LINK TO BIB
Cesare Zocchi (1851-1922). Young Michelangelo (copy). Casa Buonarroti, Florence.

MICHELAGNOLO BUONARROTI (1475-1564)
PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE
Part 1: Earliest Years to the Medici Garden


Vasari's Lives of the Artists






WHILE the most noble and industrious spirits were striving, by the light of the famous Giotto and of his followers, to give to the world a proof of the ability that the benign influence of the stars and the proportionate admixture of humors had given to their intellects, and while, desirous to imitate with the excellence of their art the grandeur of Nature in order to approach as near as possible to that supreme knowledge that many call understanding, they were universally toiling, although in vain, the most benign Ruler of Heaven in His clemency turned His eyes to the earth, and, having perceived the infinite vanity of all those labors, the ardent studies without any fruit, and the presumptuous self-sufficiency of men, which is even further removed from truth than is darkness from light, and desiring to deliver us from such great errors, became minded to send down to earth a spirit with universal ability in every art and every profession, who might be able, working by himself alone, to show what manner of thing is the perfection of the art of design in executing the, lines, contours, shadows, and high lights, so as to give relief to works of painting, and what it is to work with correct judgment in sculpture, and how in architecture it is possible to render habitations secure and commodious, healthy and cheerful, well-proportioned, and rich with varied ornaments.

He was pleased, in addition, to endow him with the true moral philosophy and with the ornament of sweet poesy, to the end that the world might choose him and admire him as its highest exemplar in the life, works, saintliness of character, and every action of human creatures, and that he might be acclaimed by us as a being rather divine than human. And since He saw that in the practice of these rare exercises and arts namely, in painting, in sculpture, and in architecture the Tuscan intellects have always been exalted and raised high above all others, from their being diligent in the labors and studies of every faculty beyond no matter what other people of Italy, He chose to give him Florence, as worthy beyond all other cities, for his country, in order to bring all the talents to their highest perfection in her, as was her due, in the person of one of her citizens.

There was born a son, then, in the Casentino, in the year 1474, under a fateful and happy star, from an excellent and noble mother, to Lodovico di Leonardo Buonarroti Simoni, a descendant, so it is said, of the most noble and most ancient family of the Counts of Canossa. To that Lodovico, I say, who was in that year Podesta of the township of Chiusi and Caprese, near the Sasso della Vernia, where S. Francis received the Stigmata, in the Diocese of Arezzo, a son was born on the 6th of March, a Sunday, about the eighth hour of the night, to which son he gave the name Michelagnolo, because, inspired by some influence from above, and giving it no more thought, he wished to suggest that he was something celestial and divine beyond the use of mortals, as was afterwards seen from the figures of his horoscope, he having had Mercury and Venus in the second house of Jupiter, with happy augury, which showed that from the art of his brain and of his hand there would be seen to issue forth works marvellous and stupendous.

Having finished his office as Podesta, Lodovico returned to Florence and settled in the village of Settignano, at a distance of three miles from the city, where he had a farm that had belonged to his forefathers; which place abounds with stone and is all full of quarries of grey-stone, which is constantly being worked by stonecutters and sculptors, who for the most part are born in the place. Michelagnolo was put out to nurse by Lodovico hi that village with the wife of a stone-cutter: wherefore the same Michelagnolo, discoursing once with Vasari, said to him jestingly, "Giorgio, if I have anything of the good in my brain, it has come from my being born in the pure air of your country of Arezzo, even as I also sucked in with my nurse's milk the chisels and hammer with which I make my figures." In time Lodovico' s family increased, and, being in poor circumstances, with slender revenues, he set about apprenticing his sons to the Guilds of Silk and Wool. Michelagnolo, who by that time was well grown, was placed to be schooled in grammar with Maestro Francesco da Urbino; but, since his genius drew him to delight in design, all the time that he could snatch he would spend in drawing in secret, being scolded for this by his father and his other elders, and at times beaten, they perchance considering that to give attention to that art, which was not known by them, was a mean thing and not worthy of their ancient house.

At this time Michelagnolo had formed a friendship with Francesco Granacci, who, likewise a lad, had placed himself with Domenico Ghirlandajo in order to learn the art of painting; wherefore Granacci, loving Michelagnolo, and perceiving that he was much inclined to design, supplied him daily with drawings by Ghirlandajo, who at that time wasm reputed to be one of the best masters that there were not only in Florence, but throughout all Italy. Whereupon, the desire to work at art growing greater every day in Michelagnolo, Lodovico, perceiving that he could not divert the boy from giving his attention to design, and that there was no help for it, and wishing to derive some advantage from it and to enable him to learn that art, resolved on the advice of friends to apprentice him with Domenico Ghirlandajo. Michelagnolo, when he was placed with Domenico Ghirlandajo, was fourteen years of age. Now he who wrote his life after the year 1550, when I wrote these Lives the first time, has said that some persons, through not having associated with him, have related things that never happened, and have left out many that are worthy to be recorded, and has touched on this circumstance in particular, taxing Domenico with jealousy and saying that he never offered any assistance to Michelagnolo; which is clearly false, as may be seen from an entry by the hand of Lodovico, the father of Michelagnolo, written in one of Domenico's books, which book is now in the possession of his heirs. That entry runs thus: "1488, I record, this first day of April, that I, Lodovico di Leonardo di Buonarrota, placed Michelagnolo my son with Domenico and David di Tommaso di Currado for the three years next to come, on these terms and conditions, that the said Michelagnolo shall remain with the above-named persons for the said period of time, in order to learn to paint and to exercise that vocation; that the said persons shall have command over him; and that the same Domenico and David shall be bound to give him in those three years twenty-four florins of full weight, the first year six florins, the second year eight florins, and the third ten florins; in all, the sum of ninety-six lire." And next, below this, is another record, or rather, entry, also written in the hand of Lodovico: "The aforesaid Michelagnolo has received of that sum, this sixteenth day of April, two gold florins in gold. I, Lodovico di Leonardo, his father, have received twelve lire and twelve soldi as cash due to him." These entries I have copied from the book itself, in order to prove that all that was written at that time, as well as all that is about to be written, is the truth; nor do I know that anyone has been more associated with him than I have been, or has been a more faithful friend and servant to him, as can be proved even to one who knows not the facts, neither do I believe that there is anyone who can show a greater number of letters written by his own hand, or any written with greater affection than he has expressed to me. I have made this digression for the sake of truth, and it must suffice for all the rest of his Life. Let us now return to our story.

When the ability as well as the person of Michelagnolo had grown in such a manner, that Domenico, seeing him execute some works beyond the scope of a boy, was astonished, since it seemed to him that he not only surpassed the other disciples, of whom he had a great number, but very often equalled the things done by himself as master, it happened that one of the young men who were learning under Domenico copied with the pen some draped figures of women from works by Ghirlandajo; whereupon Michelagnolo took that drawing and with a thicker pen outlined one of those women with new lineaments, in the manner that it should have been in order to be perfect. And it is a marvellous thing to see the difference between the two manners, and the judgment and excellence of a mere lad who was so spirited and bold, that he had the courage to correct the work of his master. That sheet is now in my possession, treasured as a relic; and I received it from Granacci to put in my book of drawings together with others by the same hand, which I received from Michelagnolo. In the year 1550, when Giorgio was in Rome, he showed it to Michelagnolo, who recognized it and was pleased to see it again, saying modestly that he knew more of the art when he was a boy than he did at that time, when he was an old man.

Now it happened that when Domenico was at work on the great chapel of S. Maria Novella, one day that he was out Michelagnolo set himself to draw the staging from the reality, with some desks and all the appliances of art, and some of the young men who were working there. Whereupon, when Domenico had returned and seen Michelagnolo's drawing, he said, "This boy knows more about it than I do;" and he was struck with amazement at the novel manner and the novel method of imitation that a mere boy of such tender age displayed by reason of the judgment bestowed upon him by Heaven, for these, in truth, were as marvellous as could have been looked for in the workmanship of a craftsman who had labored for many years. And this was because all the power and knowledge of the gracious gifts of his nature were exercised by study and by the practice of art, wherefore these gifts produced every day fruits more divine in Michelagnolo, as began to be made clearly manifest in the copy that he executed of a printed sheet by the German Martino, which gave him a very great name. For there had come to Florence at that time a scene by the above-named Martino, of the Devils beating S. Anthony, engraved on copper, and Michelagnolo copied it with the pen in such a manner that it could not be detected, and then painted that same sheet in colors, going at times, in order to counterfeit certain strange forms of devils, to buy fishes that had scales bizarre in coloring; and in that work he showed so much ability, that he acquired thereby credit and fame. He also counterfeited sheets by the hands of various old masters, making them so similar that they could not be detected, for, tinting them and giving them the appearance of age with smoke and various other materials, he made them so dark that they looked old, and, when compared with the originals, one could not be distinguished from the other. Nor did he do this with any other purpose but to obtain the originals from the hands of their owners by giving them the copies, for he admired them for the excellence of their art and sought to surpass them in his own practice; on which account he acquired a very great name.

At that time the Magnificent Lorenzo de' Medici kept the sculptor Bertoldo in his garden on the Piazza di S. Marco, not so much as custodian or guardian of the many beautiful antiques that he had collected and gathered together at great expense in that place, as because, desiring very earnestly to create a school of excellent painters and sculptors, he wished that these should have as their chief and guide the above-named Bertoldo, who was a disciple of Donato. Bertoldo, although he was so old that he was not able to work, was nevertheless a well-practised master and in much repute, not only because he had polished with great diligence the pulpits cast by his master Donato, but also on account of many castings in bronze that he had executed himself, of battles and certain other small works, in the execution of which there was no one to be found in Florence at that time who surpassed him. Now Lorenzo, who bore a very great love to painting and to sculpture, was grieved that there were not to be found in his time sculptors noble and famous enough to equal the many painters of the highest merit and reputation, and he determined, as I have said, to found a school. To this end he besought Domenico Ghirlandajo that, if he had among the young men in his workshop any that were inclined to sculpture, he might send them to his garden, where he wished to train and form them in such a manner as might do honour to himself, to Domenico, and to the whole city. Whereupon there were given to him by Domejaico as the best of his young men, among others, Michelagnolo and Francesco Granacci; and they, going to the garden, found there that Torrigiano, a young man of the Torrigiani family, was executing in clay some figures in the round that had been given to him by Bertoldo.



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