Chapter XXVII: Appendix (4)

Strozzi Palace: the Hercules there until the siege, 105

Strozzi: Roberto, Slaves given to, 88, 89, 227

Stufa: Luigi della, a colossus to spoil the front of his palace, 198, 199

Sword-hilt: designed for Aldobrandini but given to Strozzi, 186

Tapestry: Raphael's cartoons for, 167

Tasio: wood-carver, 197

Taro: river, 193

Te: Palazzo del, 263

Teridade: King, 294

Terribilita: the master's, 101, 117

Teyler Museum: Haarlem, 253

Tiber, 193

Tiberio Calcagni, 249; letter to Lionardo, 257, 258

Ticino: river, 193

Titian: his later work, 230, 290, 327

Tityos: drawing, 231

Tolemei: Claudio, 85

Tomaso: _see_ Cavalieri

Tomaso: of Prato, attorney, 62

Tomb of Julius: first design, 30-33, 128, 129; description, 67; moneys received for, 69, 183, 186; the master's desire to complete it, 191; and trouble concerning it, 194, 205, 207

Tondi: _see_ Madonna and Child

Topolino: Domenico Fancelli, letter to, 190; 264

Torrigiano: strikes the master, 91; his history, 92; a St. Francis by, 114

Tribolo: studied the Cartoon, 127

Trinita de' Monti, 253

Tromboncini: Bartolomeo, music to the madrigals, 207

Turk: The Grand, invites the master, 37, 78

Uffizi: Florence, the painted tondo, 29, 122; the dancing Faun, 175; Signorelli's pictures 123; drawings, 193

Urbino: Francesco, 255, 256, 273, 314

Urbino: Francesco Maria, Duke of, finds fault with the slow progress of the Tomb of Julius II., 55, 62-64; Paul III. arranges a new contract, 67, 69, 207; final contract, 225, 226, 290

Urbino: the master thinks of retiring to, 66

Urbino: the Palace of the Duke, 290

Valdarno, 264

Valori: Baccio, the Apollo presented to, 205, 207

Valentino: Duke, sends the god of Love to Mantua, 22, 23

Valerio Cioli, 262

Valerio de Vincenca, 270

Valpaio: Benvenuto, 207

Valuation of works of art, 314

Vansitelli, 251

Varchi: Lectures and criticisms on the sonnets, 86; oration, 262

Vari: _see_ Metello

Vasari: Giorgio, his famous book, 92, 97, 98; preserves the broken fragments of the arm of the David, 117; the story of the Gonfaloniere, 118; the St. Matthew, 120; the tondi, 121, 122; the Cartoon, 126; seventeen statues for the Tomb of Julius completed, 130; a list of assistants, 150, 151; his fable of the vault, 158, 163; the Apollo, 204; he completes the works at San Lorenzo, 209, 211; how Sebastiano prepared the wall, 217; the master's fall, 218; the Day of Judgment, 222; the Cappella Paolino, 232; he sees the master working at night, 235; a Pieta, 237; the cornice, 238; St. Peter's, 241; plots, 243; the bridge of Nanni, 245; the church for the Florentines in Rome, 249; the medal of Leone, 252; he holds another Buonarroto at the font, 255; a letter to, referring to the death of Urbino, 255, 256; the master's will, 269; he receives the master's body in Florence, 260; and describes the opening of the coffin in Santa Croce, 261; and the obsequies at San Lorenzo, 262; he designs the Tomb, 262; and enumerates the pupils, 263

Vauban: studies the fortifications at San Miniato, 203

Vault: of the Sistine Chapel, 41-49; works begun, 149; painting begins, 151; assistants dismissed, 156; mould on the fresco, 161; exposed to view, 163; finished, 165; a description, 167-179, 291

Vecchio: Palazzo, 116; cartoon for, 124; Bandinelli's Hercules and Cacus, 204

Venice: the master invited to, 78; flees to, 202; Sebastiano refers to, 206, 290, 327

Venusti: _see_ Marcello

Victory: the, a marble statue in the Bargello, 129, 228

Vincenzo: _see_ Borghini

Vinci: _see_ Lionardo

Vincula: San Pietro in, Bramante's work needs support, 32; the Moses placed in, 33 Virgil, 76, 298, 303

Vitelli: Alessandro, 60

Viterbo: Vittoria Colonna visits, 85, 240; the Pieta by Sebastiano, 265

Vitruvius, 237

Vittoria: _see_ Colonna

Volterra: Cardinal, letter from Soderini to, 132

Volterra: _see_ Daniele

Windsor: drawings, 230

Works of art in the house of the master when he died, 259

Zanobi: Via San, 184

Zanobi: Mona, land near her estate, 135

Zapata: Diogo, 289

Zeuxis, 315

Printed by BALLANTYNE, HANSON & CO.

London & Edinburgh

1 For convenience of reference the chapters in the two parts are
divided so as to cover the same periods of time in the life of the
master.

2 Count Alessandro da Canossa acknowledged relationship to Michael
Angelo in a letter, dated October 4, 1520 (Gotti, i. 4), addressing
the master as "honoured kinsman," but the relationship cannot now be
proved. The ancestors of Michael Angelo have been traced to one
Bernardo who died before the year 1228, and they played their part
as citizens of Florence, no mean city, for more than two hundred
years--a noble pedigree even for Michael Angelo.

3 A paid magistrate or mayor, generally from a neighbouring town or
country and not a citizen of the place where he was on duty.

4 Caprese is made up of scattered hamlets and farmhouses near Arezzo,
upon the watershed between the Tiber and the Arno.

5 Upon March 6, 1475, according to our present reckoning, Lodovico
wrote in his note-book:

"I record that on this day, March 6, 1474, a male child was born to
me. I gave him the name of Michael Angelo, and he was born on a
Monday morning four or five hours before daybreak, and he was born
while I was Podesta of Caprese, and he was born at Caprese; and the
godfathers were those I have named below. He was baptized on the
eighth of the same month in the Church of San Giovanni at Caprese."
Then follow the godfathers; there are ten of them.

6 Maestro Francesco only taught Michael Angelo to read and write in
the vulgar tongue, for his pupil complained in after life that he
knew no Latin; this was not Francesco's fault, for his pupil soon
followed his friend's--another Francesco--influence and neglected
literature for the art that made him famous.

7 Ghirlandaio, born 1449, died 1494.

8 Martin Schongauer, born at Colmar about 1450, died 1488.

9 When Michael Angelo was thirteen years old Lodovico gave in to his
wishes and apprenticed him to Domenico Ghirlandajo (he was called
Ghirlandajo because as a goldsmith he had made garlands of golden
leaves for the brows of the Florentine ladies) upon the unusual
terms set forth in the following minute from Domenico's ledger under
the date 1488:

"I record this first of April how that I, Lodovico di Lionardo di
Buonarrota, bind my son Michael Angelo to Domenico and Davit di
Tommaso di Currado for the next three ensuing years, under these
conditions and contracts: to wit that the said Michael Angelo shall
stay with the above-named masters during this time, to learn the art
of painting, and to practise the same, and to be at the order of the
above-named; and they for their part, shall give him in the course
of these three years twenty-four florins (fiorini di Sagello, _L_8
12_s._); to wit, six florins in the first year, eight in the second,
ten in the third, making in all the sum of ninety-six pounds
(lire)."

A note of April 16, 1488, records that two florins were paid to
Michael Angelo upon that day. The total sum is estimated by Gotti
(p. 6, note) to equal 206.40 lira present value--about _L_8 12_s._ It
was usual for apprentices to pay a sum to their masters rather than
to be paid.

10 Drawings, even by old masters, were of no pecuniary value in those
days; they were merely kept for use in the workshop. The fashion of
collecting drawings for their own sake was invented by Giorgio
Vasari some sixty years later.

11 There is a mask of a grinning faun to be seen in the Bargello at
Florence, attributed to Michael Angelo and said to be this his first
work in sculpture. It does not correspond with either the account of
Vasari or of Condivi; it is a poor and ugly piece of work, and shows
no sign whatever of the early style of Michael Angelo, but is more
likely a work of a later period by some one who had seen the mask
under the left arm of "The Night" on the tomb of Lorenzo at San
Lorenzo.

12 "During this time Michael Angelo received from the Magnifico an
allowance of five ducats per month, and was furthermore presented
for his gratification with a violet-coloured mantle. But, indeed,
all the young men who studied in the gardens received stipends of
greater or less amount from the liberality of that Magnificent and
most noble citizen, being constantly encouraged and rewarded by him
whilst he lived." (Vasari.)

13 Many motives from antique gems may be traced in the art of Michael
Angelo, such as the Judith and her maid, some of the athletes the
Leda, and even the Adam.

14 Lorenzo died upon the eighth day of April, 1492.

15 Equal to-day to 20.60 lire--about seventeen shillings.

16 Nineteen and a quarter inches according to the measurements of Heath
Wilson ("Michael Angelo and his Works," p. 17, ed. 1881). This
relief is in the Casa Buonarroti, Florence.

17 We have no record of this work, and its whereabouts is not known.

18 The boy, Michael Angelo, probably enjoyed this frolic and its
attendant festivities as much as Piero, he could not have done much
other work in the dungeon-like studios of Florence in such cold
weather. This incident has been regarded as an insult to the artist
and a sign of Piero's want of taste. Michael Angelo cannot have felt
aggrieved as he stayed on at the palace. Condivi relates that he
remained "some months." Piero should rather be blamed for not
employing his artist guest upon some more lasting work also.

19 Nothing is known as to the fate of this work, it is not now in the
church.

20 Vasari states that Michael Angelo devoted much time to the study of
anatomy. "For the church of Santo Spirito, in Florence, Michael
Angelo made a crucifix in wood, which is placed over the lunette of
the high altar. This he did to please the Prior, who had given him a
room wherein he dissected many dead bodies, zealously studying
anatomy." (Vasari.)

A pen drawing at Oxford shows us two students studying anatomy at
night; the body of the subject supports the torch; one student holds
a pair of compasses in his right hand for measuring the proportions.

21 Michael Angelo left Bologna hastily under fear of personal violence
from the sculptors and native craftsmen, who said he was taking the
bread out of their mouths, rather a strong compliment to a boy of
twenty.

22 The dealer Baldassari del Milanese paid Michael Angelo thirty ducats
for this work, and sold it to Raffaello Riario, Cardinal di San
Giorgio, as an antique for two hundred ducats, an evidence, not of
the Cardinal's foolishness, but of Michael Angelo's careful study of
the antique.

23 The Cardinal S. Giorgio made Messer Baldassari refund the two
hundred ducats and take the Cupid back, so Michael Angelo got
nothing for his journey. Cesare Borgia presented this Cupid to
Guidobaldo di Montefeltro, Duke of Urbino. After Cesare Borgia
sacked the town of Urbino in 1592 he sent the Cupid to the
Marchioness of Mantua, who wrote on July 22, 1592, describing the
Cupid as "without a peer among the works of modern times." There is
a sleeping Cupid at Mantua in the Museo Civico, but it is not by
Michael Angelo. Signor Fabriczy holds that a Cupid preserved in the
museum at Turin may be Michael Angelo's original work, but the
translator has not seen it.

24 Michael Angelo arrived in Rome for the first time at the end of June
1496, and wrote in July to Lorenzo di' Pier Francesco de' Medici.
The letter bears a superscription to Sandro Botticelli; historians
presume from this that it was not safe to write openly to any of the
Medici.

"2nd day of July, 1496.

"Magnificent Lorenzo,--I only write to inform you that last Saturday
we arrived safely, and went at once to visit the Cardinal di San
Giorgio; and I presented your letter to him. It appeared to me that
he was pleased to see me, and he expressed a wish that I should go
immediately to inspect his collection of statues. I spent the whole
day there, and for that reason was unable to deliver all your
letters. On Sunday the Cardinal came into the new house, and had me
sent for. I went to him, and he asked me what I thought about the
things I had seen. I replied by stating my opinion, and certainly I
can say with sincerity that there are many fine things in the
collection. Then he asked me if I had the courage to make some
beautiful work. I answered that I should not be able to achieve
anything so great, but that he should see what I could do. We have
bought a piece of marble for a life size statue, and on Monday I
shall begin to work. On Monday last I presented your other letter of
recommendation to Rucellai, who offered me what money I might want;
also those to Cavalcanti. Afterwards I gave your letter to
Baldassare, and asked him for the child (the sleeping Cupid), saying
I was ready to refund his money. He answered very roughly, swearing
he would rather break it in a hundred pieces; he had bought the
child and it was his property; he possessed writing which proved
that he had satisfied the person who sent it to him, and was under
no apprehension that he should have to give it up. Then he
complained bitterly of you, saying that you had spoken ill of him.
Certain of our Florentines sought to accommodate matters, but failed
in their attempt. Now I look to coming to terms through the
Cardinal; for this is the advice of Baldassare Balducci. What ensues
I will report to you. No more by this. To you I recommend myself.
May God keep you from evil.

"Michael Angelo, in Rome.

"To Sandro Botticelli, at Florence."

(Gotti, ii. 32.)

25 This ugly, but marvellously-finished statue is now in the western
corridor of the Uffizi, in Florence. See p. 107.

26 See p. 108.

27 The work is now in the first chapel on the right in the nave of the
Basilica of Saint Peter's.

28 Now in the Accademia delle Belle Arti of Florence, where it was
placed for its better preservation in 1831.

29 The Office of Works.

30 Documents, copies of which are to be found in "Gaye," vol. ii. pp.
454-464, go to prove that this sculptor was Agostino di Antonio di
Duccio, who was born in 1418 and died in 1481. He was the author of
the relief illustrating the life of S. Gemignano upon the facade of
the Duomo at Modena, and some of the beautiful and delicate marble
reliefs set in the polychromatic front of the Oratory of S.
Bernardino at Perugia, and the fairy-like low relief (bassissimi
rilievi) panels that decorate the interior of the temple of
Malatesta at Rimini.

31 The Madonna and Child in the church of Notre Dame at Bruges,
identified as this work, is in marble. Vasari also states that the
work for the Moscheroni, Merchants of Bruges, was a bronze, but both
accounts were written fifty years after the event. Albert Duerer saw
this work in the church and mentions it as a marble statue in his
"Netherlands Diary," 1520-21.

32 Now in the Tribuna of the Uffizi, Florence.

33 Michael Angelo received payment for the cartoon probably in Florence
on February the 28th, 1505 ("Gaye," ii., p. 93), and he went to
Carrara in April of that year, so the delay was only two months, a
short enough time to prepare his great design.

34 The right bank of the Tiber below Rome. On the opposite shore is the
Marmorata, where blocks of marble were unloaded in the times of the
ancient Romans; some are there to this day.

35 The covered way from the Vatican to the Castle of Saint Angelo.

36 Heath Wilson estimates the area it would have covered as 34-1/2 ft.
by 23 ft. (p. 74).

37 Michael Angelo fled from Rome during the week after Easter, 1506. He
relates the circumstances in a letter of October 1542, No. c. d.
xxxv. "Le Lettere p. 489," which corroborates Condivi's story word
for word, and is another proof of the autobiographical nature of
these memoirs.

38 No fragments of this cartoon remain; perhaps the best copy is that
in possession of the Earl of Leicester at Holkham Hall. See also p.
124.

39 Like the good Catholic he was, he went to hear mass as soon as he
had completed his journey; he always behaved as a good son of the
Church.

40 This composition is generally known as the "Sacrifice of Noah," see
p. 172. Condivi evidently did not refer these descriptions to the
master, they are so full of curious individualities of his own.

41 That is the picture right.

42 The picture right, _i.e._, the spectator's left.

43 "To bloom," as a painter of to-day would say.

44 See p. 163.

45 See pp. 147-165 and 183. The first half may be estimated to have
taken eight months and a few days, and the second half from January
1510 to October 1512, with intervals for journeys to Florence, to
Bologna, and other interruptions.

46 That is professional assistance by artists or pupils. Workmen were
employed to plaster each day's section of work, writers to do the
lettering, and even decorative workmen for architectural details.

47 These quarries are in the Alpi Apuane near Viareggio, we are
informed by a modern Florentine sculptor that this marble is of
excellent quality.

48 See pp. 183-185.

49 This column was still lying in the Piazza of San Lorenzo in 1888; it
has now been removed.

50 Michael Angelo's love for Lorenzo the Magnificent never abated, and
these tombs may be regarded as a tribute to his early patron's
memory. He worked upon them in secret during the siege itself.

51 Condivi had not seen this sacristy and described it merely from the
fragmentary recollections of the master.

52 Possibly in the Duke's collection there may have been an antique gem
engraved with the story of Leda which influenced Michael Angelo in
his choice of this classical subject for the picture he painted for
the Duke.

53 The best version of this picture is in one the offices of the
National Gallery, London; it is probably the much restored original
which was supposed to have been destroyed by order of M. Desnoyers.
See p. 204.

54 Francis I.

55 Afterwards Cardinal Pole, Papal Legate in the time of King Henry
VIII. and Queen Mary I., born at Stourton Castle, Staffordshire,
1500; died November 18, 1558.

56 The Slaves, now in the Louvre, Paris.

57 The ox, in Italian banter, appears to have taken the position of the
ass with us in England, as a dull, heavy beast, a fool. Michael
Angelo's answer was, as it were: "It is according to the asses you
mean; if it be these asses of Bolognese doubtless they are much
bigger; if ours of Florence they are much smaller. You are bigger
asses in Bologna than we are in Florence."

58 Piero Torrigiano gave his version of the affair to Benvenuto Cellini
long afterwards: "This Buonarroti and I used, when we were boys, to
go into the Church of the Carmine to learn drawing from the Chapel
of Masaccio. It was Buonarroti's habit to banter all who were
drawing there, and one day, when he was annoying me, I got more
angry than usual, and, clenching my fist, I gave him such a blow on
the nose that I felt bone and cartilage go down like biscuit beneath
my knuckles; and this mark of mine he will carry with him to his
grave." Cellini adds--"These words begat in me such hatred of the man
since I was always gazing at the masterpieces of the divine Michael
Angelo, that, although I felt a wish to go with him to England, I
now could never bear the sight of him."

Torrigiano worked for Henry VIII. of England in Henry VII. chapel,
Westminster, and at Hampton Court. Afterwards he went to Spain and
came to a bad end there, as Condivi says. He died in the prisons of
the Inquisition, he had been condemned for destroying a figure of
the Madonna of his own carving; his patron paid him insufficiently,
so he went to the house, hammer in hand, and destroyed the statue,
with this unfortunate result. He starved himself to death in prison
as a worse fate awaited him. See Vasari.

59 Can this refer to the Second Edition of "The Lives of the Painters,
Sculptors, and Architects," by the kindly Giorgio Vasari?

60 --_The Temptation of Saint Anthony_, from the engraving by Martin
Schongauer.

61 Ghirlandaio.

62 There is a drawing in the Louvre of a faun's head, in pen and ink,
by Michael Angelo, over a red chalk drawing by an inferior hand. It
does not appear to be this drawing mentioned by Vasari, but a
caprice possibly of the same period, in which the master has
undertaken to draw a head with a pen, in which the projections and
indentations of the profile shall contradict the outline of the
conventional red chalk drawing below.

63 Vasari tells us that one of these pulpits had not been placed in its
position in the church even when Michael Angelo's funeral service
was held there in 1564, so it is quite likely that it was still in
the workshop in 1489.

64 That is the Hellenic work of the degenerate Greeks in Italy: all
that was to be seen in his day.

65 Page 10.

66 All the works of Michael Angelo, whether sculpture, painting, or
drawing partake of the nature of bas-relief, that old Tuscan art
developed to such good purpose by the Florentines. The marks of his
chisel hatch out the forms and develop the planes just as the
parallel strokes of his pen cut out the reliefs of his drawings from
the paper. His method of sculpture in the round was that of a carver
of bas-reliefs. He gradually cut away the background more and more
until the relief was actually the highest relief possible, the
round. Every piece of sculpture Michael Angelo executed is the
better for a background, whether niche or wall, for they all partake
of this bas-relief nature; and his paintings and drawings may every
one of them be thought of as bas-reliefs, and so it is with all the
works of the Florentines, his contemporaries and predecessors. Space
and distance never entered into their calculations before the time
of Piero di Cosimo and his pupil Andrea del Sarto, and even then
with but indifferent results. They were all content with the flat
bas-relief effects familiar to them in the gates of the Baptistry
and the jewel-like decorations of the Campanile. Their favourite
problem was the expression of force by form, and no art was so
useful for that purpose as bas-relief, because of its fixed main
lines of composition and its absolute power of expressing the detail
of the action of muscle and bone.

67 Leonardo may have shown it to Vasari also as an early work of the
master's; Condivi does not mention it.

68 The cast of an angel from this shrine at the Victoria and Albert
Museum, South Kensington, is not from the one carved by Michael
Angelo, nor is it of his school as the label states; it is probably
by Nicolo del Arca. Michael Angelo's figure is the companion angel
on the other side of the altar.

69 See p. 21.

70 Probably because it was dangerous to write to any member of the
Medici family. It proves to us that Michael Angelo and Sandro
Botticelli were on confidential terms.

71 See p. 24.

72 See p. 25.

73 Vol. i. p. 22.

74 The "Monte di Pieta" is a savings-bank and pawn-broker's,
established by the state or city.

75 Le Lettere, ii. p. 4.

76 Gotti, ii. p. 33 (Archivio Buonarroti).

77 Nine cubits = 5.31 metres, or 13 feet 6 inches.

78 Agostino di Duccio.

79 Gotti estimates six golden florins at 57.60 francs, or about _L2
6s_.

80 S.C. 1504. See "Le Lettere," &c., p. 620.

81 A contemporary account, Gotti, vol. i. p. 29.

82 Firenze: Le Monnier, 1857, p. 197.

83 Perkins "Tuscan Sculptors," vol. ii. p. 74.

84 This reason given by Vasari for the use of various mediums is just
the sort of reason he would have had himself for using them. Michael
Angelo merely used different materials because it was the best way
of getting the different effects he wanted, or, sometimes possibly,
because they happened to be handy.

85 We know how difficult it is to get facts about the works done a few
decades ago, even though the artists be still living; for instance,
how little we know of the cartoon competition held in Westminster
Hall in 1843, or the fresco of Justice painted by Mr. G.F. Watts,
R.A., in the New Hall of Lincoln's Inn.

86 Gotti, i. p. 46 (in the Archivio Buonarroti).

87 Gaye, vol. ii. pp. 83, 84, 85, 91, 93, gives all the correspondence.

88 Lettere, No. ccclxxxiii.

89 About fourteen feet, that is to say, at least three times the size
of life, as it was a sitting figure.

90 Lettere, No. xlviii. p. 61 (in the British Museum).

91 Le Lettere, No. 1. p. 65 (in the Archivio Buonarroti).

92 That is, Dame Zanobia.

93 Le Lettere, No. iv. p. 8 (in the British Museum).

94 We should like to see it; we have nothing of Michael Angelo's which
can help us to imagine what this work was like.

95 Le Lettere, No. lx. p. 76 (in the British Museum).

96 Le Lettere, No. lxii. p. 78 (in the Archivio Buonarroti).

97 Le Lettere, No. lxiii. p. 79 (in the British Museum).

98 Le Lettere, No. lxiv. p. 80 (in the Archivio Buonarroto).

99 Nephew of Antonio del Pollaiuolo.

100 Le Lettere, No. lxv. p. 81 (in the Archivio Buonarroto).

101 Le Lettere, No. lxxii. p. 88 (in the British Museum).

102 Le Lettere, No. lxxv. p. 91 (in the Archivio Buonarroti).

103 Lettere, No. ccclxxxiii. p. 426 (in the Archivio Buonarroti).

104 Le Lettere, No. c. (Ricordi) p. 563 (in the British Museum).

105 In the Buonarroti Archives; quoted by Heath Wilson, p. 123.

106 ._Ibid._ p. 124.

107 Le Lettere, No. vii. p. 13 (in the British Museum).

108 The head of the hospital of Santa Maria Nuova in Florence, where
Michael Angelo banked his money.

109 L'Indaco.

110 Le Lettere, No. x. p. 17 (in the British Museum).

111 Le Lettere xvii. p. 27 (in the British Museum).

112 Lorenzo Strozzi, to whose wool-shop Buonarroto went.

113 Lettere, No. lxxx. p. 97 (in the British Museum).

114 Lettere, No. lxxxi. p. 98 (in the British Museum).

115 Albertini, _Mirabilia Urbis_, quoted by Grimm vol. i. p. 523.
Albertini's words are _pars testudinea superior_.

116 Director of the hospital of Santa Maria Nuova, where Michael Angelo
banked his money.

117 Le Lettere, No. xxi. p. 31 (in the British Museum).

118 J.A. Symonds. "The Sonnets of Michael Angelo and Campanella," No.
lvi. p. 90.

119 Milanesi Lettere, Contratti, &c., xiv. p. 641.

120 The director of the hospital where Michael Angelo banked his money.

121 Milanese, Le Lettere, No. xcvii. p. 115.

122 Michael Angelo wrote a postscript to letter No. cxvi.: "Oh, cursed a
thousand times the day and hour when I left Carrara! This is the
cause of my utter ruin. But I shall go back there soon. Nowadays it
is a sin to do one's duty."

123 Milanese. Ricordi, &c., p. 581.

124 Milanese. "Les Correspondants de Michel Ange," p. 24.

125 ._Ibid._ p. 24.

126 The letters of Vari are in the Buonarroti Archives, Cod. xi., No.
740-761; Symonds, vol. i. p. 362.

127 Le Lettere, No. ccclxxx., p. 423 (in the Archivio Buonarroti).

128 Le Lettere, No. xliv., p. 55 (in the British Museum).

129 Le Lettere, No. cccxc. p. 437. Milanese dates this letter August 8,
1524. Michael Angelo to Giovanni Spina; he signs it "at San
Lorenzo."

130 Several are by the hand of Michael Angelo, but some are done in the
mannered style of the architectural draughtsman of the period, and
suggest a Florentine assistant.

131 Gotti, i. 158

132 Lettere, Nos. cd. and cdii. pp. 450, 453.

133 Le Lettere, No. cccxciv. p. 442 (in the Archivio Buonarroti).

134 Le Lettere, No. cd. p. 450 (in the Archivio Buonarroti).

135 Le Lettere, No. cccxcvii. p. 446 (in the Archivio Buonarroti).

136 Surnamed Dini; he fell in the sack of Rome.

137 Le Lettere, No. cccxcix. p. 448 (in the Archivio Buonarroti).

138 The gate called San Gallo, which remained open until daylight.

139 Vol. i. p. 207.

140 Gotti, i. 199. San Nicolo is a little church on the way to San
Miniato; the tower forms the foreground in the view from the top of
the hill.

141 See p. 61.

142 The letter is in Gaye, ii. 229.

143 Any one who has spent a winter day drawing there will confirm Paolo
in this statement.

144 "Correspondants," pp. 108-112.

145 Vol. ii. pp. 89, 122.

146 In the Archivio Buonarroti, Codici xi. No. 765; Bottari, Lettere
Pittoriche, vol. iii. pp. 78-84; and Symonds, vol. ii. p. 25.

147 See p. 66.

148 Gotti, ii. p. 123.

149 Gotti, ii. p. 125.

150 See Gaye, iv. 289-309, and "Lettere," &c., pp. 709-712.

151 Lettere, No. cdxxxiii., dated July 20.

152 Lettere, p. 715.

153 Lettere, No. cdxlv. p. 505 (in the "Biblioteca Nazionale,"
Florence.)

154 Bottari, Lett. pitt. iii. 796.

155 Heath Wilson, p. 449.

156 Archivio Buonarroti, Cod. vii.

157 Le Lettere, No. cdlix. p. 519 (in the Archivio Buonarroti).

158 "The Sonnets of Michael Angelo." By J.A. Symonds. No. lxv.

159 Le Lettere, No. cdlxxiv. p. 535, written in 1555 (in the Archivio
Buonarroti).

160 If the traveller has no luggage, or has sent it on before, he can
walk from the Trastevere station, past the Ponte Rotto, past the
Temple of Janus to the Forum, and see Rome for the first time so.

161 Le Lettere, No. cdxc., under date 1560, p. 554 (in the Archivio
Buonarroti).

162 Gotti, i. 309.

163 Le Lettere, No. ccxxxi. (December 21st), p. 260 (in the British
Museum).

164 Le Lettere, No. cdlxvi. (October 1549), p. 527 (in the Archivio
Buonarroti).

165 Gotti, i. 311.

166 Le Lettere, No. cdlxxv. p. 537 (in the Archivio Buonarroti).

167 Le Lettere, No. cccii., dated February 13, 1557, p. 333 (in the
Archivio Buonarroti).

168 Le Lettere, No. cdxciv. p. 558 (in the Archivio Buonarroti).

169 Le Lettere, No. cccxiv., dated July 15, 1559, p. 345 (in the
Archivio Buonarroti).

170 Le Lettere, Nos, cdlxxxv., cdlxxxvi. pp. 548, 550.

171 Gotti. i. 351.

172 Florence.

173 Reproduced in Yriarte's Florence, p. 280, English edition.

174 See Frontispiece.

175 May we not hope that Michael Angelo's good friend, the Frate
Sebastiano del Piombo, painted a portrait of him during their long
friendship, and that it will come to light one of these days?

176 Le Lettere, cxci.-cxciii. pp. 217, 219, are on this subject (in the
British Museum).

177 A hospital in Florence for the benefit of the Poveri Vergognosi,
poor folk who have come down in the world.

178 Le Lettere, No. cclxix. p.299 (in the British Museum).

179 Le Lettere, No. cdlxxv p. 539.

180 Cellini.

181 Le Lettere, No. cdlxxix. Dec. 28, 1556, p. 541.

182 "Carte-Michelesche Inedite," p. 41.

183 Gotti, i. 354.

184 A little after 8 P.M.

185 Four o'clock in the afternoon.

186 Gotti, i. p. 354.

187 Clement VII. used to say, "When Buonarroti comes to see me I always
take a seat and bid him be seated at once, feeling sure that he will
do so without leave or licence otherwise."--TRANSLATOR.

188 Albert Duerer.

189 Parmigiano.

190 Assisi (?).

191 The Farnesina.

192 Now in the Vatican Gallery.

193 The church of Santa Maria della Pace.

194 Sebastiano del Piombo; the picture was the Raising of Lazarus, No. 1
in the National Gallery.

195 Chiaroscuro, monochrome.

196 Baldassare Peruzzi.

197 Bandinelli(?).

198 Baldassare Peruzzi.

199 Piazza Navona?

200 In 1538.

201 Ottavio Farnese.

202 Margarite of Austria, natural daughter of Charles V.