giotto: studies from, 105, 158

Giovanni da Reggio, 187, 188

Giovanni da Udine, 197, 290

Giovanni dall' Opera, 262

Giovanni de' Marchesi: stone-carver, 224

Giovanni de' Medici, 17

Giovanni: a gem-engraver, 231

Giovanni: San, in Laterano, 320, 321

Giovanni: Michi, 150

Giovanni: San, dei Fiorentini, designs for, 248

Giovannino: San, a, 106

Giovan Simone: joins Buonarroto in the cloth business, 109, 133, 135; his behaviour troubles the master, 151; a letter to him, 153; he begins to do well, 162; death, 254

Girolamo da Fano: retouches the Day of Judgment, 223

Gismondo: to join Buonarroto, 152; visits Rome, 161

Giugni: Galeotto, envoy, 202

Giulia: La, the cannon cast from the wreck of the Bronze, 141, 202

Giulia: the Villa, works ordered by Julius III., 78, 292

Giuliano: a marble statue in the New Sacristy, 193, 194, 211, 212

Giuliano de' Medici: his courtesy, 17

Giulio Romano, 290, 293

Gondi: the bank of, 78

Gondi: Filippo, hides his goods, 201

Gondi: Giambattista, 251

Gonfaloniere: _see_ Soderini

Gottifredo, 3

Granacci: Francesco, 7, 9, 11, 98, 99; studies the Cartoon, 126; helps to provide assistants, his letter, 149, 151

Grand Canal: a design for a bridge, 74

Grotesque, 316-318

Guelph, 4

Guidobaldo: Duke of Urbino own's the god of Love, 23

Guidoccione, 76

Haarlem: drawings in the Teyler Museum, 253

Hawkwood: Sir John, 124

Henry II.: of France, 251

Hercules: a marble statue, 14, 105

Hercules and Cacus, 204

Hercules strangling Antaeus: a wax model, 252

Holkham Hall: Cartoon at, 38, 124, 125

Holy Family with Shepherds, the, 122

Homer, 76, 78, 173

Human form: the master's love for the beauty of, 87

Imitators of the master, 263

Indaco: Jacopo L', assistant, 150, 155; he grumbles, 157, 264

Inscriptions, 262, 263

Intaglio: _see_ Gems

Ippolito de' Medici, 201

Isaiah: by Raphael, 177

Italian painting; the master's opinion of, 280, 281

Jacopo del Conte, 252

Jacopo della Quercia: studied by the master, 136, 170, 171

Jacopo di Sandro: an assistant, 151

Jacopo: _see_ Galli, L'Indaco, Sansovino

Jean: makes a model of the Dome, 247

Jeremiah: the Prophet, 174

Joel, 174

Jonah, 221

Judith, 13, 46, 178; of Donatello, 117

Julius II.: Pope, calls the master to Rome and orders his Tomb, 28-30, 128, 129; offends the master, 35, 38, 130; the Colossal Bronze for Bologna, 40, 130, 132, 134; it is placed on San Petronio, but is destroyed by the mob and made into a cannon, 141; orders the Vault of the Sistine Chapel to be painted, 48, 50, 164; the master's love for him, 62; and his house, 69, 77; he is satisfied, 165, 179; death, 180, 195, 202; the Tragedy of the Tomb of, 216, 224, 226

Julius III.: Pope, 63; a patron of the Arts and of the master, 78, 80, 83, 235, 242; confirms the master in his office, 244; death, 245

Julius Caesar, 310, 315

King of France gives the Slaves to Montmorenci, 227, and _see_ Francis I.

Lactancio Tolomei, 271-322

Lana: Consuls of the Arte della, 115, 120

Lantern: of the New Sacristy, 192

Lapo Antonio di Lapo: assistant at Bologna, 133; is dismissed, 134; 136

Last Judgment: _see_ Day of Judgment

Leda: the, motive from a gem, 13, note; painted for the Duke of Ferrara but sent to France, 61, 202, 204, 214

Leghorn, 184

Leicester: the Earl of, his cartoon at Holkham, 125

Lenoir: M., purchases the Slaves for France, 227

Leo X.: Pope, 4, 5, 10; orders the facade of San Lorenzo, 51; his fervour spent, 54, 78, 182-185; death, 190

Leone Leoni: the monument at Milan, 250; his medal of the master, 252

Letters: from, Catherine de' Medici, 251; Duke of Camerino, 217; Francesco Granacci, 149; Lodovico, 111; Pietro Roselli, 130; Sebastiano, 185, 186, 187, 188, 205; Tomaso del Cavalieri, 231. From the master to, Amanati, 238; Buonarroto, 133, 134, 136, 137, 138, 139, 140, 141, 161, 162, 181; Cardinal Carpi, 241; Fattucci, 133, 143, 191, 193, 195, 199, 242; Francis I., 232; Giovansimone, 153; Lionardo, his nephew, 246, 248, 254, 257; Lodovico, 110-112, 135, 151, 156, 159, 164; Lorenzo di' Pierfrancesco, 23; nephew of Pope Paul, 242; Sebastiano, 197; Spina, 194; Topolino, 190; Vasari, 245, 255. From Diomede Leoni to Lionardo, 257; from Tiberio Calcagni to Lionardo, 257

Library: Medici, ordered by Clement VII., 54, 197, 250

Libyan Sibyl, 174

Light separated from Darkness, Sistine Chapel, 170, 174, 176

Lignano: Antommaria, banks money for the Colossal Bronze, 40

Lionardo da Vinci, 116; his cartoon, 124, 209, 327

Lionardo di Compago: saddle-maker, 184

Lionardo: nephew of the master, 104; letters to, 246, 248, 254, 257; marries Cassandra, 254; receives news of the master's illness, 257; and death, 260; orders Vasari to design the Tomb, 262

Lippi: Filippino, 116

Lodovico del Buono: founder, assists the master at Bologna, 133, 134

Lodorico di Leonardo Buonarroti Simoni, father of the master, 5, 7, 11, 13, 15, 109; letters to, 110, 111, 112, 135, 137, 151, 156, 159, 162, 164: letter from, 111

Loggia dei Lanzi, 116, 129, 228

Loggia of the Vatican, 263, 292

Lorenzetto: worked from the cartoon, 127

Lorenzino: nicknamed Brutus, 250

Lorenzo: San, the facade, 51, 183, 185; obsequies of the master at, 262

Lorenzo: San, the pulpits of, 100, 103, 178

Loreto, 265

Lottino: Il, 85, 246

Louis XIII: 204

Louvre: the two Slaves, 116

Love: a god of, in marble, made to imitate the antique, 21, 107; a little, carved for Galli, 25, 107, 108

Lucan, 299

Lucca, 3

Lucrezia: second wife of Lodovico, 109

Luiz: Infanta D., 169

Madonna and Child: a bas-relief in the Casa Buonarroti, 104

Madonna and Child: marble statue, Bruges, 29

Madonna and Child: marble statue, New Sacristy, San Lorenzo, 59, 194, 215

Madonna and Child with Angela: National Gallery, from a cartoon by the master, 157

Madonna and Child with St. John: marble tondo, Bargello, 121, 122

Madonna and Child with St. John: marble tondo, Diploma Gallery, 121, 122

Madonna and Child with St. Joseph: painted tondo, Ufflzi, 29, 122

Madonna della Pieta: of St. Peter's 25, 26, 112, 113, 232, 234

Madonna: medallion at Genoa, 237

Maffei: the Most Reverend, 84

Malaspina: Lionardo, 85

Manfidi: Angelo, second herald, 116

Mantegna: Andrea, 290

Mantua, 3, 290

Mantua: Cardinal of, commends the Moses, 67

Mantua: the Marchesana, 22, 23

Marc Antonio Raimondi: his engraving of the Cartoon, 125

Marcello Venusti: his copy of the Day of Judgment, 253

Marcellus II.: Pope, Cardinal Marcello Cervini, 244; Pope, 245

Margarite: of Austria, 305

Mario Scappuci, 180; 181

Martin Schongauer: the master copies his engraving, 7, 97

Masaccio: study of, 105, 172

Maso del Bosco: carves the portrait of Julius II. for the Tomb, 226

Matilda: Countess, 3

Mattea da Lecce: Sistine Chapel, 167

Matthew: St., marble statue in the Court of the Academy, Florence, 74, 118, 228

Maturino: worked from the Cartoon, 127, 292

Maximilian: Emperor, 279

Medal: Leone's, of the master, 252

Medici: Alessandro de', 59, 60, 62, 201, 250, 305

Medici: Cardinal de', _see_ Clement VII.

Medici: Cosimo de' 51, 208

Medici: Cosimo de', First Grand Duke of Tuscany, 104, 209

Medici Garden, 9, 99

Medici: House of, driven out of Florence, 18, 55, 201, 290

Medici: Lorenzo di Pier Francesco de', 21, 23, 106; letter to, 107

Medici: Lorenzo de', the Magnificent, sees the master at work in his garden, 10, 100; takes him into his household, 12, 13; death, 14, 105; his ghost appears to Cardiere, 16, 17, 193, 194, 208, 211, 212

Medici: Pier de', 15, 17

Medici rule, 215

Medici Tombs: in the New Sacristy of San Lorenzo, 58, 173, 203, 208, 250, 252

Melozzo da Forli: vault painting of, 131

Menichella: Domenico, 205, 206

Metauro, 193

Metello Vari: dei Porcari, 180, 181, 188

Michael Angelo: claims descent from the House of Canossa, 3; his ancestors, 4; birth and horoscope, 5; foster-mother and schoolmaster, 6; first painting, 7, 97; apprenticed to Ghirlandaio, 8, 97; drawings, 8, 9, 98; studies in the Medici Gardens under Bertoldo, 9, 99; carves the head of a faun, 10, 11; enters the House of Medici, 12, 102; halcyon days with Lorenzo who presents him with a violet-coloured mantle, 12, note, 102; incited by Poliziano, he carves the Rape of Deianira, 14, 103; grief at the loss of his patron, 14; the lost Hercules, 14, 105; makes a snow-statue for Piero, 15; studies anatomy at Santo Spirito and carves a crucifix in wood for the Prior, 16; fears of Cardiere, 17; and flight to Bologna, 18; the Angel of the Shrine of San Domenico, 19, 105; returns to Florence, 21, 106; the San Giovannino and the god of Love, 21, 22, 23, 106, 107; first visit to Rome, 22, 107; carves a Bacchus and a little Cupid, 24, 25, 107, 108; and the Madonna della Pieta, 25, 112; returns to Florence, 27, 28, 114-120; the Madonna of Bruges, 29, 121; the three Tondi, 29, 121-124; the Cartoon of Pisa, 37, 38, 124-127; summoned to Rome by Julius II., 29, 128; who orders the Tomb, 30-34, 128-130; marbles brought from Carrara, 30, 34, 128; flight from Rome, 85, 36, 130; works in Florence on the Cartoon, 37, 130; joins Julius at Bologna, 39, 132; the Colossal Bronze, 40, 133-142, 144, 145; returns to Florence, 143; but is summoned to Rome, 143; to paint the vault of the Sistine Chapel, 41-49, 145-165; descriptions of the vault, 42-46, 167-179; death of Julius, 50, 146, 180; proceeds with the Tomb, 51, 180-182; but Leo X. orders a facade for San Lorenzo, 51; quarries at Carrara and Pietra Santa, 52, 183, 185; the facade abandoned, 54, 185; the Library, 54; the New Sacristy, 54, 186; and the Medici Tombs, 68-60, 192-194, 208-216; the Siege of Florence, the master made Commissary-General of Fortifications, 55-58; visits Ferrara, 60; flight to Venice, 66; return to duty, 57; the fall of Florence, 67, 203; the master in hiding, but he is allowed to return to work on the Tombs, 68, 203; the Leda, 61, 62, 202; the Risen Christ, 74, 180, 187, 188; new agreement with the executors of Julius, 62-64, 194; the master is called to Rome by Clement VII. and leaves Florence for the last time, 62, 208; the Day of Judgment, 64, 70, 71, 216-224; Paul III. appoints the master chief architect, sculptor, and painter to the Vatican, 216; the Tomb of Julius erected in San Pietro ad Vincula, 67-69, 195, 224-227; the frescoes in the Cappella Paolino, 73, 232; the Pieta of S.M. del Fiore, 73, 234-237; the cornice of the Farnese Palace, 238; St. Peter's, 238, 239, 246; the Brutus, 249; S.M. degli Angeli, 251; a grand-nephew born, 265; death of Urbino, 256, 256; a visit to the country near Spoleto, 256; illness, 268; death, 258; works left in his house, 259; his body is deposited in SS. Apostoli, 260; conveyed to Florence, 260; and carried to Santa Croce, 261; his imitators, 263; character and endowments of the master, 77; his love of all beautiful things, 87; his abstemious life, 88; generosity, 88, 264, 265; a description of his person, 91; and the colour of his hair and eyes, 92; the master visits S. Silvester, 273; and expresses his opinion of the quiet life of work, 276; of painting in Flanders, 279; on drawing, 295-297, 308-322; on working quickly or slowly, 325; on the value of paintings, 314; on grotesque, 316; and on devotional painting, 319.

Milan, 158, 250

Milliarini: Professor, discovers a statue, 108

Minerva: the church of S.M. Sopra, 74, 180, 181

Mini: Antonio, pupil of the master, 192, 204, 264

Mini: Paolo, 207

Miniato: San, fortifications, 55, 202, 203

Minighella, 264

Monciatto: woodcarver, 115

Montanto: Antonio, 184

Montelupo, 194

Montevarchi: Ser Giovanni di Guasparre, 151

Montevecchio; Cardinal, 63

Montorsoli, 194

Moscheroni: Flemish merchants, 29

Moses: marble statue, the Tomb of Julius, 33, 67, 68, 129, 167, 182, 225

Mother: of the Master, _see_ Francesca

Mould on the Vault, 46, 161

Mozza: Via, 184

Nanni di Baccio Bigio: his intrigues, 242, 244, 247

Naples: copy of the Day of Judgment, 253

National Gallery, 116, 157, 204, 265, 292, 330, 331

Neptune: proposed statue of Andrea Doria as, 190, 191

Nero, 275, 285

New Sacristy of San Lorenzo, 192, 208, 293

Nicholas V.: Pope, 34

Nicolo di Bari: the ark of San Domenico, 105

Nicolo: San, beyond Arno, 203

Night: marble statue, New Sacristy, 58, 194, 203, 204, 209, 213, 214, 293

Noah: the Sacrifice of, Sistine Chapel, 44, 45

Novella: S.M., the first art school of the master, 99

Oil painting; the master's opinion of 217

Ollanda: _see_ Francesco

Onofrio: San, the master's workshop at, 124

Operai: of the Duomo, 115, 120

Orcagna, 99

Orvieto, 221

Ottavio Farnese: the marriage of, 306

Ovid, 299

Oxford: drawings at, anatomy students, 16; after two destroyed frescoes, 166; design for alterations at San Lorenzo, 198, 230

Padua, 290

Palla: Giovanni Battista della, 105

Paolina: Cappella, 224

Paolo Galli: owned the Bacchus and the little Cupid, 25

Paris: the Leda goes to, 204

Parma, 3, 291

Parmigiano, 291, 327

Paul: St., conversion of, fresco, 73, 101

Paul III.: Pope, elected, 66; visits the master, 67; orders him to proceed with the Day of Judgment, 70, 73, 78, 80, 84; appoints the master chief architect, 216; his answer to Messer Biagio, 223; orders the frescoes for his chapel, 224, 225, 237, 239; death, 242, 248, 276, 314

Paul IV.: Pope, 223

Pavia: Cardinal of, 132, 141, 147

Penseroso: Il, 203

Perino del Vaga, 127, 238, 270, 291, 327

Perspective, 82

Perugino, 77, 166, 216

Peruzzi: Baldassari, 238, 240, 242, 292, 295, 327

Pesaro, 290

Pescara: Marchioness of, _see_ Colonna

Pesellino: studies from, 105

Peter: St., a blocked out statue, 259

Peter: St., crucifixion of, alfresco, 73

Peter's: the church of St., new design for, 25, 33, 83; plans altered to embrace the project of the Tomb, 129; the master undertakes the works, 238, 243, 244, 245, 249, 259, 291, 292, 305

Petrarca, 19; and Tuscan rhyme, 76

Petronilla: Santa, the Madonna della Pieta placed in the church of, 25, 112

Petronio: San, a marble statuette finished by the master, 105

Petronio: San, the master hears mass in the church of, 39

Phaeton: a drawing, 231

Phidias, 156, 294

Piacenza: the ferry revenue goes to the master, 216

Piecolomini: Cardinal Francesco, orders fifteen statues, 114

Pico della Mirandola, 102

Pier Luigi: Gaeta, 247

Piero di Cosimo, 103, note, 116

Pierre Mariette: the fate of the Leda, 204

Pieta: a drawing, 259

Pieta: of S.M. del Fiore, 73, 233, 236, 262

Pieta: the Palazzo Rondini, 237

Pieta: Viterbo, by Sebastiano, 265

Pieta: _see_ Madonna della Pieta

Pietra: Santa, marble quarries, 52, 53, 183-185

Pietro Matteo d'Amelia, 150

Pietro: San, in Montorio, wall painting by Sebastiano, 101, 265, 292

Pietro: San, in Viticula, the Tomb of Julius II. set up, 67, 129, 182

Pietro: San, Maggiore, Florence, 260

Pietro Urbano: a workman, 133

Pietro Urbino, 187, 264

Pilote: goldsmith, 264

Pinti: Borgo, the master's house in, 120

Pintoricchio: Bernardino, 166

Piombo: _see_ Sebastiano

Pisa: fortifications, 202; picture by Buggiardini, 158; 291

Pisa: _see_ Cartoon

Pisani: pulpits of the, 103

Pisano: Giovanni, 177

Pistoia: San Andrea at, 177; 264

Pitti: Bartolomineo, 121

Pius III.: Pope, _see_ Piccolomini.

Pius IV.: Pope, elected, 245; confirms the master in his office, 247, 250

Pius V.: injures the Day of Judgment, 228

Plato, 75, 87

Plutarch, 286, 326

Po: the river, 193; revenue of a ferry, 216

Poggibonsi, 35

Pole: Cardinal, a friend of the master, 84

Polidoro, 292, 327

Poliziano: recognises the master's lofty spirit, 13, 102, 103

Pollaiuolo: Salvestro del, nephew of Antonio, 139

Pollaiuolo: Simone il, 131

Polvaccio: Roman quarry, 187

Pompey, 286, 310

Ponte: Maestro Bernardo dal, helps to cast the Colossal Bronze, 136, 139

Ponte Rotto, 245

Pontormo: Il, 127, 264

Porta del Popolo, 251

Porta Pia, 251

Portraits of the master, 252, 263

Praxiteles, 294

Prophets: Sistine Chapel, 42, 45, 164, 166-170, 176-178, 211

Protogenes, 325

Psyche: the Story of, by Raphael, 292

Pulci: Luigi, 102

Raffaellino: offers to come as assistant, 149

Raffaello da Monte Lupo: his autobiography, 121; the Madonna for the Tomb of Julius, 224-226

Raising of Lazarus: by Sebastiano, the master's design for, 265

Raphael: da Urbino, proposed by the master as painter of the Sistine, 41, 47; studies the style of the master, 77; he is praised by the master, 89; his painting of Doni, 122; studied the Cartoon, 126; his manner with his assistants, 155; the proposition of Bramante, 164; cartoons for tapestry, 167; his composition of the Sacrifice of Noah, 173; Sibyls at S.M. della Pace, 177; a putto, 178, 197, 221, 238, 240, 242, 256, 263, 271, 292

Ravenna, 184

Realdo: physician, 91

Redemptions of Israel, 166, 169, 178

Reggio, 3

Rembrandt, 172, 224

Reynel: King of France, 293

Riccio: Luigi del, nurses the master when ill, 227

Ricordi: the vault finished, 165; the facade of San Lorenzo abandoned, 185; marbles for the sacristy, 187; 192; Gondi hides goods in the New Sacristy, 201

Ridolfi: Cardinal, 85

Ridolfo Pio of Carpi: Cardinal, letter to, 241; the Brutus for, 249

Ridolfo: _see_ Ghirlandaio

Rimini: a post on the Chancery bestowed on the master, 216

Risen Christ: _see_ Christ

Robertet: Florimond, secretary, receives the bronze David, 119, 120

Rocco: a San, drawn for Minighella, 264

Rondini: Palazzo, Pieta in, 237

Rontini: Baccio, cures the master from the effects of his fall, 219

Romans: claim him as a citizen, 260

Rome: the master's first visit, 29, 30 37, 41, 107, 109, 111, 121, 128 130, 184, 185; the sack of, 200, 205; the master returns finally, 216, 237, 240, 246, 247, 253, 256, 260, 270, 291, 305, 314

Rosselli: Cosimo, 116, 166

Rosselli: Piero di Jacopo, plasters the vault, 149

Rosselli: Pietro, letter to the master, 130

Rosselmini: Count Guarlandi, 106

Rosso: II, worked from the Cartoon, 127

Rovere: _see_ Julius II.

Rovezzano: Benedetto da, 119

Rovano: Cardinal, _see_ Dionigi

Royal Academy: _see_ Diploma Gallery

Rucellai: recommendation to, 24

Ruffilni: Alessandro, groom of the Chamber, 83

Sacrarium: at San Lorenzo, design, 198

Sacrifice of Noah, 172, 173

Sacristy of San Lorenzo: _see_ Medici Tombs

Sack of Rome, 200, 205

Salt-cellar: design for, 217

Salvestro da Montanto, 226

Salvestro: jeweller, 116

Salviati: Alamano, 30

Salviati: Cardinal, 244

Salviati: Cecchino, rescues fragments of the arm of the David, 117

Salviati: Michael Angelo, father of Cecchino, 117

Salviati: Jacopo, 192

Sanazzaro, 76

Sangallo; Antonio da, 34, 47, 85, 116, 237, 238, 240-242, 259

Sangallo: Aristotele, assistant, 151

Sangallo: Ginliano da, 116, 141

San Gallo: Porta, 200

Sansovino: Andrea del Monte a, 27

Sansovino: Jacopo, 263

Santa Croce: Cardinal, 84

Santa Croce: Florence, 253, 260-262

Santarelli: sculptor, discovers a statue, 108

Santiquattro: Cardinal, 61, 52

Sarto: _see_ Andrea

Savonarola: the master's affection for, 87; his sermons, 106

Scaffolding: designed by the master, 82; drawing of, 98; fall from, 218

Schongauer: _see_ Martin Scipio, 84

Scourging of Christ: drawn for Sebastiano, 101, 265

Sebastiano del Piombo, 101: a walk in Rome, 121; letters from, 185, 187, 188, 205; portrait of Doria, 191; letter to, 197; prepares the wall for the Day of Judgment, 217, 231, 238, 253, note; his genial humour, 264; designs for, 265, 292, 314, 327

Setta Sangallesca, 237, 242-245

Settignano: the master nursed at, 6

Sibyls, 42, 45, 164, 166-170, 176-178; by Raphael, 177

Siege of Florence, 201, 205

Siena, 273, 292, 327

Sigismondo: a brother, 109

Signorelli: Luca, pictures in the Uffizi, 123; and Sistine Chapel, 166; slight influence of, 123, 124

Silvester: San, at Monte Cavallo, 271-327

Simone da Canossa: ancestor, 4, 6

Sin of Ham, 164, 170, 174, 179

Sistine Chapel, 41-49, 167-180, 210

Sixtus IV.: Pope, 41

Slaves: the two, marble statues, given to Strozzi, 89, 129, 116; 182, 216, 225, 227

Snow: a statue in, 15

Socrates, 87

Soderini: Cardinal, 39

Soderini: Pier, Gonfaloniere, 28, 36, 37, 96, 97; his criticism of the David, 118, 132

Solari: Cristoforo, Il Gobbo, 113

Spain, 200, 312, 313

Spanish Chapel, 99

Spedalingo: head of the hospital of S.M. Nuova, 157, 181, 182

Spina: Giovanni, to pay a provision to the master, 192; letter to, 194

Spirito: Santo, a crucifix for, 16

Spoleto, 256

Staccoli: Hieronimo, his letter to the Duke of Camerino, 217

Stairway to the Library, 250

Stanze: of the Vatican, 263, 270, 271, 292

Stefano: di Tomaso, 191, 192

Strozzi: Filippo, a sword hilt given to, 136

Strozzi: Giovan Battista, verses on the Night, 218

Strozzi: Lorenzo, 161