Chapter V: I (2)

Eventually we must endeavour to grasp Michelangelo's work in the Sistine as a whole, although it was carried out at distant epochs of his life. For this reason I have thrown these sentences forward, in order to embrace a wide span of his artistic energy (from May 10, 1508, to perhaps December 1541). There is, to my mind, a unity of conception between the history depicted on the vault, the prophets and forecomers on the pendentives, the types selected for the spandrels, and the final spectacle of the day of doom. Living, as he needs must do, under the category of time, Michelangelo was unable to execute his stupendous picture-book of human destiny in one sustained manner. Years passed over him of thwarted endeavour and distracted energies--years of quarrying and sculpturing, of engineering and obeying the vagaries of successive Popes. Therefore, when he came at last to paint the Last Judgment, he was a worn man, exhausted in services of many divers sorts. And, what is most perplexing to the reconstructive critic, nothing in his correspondence remains to indicate the stages of his labour. The letters tell plenty about domestic anxieties, annoyances in his poor craftsman's household, purchases of farms, indignant remonstrances with stupid brethren; but we find in them, as I have said, no clue to guide us through that mental labyrinth in which the supreme artist was continually walking, and at the end of which he left to us the Sistine as it now is.

VII

The old reckoning of the time consumed by Michelangelo in painting the roof of the Sistine, and the traditions concerning his mode of work there, are clearly fabulous. Condivi says: "He finished the whole in twenty months, without having any assistance whatsoever, not even of a man to grind his colours." From a letter of September 7, 1510, we learn that the scaffolding was going to be put up again, and that he was preparing to work upon the lower portion of the vaulting. Nearly two years elapse before we hear of it again. He writes to Buonarroto on the 24th of July 1512: "I am suffering greater hardships than ever man endured, ill, and with overwhelming labour; still I put up with all in order to reach the desired end." Another letter on the 21st of August shows that he expects to complete his work at the end of September; and at last, in October, he writes to his father: "I have finished the chapel I was painting. The Pope is very well satisfied." On the calculation that he began the first part on May 10, 1508, and finished the whole in October 1512, four years and a half were employed upon the work. A considerable part of this time was of course taken up with the preparation of Cartoons; and the nature of fresco-painting rendered the winter months not always fit for active labour. The climate of Rome is not so mild but that wet plaster might often freeze and crack during December, January, and February. Besides, with all his superhuman energy, Michelangelo could not have painted straight on daily without rest or stop. It seems, too, that the master was often in need of money, and that he made two journeys to the Pope to beg for supplies. In the letter to Fattucci he says: "When the vault was nearly finished, the Pope was again at Bologna; whereupon, I went twice to get the necessary funds, and obtained nothing, and lost all that time until I came back to Rome. When I reached Rome, I began to make Cartoons--that is, for the ends and sides of the said chapel, hoping to get money at last and to complete the work. I never could extract a farthing; and when I complained one day to Messer Bernardo da Bibbiena and to Atalante, representing that I could not stop longer in Rome, and that I should be forced to go away with God's grace, Messer Bernardo told Atalante he must bear this in mind, for that he wished me to have money, whatever happened." When we consider, then, the magnitude of the undertaking, the arduous nature of the preparatory studies, and the waste of time in journeys and through other hindrances, four and a half years are not too long a period for a man working so much alone as Michelangelo was wont to do.

We have reason to believe that, after all, the frescoes of the Sistine were not finished in their details. "It is true," continues Condivi, "that I have heard him say he was not suffered to complete the work according to his wish. The Pope, in his impatience, asked him one day when he would be ready with the Chapel, and he answered: 'When I shall be able.' To which his Holiness replied in a rage: 'You want to make me hurl you from that scaffold!' Michelangelo heard and remembered, muttering: 'That you shall not do to me.' So he went straightway, and had the scaffolding taken down. The frescoes were exposed to view on All Saints' day, to the great satisfaction of the Pope, who went that day to service there, while all Rome flocked together to admire them. What Michelangelo felt forced to leave undone was the retouching of certain parts with ultramarine upon dry ground, and also some gilding, to give the whole a richer effect. Giulio, when his heat cooled down, wanted Michelangelo to make these last additions; but he, considering the trouble it would be to build up all that scaffolding afresh, observed that what was missing mattered little. 'You ought at least to touch it up with gold,' replied the Pope; and Michelangelo, with that familiarity he used toward his Holiness, said carelessly: 'I have not observed that men wore gold.' The Pope rejoined: 'It will look poor.' Buonarroti added: 'Those who are painted there were poor men.' So the matter turned into pleasantry, and the frescoes have remained in their present state." Condivi goes on to state that Michelangelo received 3000 ducats for all his expenses, and that he spent as much as twenty or twenty-five ducats on colours alone. Upon the difficult question of the moneys earned by the great artist in his life-work, I shall have to speak hereafter, though I doubt whether any really satisfactory account can now be given of them.

VIII

Michelangelo's letters to his family in Florence throw a light at once vivid and painful over the circumstances of his life during these years of sustained creative energy. He was uncomfortable in his bachelor's home, and always in difficulties with his servants. "I am living here in discontent, not thoroughly well, and undergoing great fatigue, without money, and with no one to look after me." Again, when one of his brothers proposed to visit him in Rome, he writes: "I hear that Gismondo means to come hither on his affairs. Tell him not to count on me for anything; not because I do not love him as a brother, but because I am not in the position to assist him. I am bound to care for myself first, and I cannot provide myself with necessaries. I live here in great distress and the utmost bodily fatigue, have no friends, and seek none. I have not even time enough to eat what I require. Therefore let no additional burdens be put upon me, for I could not bear another ounce." In the autumn of 1509 he corresponded with his father about the severe illness of an assistant workman whom he kept, and also about a boy he wanted sent from Florence. "I should be glad if you could hear of some lad at Florence, the son of good parents and poor, used to hardships, who would be willing to come and live with me here, to do the work of the house, buy what I want, and go around on messages; in his leisure time he could learn. Should such a boy be found, please let me know; because there are only rogues here, and I am in great need of some one." All through his life, Michelangelo adopted the plan of keeping a young fellow to act as general servant, and at the same time to help in art-work. Three of these servants are interwoven with the chief events of his later years, Pietro Urbano, Antonio Mini, and Francesco d'Amadore, called Urbino, the last of whom became his faithful and attached friend till death parted them. Women about the house he could not bear. Of the serving-maids at Rome he says: "They are all strumpets and swine." Well, it seems that Lodovico found a boy, and sent him off to Rome. What followed is related in the next letter. "As regards the boy you sent me, that rascal of a muleteer cheated me out of a ducat for his journey. He swore that the bargain had been made for two broad golden ducats, whereas all the lads who come here with the muleteers pay only ten carlins. I was more angry at this than if I had lost twenty-five ducats, because I saw that his father had resolved to send him on mule-back like a gentleman. Oh, I had never such good luck, not I! Then both the father and the lad promised that he would do everything, attend to the mule, and sleep upon the ground, if it was wanted. And now I am obliged to look after him. As if I needed more worries than the one I have had ever since I arrived here! My apprentice, whom I left in Rome, has been ill from the day on which I returned until now. It is true that he is getting better; but he lay for about a month in peril of his life, despaired of by the doctors, and I never went to bed. There are other annoyances of my own; and now I have the nuisance of this lad, who says that he does not want to waste time, that he wants to study, and so on. At Florence he said he would be satisfied with two or three hours a day. Now the whole day is not enough for him, but he must needs be drawing all the night. It is all the fault of what his father tells him. If I complained, he would say that I did not want him to learn. I really require some one to take care of the house; and if the boy had no mind for this sort of work, they ought not to have put me to expense. But they are good-for-nothing, and are working toward a certain end of their own. Enough, I beg you to relieve me of the boy; he has bored me so that I cannot bear it any longer. The muleteer has been so well paid that he can very well take him back to Florence. Besides, he is a friend of the father. Tell the father to send for him home. I shall not pay another farthing. I have no money. I will have patience till he sends; and if he does not send, I will turn the boy out of doors. I did so already on the second day of his arrival, and other times also, and the father does not believe it.

"_P.S._--If you talk to the father of the lad, put the matter to him nicely: as that he is a good boy, but too refined, and not fit for my service, and say that he had better send for him home."

The repentant postscript is eminently characteristic of Michelangelo. He used to write in haste, apparently just as the thoughts came. Afterwards he read his letter over, and softened its contents down, if he did not, as sometimes happened, feel that his meaning required enforcement; in that case he added a stinging tail to the epigram. How little he could manage the people in his employ is clear from the last notice we possess about the unlucky lad from Florence. "I wrote about the boy, to say that his father ought to send for him, and that I would not disburse more money. This I now confirm. The driver is paid to take him back. At Florence he will do well enough, learning his trade and dwelling with his parents. Here he is not worth a farthing, and makes me toil like a beast of burden; and my other apprentice has not left his bed. It is true that I have not got him in the house; for when I was so tired out that I could not bear it, I sent him to the room of a brother of his. I have no money."

These household difficulties were a trifle, however, compared with the annoyances caused by the stupidity of his father and the greediness of his brothers. While living like a poor man in Rome, he kept continually thinking of their welfare. The letters of this period are full of references to the purchase of land, the transmission of cash when it was to be had, and the establishment of Buonarroto in a draper's business. They, on their part, were never satisfied, and repaid his kindness with ingratitude. The following letter to Giovan Simone shows how terrible Michelangelo could be when he detected baseness in a brother:--

"Giovan Simone,--It is said that when one does good to a good man, he makes him become better, but that a bad man becomes worse. It is now many years that I have been endeavouring with words and deeds of kindness to bring you to live honestly and in peace with your father and the rest of us. You grow continually worse. I do not say that you are a scoundrel; but you are of such sort that you have ceased to give satisfaction to me or anybody. I could read you a long lesson on your ways of living; but they would be idle words, like all the rest that I have wasted. To cut the matter short, I will tell you as a fact beyond all question that you have nothing in the world: what you spend and your house-room, I give you, and have given you these many years, for the love of God, believing you to be my brother like the rest. Now, I am sure that you are not my brother, else you would not threaten my father. Nay, you are a beast; and as a beast I mean to treat you. Know that he who sees his father threatened or roughly handled is bound to risk his own life in this cause. Let that suffice. I repeat that you have nothing in the world; and if I hear the least thing about your ways of going on, I will come to Florence by the post, and show you how far wrong you are, and teach you to waste your substance, and set fire to houses and farms you have not earned. Indeed you are not where you think yourself to be. If I come, I will open your eyes to what will make you weep hot tears, and recognise on what false grounds you base your arrogance.

"I have something else to say to you, which I have said before. If you will endeavour to live rightly, and to honour and revere your father, I am willing to help you like the rest, and will put it shortly within your power to open a good shop. If you act otherwise, I shall come and settle your affairs in such a way that you will recognise what you are better than you ever did, and will know what you have to call your own, and will have it shown to you in every place where you may go. No more. What I lack in words I will supply with deeds.

"Michelangelo _in Rome_.

"I cannot refrain from adding a couple of lines. It is as follows. I have gone these twelve years past drudging about through Italy, borne every shame, suffered every hardship, worn my body out in every toil, put my life to a thousand hazards, and all with the sole purpose of helping the fortunes of my family. Now that I have begun to raise it up a little, you only, you alone, choose to destroy and bring to ruin in one hour what it has cost me so many years and such labour to build up. By Christ's body this shall not be; for I am the man to put to the rout ten thousand of your sort, whenever it be needed. Be wise in time, then, and do not try the patience of one who has other things to vex him."

Even Buonarroto, who was the best of the brothers and dearest to his heart, hurt him by his graspingness and want of truth. He had been staying at Rome on a visit, and when he returned to Florence it appears that he bragged about his wealth, as if the sums expended on the Buonarroti farms were not part of Michelangelo's earnings. The consequence was that he received a stinging rebuke from his elder brother. "The said Michele told me you mentioned to him having spent about sixty ducats at Settignano. I remember your saying here too at table that you had disbursed a large sum out of your own pocket. I pretended not to understand, and did not feel the least surprise, because I know you. I should like to hear from your ingratitude out of what money you gained them. If you had enough sense to know the truth, you would not say: 'I spent so and so much of my own;' also you would not have come here to push your affairs with me, seeing how I have always acted toward you in the past, but would have rather said: 'Michelangelo remembers what he wrote to us, and if he does not now do what he promised, he must be prevented by something of which we are ignorant,' and then have kept your peace; because it is not well to spur the horse that runs as fast as he is able, and more than he is able. But you have never known me, and do not know me. God pardon you; for it is He who granted me the grace to bear what I do bear and have borne, in order that you might be helped. Well, you will know me when you have lost me."

Michelangelo's angry moods rapidly cooled down. At the bottom of his heart lay a deep and abiding love for his family. There is something caressing in the tone with which he replies to grumbling letters from his father. "Do not vex yourself. God did not make us to abandon us." "If you want me, I will take the post, and be with you in two days. Men are worth more than money." His warm affection transpires even more clearly in the two following documents:

"I should like you to be thoroughly convinced that all the labours I have ever undergone have not been more for myself than for your sake. What I have bought, I bought to be yours so long as you live. If you had not been here, I should have bought nothing. Therefore, if you wish to let the house and farm, do so at your pleasure. This income, together with what I shall give you, will enable you to live like a lord." At a time when Lodovico was much exercised in his mind and spirits by a lawsuit, his son writes to comfort the old man. "Do not be discomfited, nor give yourself an ounce of sadness. Remember that losing money is not losing one's life. I will more than make up to you what you must lose. Yet do not attach too much value to worldly goods, for they are by nature untrustworthy. Thank God that this trial, if it was bound to come, came at a time when you have more resources than you had in years past. Look to preserving your life and health, but let your fortunes go to ruin rather than suffer hardships; for I would sooner have you alive and poor; if you were dead, I should not care for all the gold in the world. If those chatterboxes or any one else reprove you, let them talk, for they are men without intelligence and without affection."

References to public events are singularly scanty in this correspondence. Much as Michelangelo felt the woes of Italy--and we know he did so by his poems--he talked but little, doing his work daily like a wise man all through the dust and din stirred up by Julius and the League of Cambrai. The lights and shadows of Italian experience at that time are intensely dramatic. We must not altogether forget the vicissitudes of war, plague, and foreign invasion, which exhausted the country, while its greatest men continued to produce immortal masterpieces. Aldo Manuzio was quietly printing his complete edition of Plato, and Michelangelo was transferring the noble figure of a prophet or a sibyl to the plaster of the Sistine, while young Gaston de Foix was dying at the point of victory upon the bloody shores of the Ronco. Sometimes, however, the disasters of his country touched Michelangelo so nearly that he had to write or speak about them. After the battle of Ravenna, on the 11th of April 1512, Raimondo de Cardona and his Spanish troops brought back the Medici to Florence. On their way, the little town of Prato was sacked with a barbarity which sent a shudder through the whole peninsula. The Cardinal Giovanni de' Medici, who entered Florence on the 14th of September, established his nephews as despots in the city, and intimidated the burghers by what looked likely to be a reign of terror. These facts account for the uneasy tone of a letter written by Michelangelo to Buonarroto. Prato had been taken by assault upon the 30th of August, and was now prostrate after those hideous days of torment, massacre, and outrage indescribable which followed. In these circumstances Michelangelo advises his family to "escape into a place of safety, abandoning their household gear and property; for life is far more worth than money." If they are in need of cash, they may draw upon his credit with the Spedalingo of S. Maria Novella. The constitutional liability to panic which must be recognised in Michelangelo emerges at the close of the letter. "As to public events, do not meddle with them either by deed or word. Act as though the plague were raging. Be the first to fly." The Buonarroti did not take his advice, but remained at Florence, enduring agonies of terror. It was a time when disaffection toward the Medicean princes exposed men to risking life and limb. Rumours reached Lodovico that his son had talked imprudently at Rome. He wrote to inquire what truth there was in the report, and Michelangelo replied: "With regard to the Medici, I have never spoken a single word against them, except in the way that everybody talks--as, for instance, about the sack of Prato; for if the stones could have cried out, I think they would have spoken. There have been many other things said since then, to which, when I heard them, I have answered: 'If they are really acting in this way, they are doing wrong;' not that I believed the reports; and God grant they are not true. About a month ago, some one who makes a show of friendship for me spoke very evilly about their deeds. I rebuked him, told him that it was not well to talk so, and begged him not to do so again to me. However, I should like Buonarroto quietly to find out how the rumour arose of my having calumniated the Medici; for if it is some one who pretends to be my friend, I ought to be upon my guard."

The Buonarroti family, though well affected toward Savonarola, were connected by many ties of interest and old association with the Medici, and were not powerful enough to be the mark of violent political persecution. Nevertheless, a fine was laid upon them by the newly restored Government. This drew forth the following epistle from Michelangelo:--

"Dearest Father,--Your last informs me how things are going on at Florence, though I already knew something. We must have patience, commit ourselves to God, and repent of our sins; for these trials are solely due to them, and more particularly to pride and ingratitude. I never conversed with a people more ungrateful and puffed up than the Florentines. Therefore, if judgment comes, it is but right and reasonable. As for the sixty ducats you tell me you are fined, I think this a scurvy trick, and am exceedingly annoyed. However, we must have patience as long as it pleases God. I will write and enclose two lines to Giuliano de' Medici. Read them, and if you like to present them to him, do so; you will see whether they are likely to be of any use. If not, consider whether we can sell our property and go to live elsewhere.... Look to your life and health; and if you cannot share the honours of the land like other burghers, be contented that bread does not fail you, and live well with Christ, and poorly, as I do here; for I live in a sordid way, regarding neither life nor honours--that is, the world--and suffer the greatest hardships and innumerable anxieties and dreads. It is now about fifteen years since I had a single hour of well-being, and all that I have done has been to help you, and you have never recognised this nor believed it. God pardon us all! I am ready to go on doing the same so long as I live, if only I am able."

We have reason to believe that the petition to Giuliano proved effectual, for in his next letter he congratulates his father upon their being restored to favour. In the same communication he mentions a young Spanish painter whom he knew in Rome, and whom he believes to be ill at Florence. This was probably the Alonso Berughetta who made a copy of the Cartoon for the Battle of Pisa. In July 1508 Michelangelo wrote twice about a Spaniard who wanted leave to study the Cartoon; first begging Buonarroto to procure the keys for him, and afterwards saying that he is glad to hear that the permission was refused. It does not appear certain whether this was the same Alonso; but it is interesting to find that Michelangelo disliked his Cartoon being copied. We also learn from these letters that the Battle of Pisa then remained in the Sala del Papa.

IX

I will conclude this chapter by translating a sonnet addressed to Giovanni da Pistoja, in which Michelangelo humorously describes the discomforts he endured while engaged upon the Sistine. Condivi tells us that from painting so long in a strained attitude, gazing up at the vault, he lost for some time the power of reading except when he lifted the paper above his head and raised his eyes. Vasari corroborates the narrative from his own experience in the vast halls of the Medicean palace.

_I've grown a goitre by dwelling in this den--
As cats from stagnant streams in Lombardy,
Or in what other land they hap to be--
Which drives the belly close beneath the chin:
My beard turns up to heaven; my nape falls in,
Fixed on my spine: my breast-bone visibly
Grows like a harp: a rich embroidery
Bedews my face from brush-drops thick and thin.
My loins into my paunch like levers grind:
My buttock like a crupper bears my weight;
My feet unguided wander to and fro;
In front my skin grows loose and long; behind,
By bending it becomes more taut and strait;
Crosswise I strain me like a Syrian bow:
Whence false and quaint, I know,
Must be the fruit of squinting brain and eye;
For ill can aim the gun that bends awry.
Come then, Giovanni, try
To succour my dead pictures and my fame,
Since foul I fare and painting is my shame._