Courtyard. Palazzo Medici, Florence, ca. 1444.
IF EVERY MAN who lives in this world were to realize that he may have to live when he is no longer able to work, there would not be so many reduced to begging in their old age for that which they consumed without any restraint in their youth, when their large and abundant gains, blinding their true judgment, made them spend more than was necessary and much more than was expedient. For, seeing how coldly a man is looked upon who has fallen from wealth to poverty, every man should strive--honestly, however, and maintaining the proper mean--to avoid having to beg in his old age. And whosoever will act like Michelozzo--who did not imitate his master Donato in this respect, although he did in his virtues--will live honorably all the course of his life, and will not be forced in his last years to go about miserably hunting for the wherewithal to live.
Now Michelozzo applied himself in his youth to sculpture under Donatello, and also to design; and although he realized their difficulties, nevertheless he went on ever practicing so diligently with clay, with wax, and with marble, that he ever showed ability and great talent in the works that he made afterwards. There was one art in which he surpassed many and even his own self, for, after Brunellesco, he was held to be the most methodical architect of his times, and the one who was best able to arrange and contrive palaces, convents, and houses for human habitation, and who designed them with the greatest judgment, as will be told in the proper place. Of this man Donatello availed himself for many years, because he was very well practiced in working marble and in the business of casting in bronze; of which we have proof in a tomb in San Giovanni at Florence (which was made by Donatello, as it has been said, for Pope Giovanni Coscia), since the greater part was executed by Michelozzo; and there we can see a very beautiful marble statue by his hand, two braccia and a half in height, representing Faith (in company with one of Hope and one of Charity made by Donatello, of the same size), which does not suffer by comparison with the others. Moreover, above the door of the sacristy and the Office of Works, opposite to San Giovanni, Michelozzo made a little St. John in full-relief, wrought with diligence, which was much extolled.
Michelozzo was so intimate with Cosimo de' Medici that the latter, recognizing his genius, caused him to make the model for the house and palace at the corner of the Via Larga, beside San Giovannino; for he thought that the one made by Filippo di Ser Brunellesco, as it has been said, was too sumptuous and magnificent, and more likely to stir up envy among his fellow citizens than to confer grandeur or adornment on the city, or bring comfort to himself. Wherefore, being pleased with the model that Michelozzo had made, he had the building brought to completion under his direction in the manner that we see at the present day, with all the beautiful and useful arrangements and graceful adornments that are seen therein, which have majesty and grandeur in their simplicity; and Michelozzo deserves all the greater praise in that this was the first palace which was built in that city on modern lines, and which was divided up into rooms both useful and most beautiful. The cellars are excavated to more than half their depth underground, namely, four braccia below, with three above for the sake of light; and there are also wine-cellars and store-rooms. On the ground-floor there are two courtyards with magnificent loggie, on which open saloons, chambers, antechambers, studies, closets, stove-rooms, kitchens, wells, and staircases both secret and public, all most convenient. On each floor there are apartments with accommodation for a whole family, with all the conveniences that are proper not only to a private citizen, such as Cosimo then was, but even to the most splendid and most honor able of Kings; wherefore in our own times Kings, Emperors, Popes, and all the most illustrious Princes of Europe have been comfortably lodged there, to the infinite credit both of the magnificence of Cosimo and of the excellent ability of Michelozzo in architecture.
In the year 1433, when Cosimo was driven into exile, Michelozzo, who loved him very greatly and was most faithful to him, accompanied him of his own free will to Venice and insisted on remaining with him all the time that he stayed there; and in that city, besides many designs and models that he made for private dwellings and public buildings and decorations for the friends of Cosimo and for many gentlemen, he built, at the command and expense of Cosimo, the library of the Monastery of San Giorgio Maggiore, a seat of the Black Friars of Santa Justina ; and this was not only finished with regard to walls, book-shelves, woodwork, and other adornments, but was also filled with many books. Such was the occupation and amusement of Cosimo during that exile, from which he was recalled to his country in the year 1434; whereupon he returned almost in triumph, and Michelozzo with him. Now, while Michelozzo was in Florence, the Palazzo Pubblico della Signoria began to threaten to collapse, for some columns in the courtyard were giving way, either because there was too much weight pressing on them, or because their foundations were weak and awry, or even perchance because they were made of pieces badly joined and put together. Whatever may have been the reason, the matter was put into the hands of Michelozzo, who accepted the undertaking willingly, because he had provided against a similar peril near San Barnaba in Venice, in the following manner. A gentleman had a house that was in danger of falling down, and he entrusted the matter to Michelozzo; wherefore he -- according to what Michelangelo Buonarroti once told me--caused a column to be made in secret, and prepared a number of props; and hiding everything in a boat, into which he entered together with some builders, in one night he propped up the house and replaced the column.
Michelozzo, therefore, emboldened by this experience, averted the danger from the palace, doing honor both to himself and to those by whose favor he had received such a charge ; and he refounded and rebuilt the columns in the manner wherein they stand today. First he made a stout framework of props and thick beams standing upright to support the centers of the arches, made of nutwood, and upholding the vaulting, so that this came to support equally the weight that was previously borne by the columns; then, little by little removing those that were made of pieces badly joined together, he replaced them with others made of pieces and wrought with diligence, in such a manner that the building did not suffer in any, way and has never moved a hair's breadth. And in order that his columns might be known from the others, he made some of them at the corners with eight sides, with capitals that have the foliage carved in the modern fashion, and some round; and all are very easily distinguished from the old columns that Arnolfo [Arnolfo di Cambio] made formerly. Afterwards, by the advice of Michelozzo, it was ordained by those who then governed the city that the arches of those columns should be unburdened and relieved of the weight of the walls that rested upon them; that the whole courtyard should be rebuilt from the arches upwards, with a row of windows in modern fashion, similar to those that he had made for Cosimo in the courtyard of the Palace of the Medici ; and that designs in rustic work should be carved on the walls, for the reception of those golden lilies that are still seen there at the present day. All this Michelozzo did with great promptitude ; and on the second tier, directly above the windows of the said courtyard, he made some round windows (so as to have them different from the aforesaid windows) to give light to the rooms on that floor, which are over those of the first floor, where there is now the Sala de' Dugento. The third floor, where the Signori and the Gonfalonier lived, he made more ornate, and on the side towards San Piero Scheraggio he arranged a series of apartments for the Signori, who had previously slept all together in one and the same room. These apartments consisted of eight for the Signori and a larger one for the Gonfalonier, and they all opened on a corridor which had windows overlooking the courtyard.
Above this he made another series of commodious rooms for the household hold of the Palace, in one of which, used today as the Treasury, there is a portrait by the hand of Giotto of Charles, Duke of Calabria, son of King Robert, kneeling before a Madonna. There, also, he made apartments for the bailiffs, ushers, trumpeters, musicians, pipers, mace-bearers, heralds, that are court servants, and with all the other apartments required in such a palace. On the upper part of the gallery, moreover, he made a stone cornice that went right round the courtyard, and beside it a water cistern that was filled by the rains, to make some artificial fountains play at certain times. Michelozzo also directed the restoration of the chapel wherein Mass is heard, and beside it many rooms, with very rich ceilings painted with golden lilies on a ground of blue. He had other ceilings made both for the upper and the lower rooms of the Palace, covering up all the old ceilings that had been made before in the ancient manner. In short, he gave it all the perfection that was demanded by so great a building ; and he contrived to convey the water from the wells right up to the highest floor, to which it could be drawn up by means of a wheel more easily than was usual. One thing alone the genius of Michelozzo could not remedy, namely, the public staircase, because it was badly conceived from the beginning, badly situated, awkwardly built, steep, and without lights, while from the first floor upwards the steps were of wood.
He labored to such purpose, however, that he made a flight of round steps at the entrance of the courtyard, and a door with pilasters of hard stone and most beautiful capitals carved by his hand, besides a well designed cornice with a double architrave, in the frieze of which he placed all the arms of the Commune. And what is more, he made the whole staircase of hard stone up to the floor where the Signori lived, fortifying it at the top and half-way up with a portcullis at each point, in case of tumults; and at the head of the staircase he made a door which was called the " catena," beside which there was ever stand ing an usher, who opened or closed it according as he was commanded by those in authority. He strengthened the tower of the campanile, which had cracked by reason of the weight of that part which stands out over space on corbels on the side towards the Piazza, with very stout bands of iron. Finally, he improved and restored that Palace so greatly, that he was therefore commended by the whole city and made, besides other rewards, a member of the College, which is one of the most honorable magistracies in Florence. And if it should appear to anyone that I have perchance spoken at greater length about this building than was needful, I deserve to be excused, because--after having shown in the Life of Arnolfo, in connection with its original erection, which was in the year 1298, that it was built out of the square and wholly wanting in reasonable pro portion, with unequal columns in the courtyard, arches both large and small, inconvenient stairs, and rooms awry and badly proportioned--it was necessary for me to show also to what condition it was brought by the intellect and judgment of Michelozzo; although even he did not arrange it in such a manner that it could be inhabited comfortably, without very great inconvenience and discomfort. Finally, when the Lord Duke Cosimo came to occupy it in the year 1538, his Excellency began to bring it into better form; but since those architects who served the Duke for many years in that work were never able to grasp or to carry out his conception, he determined to see whether he could effect the restoration without spoiling the old part, in which there was no little of the good; giving better order, convenience, and proportion, according to the plan that he had in mind, to the awkward and inconvenient stairs and apartments.
Sending to Rome, therefore, for Giorgio Vasari, painter and architect of Arezzo, who was working for Pope Julius III, he commissioned him not only to put in order the rooms that he had caused to be begun in the upper part of the side opposite to the Corn Market, which were out of the straight with regard to the groundplan, but also to consider whether the interior of the Palace could not, without spoiling the work already done, be brought to such a form that it might be possible to go all over it, from one part to another and from one apartment to another, by means of staircases both secret and public, with an ascent as easy as possible. Thereupon, while the said rooms, already begun, were being adorned with gilded ceilings and scenes painted in oil, and with pictures in fresco on the walls, and others were being wrought in stucco, Giorgio took a tracing of the groundplan right round the whole of the Palace, both the new part and the old; and then, having arranged with no small labor and study for the execution of all that he intended to do, he began to bring it little by little into a good form, and to unite, almost without spoiling any of the work already done, the disconnected rooms, which previously varied in height even on the same floor, some being high and others low. But in order that the Duke might see the design of the whole, in the space of six months he had made a well-proportioned wooden model of the whole of that pile, which has the form and extent rather of a fortress than of a palace. According to this model, which gained the approval of the Duke, the building was united and many commodious rooms were made, as well as convenient staircases, both public and secret, which give access to all the floors ; and in this manner a burden was removed from the halls, which were formerly like public streets, for it had been impossible to ascend to the upper floors without passing through them. The whole was magnificently adorned with varied and diverse pictures, and finally the roof of the Great Hall was raised twelve braccia above its former height; insomuch that if Arnolfo, Michelozzo, and the others who labored on the building from its first foundation onwards, were to return to life, they would not recognize it--nay, they would believe that it was not theirs but a new erection and a different edifice.
But let us now return to Michelozzo; the Church of San Giorgio had just been given to the Friars of San Domenico da Fiesole, but they only remained there from about the middle of July to the end of January, for Cosimo de' Medici and his brother Lorenzo obtained for them from Pope Eugenius the Church and Convent of San Marco, which was previously the seat of Silvestrine Monks, to whom the said San Giorgio was given in ex change. And Cosimo and Lorenzo, being very devoted to religion and to divine service and worship, ordained that the said Convent of San Marco should be rebuilt entirely anew after the design and model of Michelozzo, and should be made very vast and magnificent, with all the conveniences that the said friars could possibly desire. This work was begun in the year 1437, and the first part to be built was that opening out above the old refectory, opposite to the ducal stables, which Duke Lorenzo de' Medici formerly caused to be built. In this place twenty cells were built, the roof was put on, and the wooden furniture was made for the refectory, the whole being finished in the manner wherein it still stands today. But for some time the work was carried no further, for they had to wait to see what would be the end of a lawsuit that one Maestro Stefano, General of the said Silvestrines, had brought against the Friar of San Marco with regard to that convent. This suit having concluded in favor of the said Friars of San Marco, the building was once more continued. But since the principal chapel, which had been built by Ser Pino Bonaccorsi, had afterwards come into the hands of a lady of the Caponsacchi family, and from her to Mariotto Banchi, some lawsuit suit was fought out over this, and Mariotto, having upheld his rights and having taken the said chapel from Agnolo della Casa, to whom the said Silvestrines had given or sold it, presented it to Cosimo de' Medici, who gave Mariotto 500 crowns in return for it.
Later, after Cosimo had likewise bought from the Company of the Spirito Santo the site where the choir now stands, the chapel, the tribune, and the choir were built under the direction of Michelozzo, and completely furnished in the year 1439. Afterwards the library was made, eighty braccia in length and eighteen in breadth, and vaulted both above and below, with sixty-four shelves of cypress wood filled with most beautiful books. After this the dormitory was finished, being brought to a square shape; and finally the cloister was completed, together with all the truly commodious apartments of that convent, which is believed to be the best designed, the most beautiful, and the most commodious that there is in Italy, thanks to the talent and industry of Michelozzo, who delivered it completely finished in the year 1452. It is said that Cosimo spent 36,000 ducats on this fabric, and that while it was building he gave the monks 366 ducats every year for their maintenance. Of the construction and consecration of this holy place we read in an inscription on marble over the door that leads into the sacristy, in the following words:
CUM HOC TEMPLUM MARCO EVANGELiSTAE DICATUM MAGNIFICIS SUMPTIBUS CL. V. COSMI MEDICIS TANDEM ABSOLUTUM ESSET, EUGENIUS QUARTUS ROMANUS PONTIFEX MAXIMA CARDINALIUM, ARCHiEPISCOPORUM, EPISCO PORUM, ALIORUMQUE SACERDOTUM FREQUENTIA COMITATUS, ID CELE BERRIMO EPIPIIANIAE DIE, SOLEMNI MORE SERVATO, CONSECRAVIT. TUM ETIAM QUOTANNIS OMNIBUS, QUI LODEM DIE FESTO ANNUAS STATASQUE CONSECRATIONIS CEREMONIAS CASTE PIEQUE CELEBRARINT VISLRINTVE TEMPORIS LUENDIS PECCATIS SUIS DEBITI SEPTEM ANNOS TOTIDEMQUE QUADRAGLSIMAS APOSTOLICA REMISIT AUCTORITATE, A. MCCCCXLII.
In like manner, Cosimo erected from the design of Michelozzo the noviciate of Santa Croce in Florence, with the chapel of the same and the entrance that leads from the church to the sacristy, to the said noviciate, and to the staircase of the dormitory. These works are not inferior in beauty, convenience, and adornment to any building whatsoever of all those which the truly magnificent Cosimo de' Medici caused to be erected, or which Michelozzo carried into execution; and besides other parts, the door that leads from the church to the said places, which he made of greystone, was much extolled in those times by reason of its novelty and of its beautifully made frontal, for it was then very little the Custom to imitate the good manner of antique work, as this door does. Cosimo de' Medici also built, with the advice and design of Michelozzo, the Palace of Cafaggiuolo in Mugello, giving it the form of a fortress with ditches round it ; and he laid out farms, roads, gardens, fountains with groves round them, fowling-places, and other appurtenances of a villa, all very splendid; and at a distance of two miles from the said palace, in a place called the Bosco a' Frati, with the advice of Michelozzo, he carried out the building of a convent for the Frati de' Zoccoli of the Order of St. Francis, which is something very beautiful. At Trebbio, likewise, he made many other improvements which are still to be seen ; and at a distance of two miles from Florence, also, he built the palatial Villa of Careggi, which was very rich and magnificent ; and thither Michelozzo brought the water for the fountain that is seen there at the present day.
For Giovanni, son of Cosimo de' Medici, the same master built another magnificent and noble palace at Fiesole, sinking the foundations for the lower part in the brow of the hill, at great expense but not without great advantage, for in that lower part he made vaults, cellars, stables, vat stores, and many other beautiful and commodious offices; and above, besides the chambers, halls, and other ordinary rooms, he made some for books and certain others for music. In short, Michelozzo showed in this building how great was his skill in architecture, for, besides what has been mentioned, it was constructed in such a manner that, although it stands on that hill, it has never moved a hair's breadth. This palace finished, he built above it, almost on the summit of the hill, the Church and Convent of the Friars of San Girolamo, at the expense of the same man. The same Michelozzo made the design and model which Cosimo sent to Jerusalem for the hospice that he caused to be erected there, for the pilgrims who visit the Sepulcher of Christ. He also sent the design for six windows in the facade of San Pietro in Rome, which were made there afterwards with the arms of Cosimo de' Medici ; but three of them were removed in our own day and replaced by Pope Paul III with others bearing the arms of the house of Farnese. After this, hearing that there was a lack of water at Santa Maria degli Angeli in Assisi, to the very great discomfort of the people who go there every year on August 1 to receive Absolution, Cosimo sent thither Michelozzo, who brought the water of a spring, which rose halfway up the brow of the hill, to the fountain, which he covered with a very rich and lovely loggia resting on some columns made of separate pieces and bearing the arms of Cosimo. Within the convent, also at the commission of Cosimo, he made many useful improvements for the friars; and these the magnificent Lorenzo de' Medici afterwards renewed with more adornment and at greater expense, besides presenting to that Madonna the image of her in wax which is still to be seen there. Cosimo also caused the road that leads from the said Madonna degli Angeli to the city to be paved with bricks; nor did Michelozzo take his leave of those parts before he had made the design for the old Citadel of Perugia. Having finally returned to Florence, he built a house on the Canto de' Tornaquinci for Giovanni Tornabuoni, similar in almost every way to the palace that he had made for Cosimo, save that the facade is not in rustic-work and has no cornices above, but is quite plain.
After the death of Cosimo, by whom Michelozzo had been loved as much as a dear friend can be loved, his son Piero caused him to build the marble Chapel of the Crucifix in San Miniato sul Monte ; and in the half circle of the arch at the back of the said chapel Michelozzo carved in low relief a Falcon with the Diamond (the emblem of Cosimo, father of Piero), which was truly a very beautiful work. After these things, the same Piero de' Medici, intending to build the Chapel of the Nunziata, in the Church of the Servi, entirely of marble, besought Michelozzo, now an old man, to give him his advice in the matter, both because he greatly admired his talents and because he knew how faithful a friend and servant he had been to his father Cosimo. This Michelozzo did, and the charge of constructing it was given to Pagno di Lapo Partigiani, a sculptor of Fiesole, who, as one who wished to include many things in a small space, showed many ideas in this work. This chapel is supported by four marble columns about nine braccia high, made with double flutings in the Corinthian manner, with the bases and capitals variously carved and with double members. On the columns rest the architrave, frieze, and cornice, likewise with double members and carvings and wrought with various things of fancy, and particularly with foliage and the emblems and arms of the Medici.
Between these and other cornices made for another range of lights, there is a large inscription, very beautifully carved in marble. Below, between the four columns, forming the ceiling of the chapel, there is a coffer work canopy of marble all carved, full of enamels fired in a furnace and of various fanciful designs in mosaic wrought with gold color and precious stones. The surface of the pavement is full of porphyry, serpentine, variegated marbles, and other very rare stones, put together and distributed with beautiful design. The said chapel is enclosed by a grille made of bronze ropes, with candelabra above fixed into an ornament ment of marble, which makes a very beautiful finish to the bronze and to the candelabra; and the door which closes the chapel in front is likewise of bronze and very well contrived. Piero left orders that the chapel should be lighted all round by thirty silver lamps, and this was done. Now, as these were ruined during the siege, the Lord Duke gave orders many years ago that new ones should be made, and the greater part of them are already finished, while the work still goes on ; but in spite of this there has never been a moment when there has not been that full number of lamps burning, according to the instructions of Piero, although, from the time when they were destroyed, they have not been of silver.
To these adornments Pagno added a very large lily of copper, issuing from a vase which rests on the corner of the gilt and painted cornice of wood which holds the lamps; but this cornice does not support so great a weight by itself, for the whole is sustained by two branches of the lily, which are of iron painted green, and are fixed with lead into the corner of the marble cornice, holding those that are of copper suspended in the air. This work was truly made with judgment and invention ; wherefore it is worthy of being much extolled as some thing beautiful and bizarre. Beside this chapel, he made another on the side towards the cloister, which serves as a choir for the friars, with windows which take their light from the court and give it both to the said chapel and also (since they stand opposite to two similar windows) to the room containing the little organ, which is by the side of the marble chapel. On the front of this choir there is a large press, in which the silver vessels of the Nunziata are kept; and on all these ornaments and throughout the whole are the arms and emblem of the Medici. Without the Chapel of the Nunziata and opposite to it, the same man made a large chandelier of bronze, five braccia in height, as well as the marble holy water font at the entrance of the church, and a St. John in the center, which is a very beautiful work. Above the counter where the friars sell the candles, moreover, he made a half-length Madonna of marble with the Child in her arms, in half relief, of the size of life and very devout; and a similar work in the Office of the Wardens of Works of Santa Maria del Fiore.
Pagno also wrought some figures in San Miniato al Tedesco in company with his master Donato, while a youth; and he made a tomb of marble in the Church of San Martino in Lucca, opposite to the Chapel of the Sacrament, for Messer Piero di Nocera, who is portrayed there from nature. Filarete relates in the twenty-fifth book of his work that Francesco Sforza, fourth Duke of Milan, presented a very beautiful palace in Milan to the Magnificent Cosimo de' Medici, and that Cosimo, in order to show the Duke how pleased he was with such a gift, not only adorned it richly with marbles and with carved woodwork, but also enlarged it under the direction of Michelozzo, making it eighty - seven braccia and a half, whereas it had previously been only eighty-four braccia. Besides this, he had many pictures painted there, particularly the stories of the life of the Emperor Trajan in a loggia, wherein, among certain decorations, he caused Francesco Sforza himself to be portrayed, with the Lady Bianca, his consort, Duchess of Milan, and also their children, with many other noblemen and great persons, and likewise the portraits of eight Emperors; and to these portraits Michelozzo added that of Cosimo, made by his own hand. Throughout all the apartments he placed the arms of Cosimo in diverse fashions, with his emblem of the Falcon and Diamond. The said pictures were all by the hand of Vincenzio di Foppa, a painter of no small repute at that time and in that country.
It is recorded that the money that Cosimo spent in the restoration of this palace was paid by Pigello Portinari, a citizen of Florence, who then directed the bank and the accounts of Cosimo in Milan and lived in the said palace. There are some works in marble and bronze by the hand of Michelozzo in Genoa, and many others in other places, which are all known by the manner; but what we have already said about him must suffice. He died at the age of sixty-eight, and he was buried in his own tomb in San Marco at Florence. His portrait, by the hand of Fra Giovanni, is in the Sacristy of Santa Trinita, in the figure of an old man with a cap on his head, representing Nicodemus, who is taking Christ down from the Cross.