POPE PAUL had made a beginning with the fortifying of the Borgo, and had summoned many gentlemen, together with Antonio da San Gallo, to a conference; but he wished that Michelagnolo also should have a part in this, knowing that the fortifications about the hill of S. Miniato in Florence had been constructed under his direction. After much discussion, Michelagnolo was asked what he thought; and he, having opinions contrary to San Gallo and many others, declared them freely. Whereupon San Gallo said to him that his arts were sculpture and painting, and not fortification. Michelagnolo replied that of sculpture and painting he knew little, but of fortification, what with the thought that he had devoted to it for a long time, and his experience in what he had done, it appeared to him that he knew more than either Antonio or any of his family; showing him in the presence of the company that he had made many errors in that art. Words rising high on either side, the Pope had to command silence; but no long time passed before Michelagnolo brought a design for all the fortifications of the Borgo, which laid open the way for all that has since been ordained and executed; and this was the reason that the great gate of S. Spirito, which was approaching completion under the direction of San Gallo, was left unfinished.
The spirit and genius of Michelagnolo could not rest without doing something; and, since he was not able to paint, he set to work on a piece of marble, intending to carve from it four figures in the round and larger than life, including a Dead Christ, for his own delight and to pass the time, and because, as he used to say, the exercise of the hammer kept him healthy in body. This Christ, taken down from the Cross, is supported by Our Lady, by Nicodemus, who bends down and assists her, planted firmly on his feet in a forceful attitude, and by one of the Maries, who also gives her aid, perceiving that the Mother, overcome by grief, is failing in strength and not able to uphold Him. Nor is there anywhere to be seen a dead form equal to that of Christ, who, sinking with the limbs hanging limp, lies in an attitude wholly different, not only from that of any other work by Michelagnolo, but from that of any other figure that was ever made. A laborious work is this, a rare achievement in a single stone, and truly divine; but, as will be related hereafter, it remained unfinished, and suffered many misfortunes, although Michelagnolo had intended that it should serve to adorn his own tomb, at the foot of that altar where he thought to place it.
It happened in the year I546 that Antonio da San Gallo died; whereupon, there being now no one to direct the building of S. Pietro, many suggestions were made by the superintendents to the Pope as to who should have it. Finally his Holiness, inspired, I believe, by God, resolved to send for Michelagnolo. But he, when asked to take Antonio's place, refused it, saying, in order to avoid such a burden, that architecture was not his proper art; and in the end, entreaties not availing, the Pope commanded that he should accept it, whereupon, to his great displeasure and against his wish, he was forced to undertake that enterprise. And one day among others that he went to S. Pietro to see the wooden model that San Gallo had made, and to examine the building, he found there the whole San Gallo faction, who, crowding before Michelagnolo, said to him in the best terms at their command that they rejoiced that the charge of the building was to be his, and that the model was a field where there would never be any want of pasture. "You speak the truth," answered Michelagnolo, meaning to infer, as he declared to a friend, that it was good for sheep and oxen, who knew nothing of art. And afterwards he used to say publicly that San Gallo had made it wanting in lights, that it had on the exterior too many ranges of columns one above another, and that, with its innumerable projections, pinnacles, and subdivisions of members, it was more akin to the German manner than to the good method of the ancients or to the gladsome and beautiful modern manner; and, in addition to this, that it was possible to save fifty years of time and more than three hundred thousand crowns of money in finishing the building, and to execute it with more majesty, grandeur, and facility, greater beauty and convenience, and better ordered design. This he afterwards proved by a model that he made, in order to bring it to the form in which the work is now seen constructed; and thus he demonstrated that what he said was nothing but the truth. This model cost him twenty-five crowns, and was made in a fortnight; that of San Gallo, as has been related, cost four thousand, and took many years to finish. From this and other circumstances it became evident that that fabric was but a shop and a business for making money, and that it would be continually delayed, with the intention of never finishing it, by those who had undertaken it as a means of profit.
Such methods did not please our upright Michelagnolo, and in order to get rid of all these people, while the Pope was forcing him to accept the office of architect to the work, he said to them openly one day that they should use all the assistance of their friends and do all that they could to prevent him from entering on that office, because, if he were to undertake such a charge, he would not have one of them about the building. Which words, spoken in public, were taken very ill, as may be believed, and were the reason that they conceived a great hatred against him, which increased every day as they saw the whole design being changed, both within and without, so that they would scarcely let him live, seeking out daily new and various devices to harass him, as will be related in the proper place. Finally the Pope issued a Motu-proprio creating him head of that fabric, with full authority, and giving him power to do or undo whatever he chose, and to add, take away, or vary anything at his pleasure; and he decreed that all the officials employed in the work should be subservient to his will. Whereupon Michelagnolo, seeing the great confidence and trust that the Pope placed in him, desired, in order to prove his generosity, that it should be declared in the Motuproprio that he was serving in the fabric for the love of God and without any reward. It is true that the Pope had formerly granted to him the ferry over~the river at Parma,* [* Piacenza.] which yielded him about six hundred crowns; but he lost it at the death of Duke Pier Luigi Farnese, and in exchange for it he was given a Chancellery at Rimini, a post of less value. About that he showed no concern; and, although the Pope sent him money several times by way of salary, he would never accept it, to which witness is borne by Messer Alessandro Ruffini, Chamberlain to the Pope at that time, and by M. Pier Giovanni Aliotti, Bishop of Forli. Finally the model that had been made by Michelagnolo was approved by the Pope; which model diminished S. Pietro in size, but gave it greater grandeur, to the satisfaction of all those who have judgment, although some who profess to be good judges, which in fact they are not, do not approve of it. He found that the four principal piers built by Bramante, and left by Antonio da San Gallo, which had to support the weight of the tribune, were weak; and these he partly filled up, and beside them he made two winding or spiral staircases, in which is an ascent so easy that the beasts of burden can climb them, carrying all the materials to the very top, and men on horseback, likewise, can go up to the uppermost level of the arches.
The first cornice above the arches he constructed of travertine, curving in a round, which is an admirable and graceful thing, and very different from any other; nor could anything better of that kind be done. He also made a beginning with the two great recesses of the transepts; and whereas formerly, under the direction of Bramante, Baldassarre, and Raffaello, as has been related, eight tabernacles were being made on the side towards the Camposanto, and that plan was afterwards followed by San Gallo, Michelagnolo reduced these to three, with three chapels in the interior, and above them a vaulting of travertine, and a range of windows giving a brilliant light, which are varied in form and of a sublime grandeur. But, since these things are in existence, and are also to be seen in engraving, not only those of Michelagnolo, but those of San Gallo as well, I will not set myself to describe them, for it is in no way necessary. Let it suffice to say that he set himself, with all possible diligence, to cause the work to be carried on in those parts where the fabric was to be changed in design, to the end that it might remain so solid and stable that it might never be changed by another; which was the wise provision of a shrewd and prudent intellect, because it is not enough to do good work, if further precautions be not taken, seeing that the boldness and presumption of those who might be supposed to have knowledge if credit were placed rather in their words than in their deeds, and at times the favor of such as know nothing, may give rise to many misfortunes.
The Roman people, with the sanction of that Pope, had a desire to give some useful, commodious, and beautiful form to the Campidoglio, and to furnish it with colonnades, ascents, and inclined approaches with and without steps, and also with the further adornment of the ancient statues that were already there, in order to embellish that place. For this purpose they sought the advice of Michelagnolo, who made them a most beautiful and very rich design, in which, on the side where the Senatore stands, towards the east, he arranged a facade of travertine, and a flight of steps that ascends from two sides to meet on a level space, from which one enters into the centre of the hall of that Palace, with rich curving wings adorned with balusters that serve as supports and parapets. And there, to enrich that part, he caused to be placed on certain bases the two ancient figures in marble of recumbent River Gods, each of nine braccia, and of rare workmanship, one of which is the Tiber and the other the Nile; and between them, in a niche, is to go a Jove. On the southern side, where there is the Palace of the Conservatori, in order that it might be made rectangular, there followed a rich and well varied facade, with a loggia at the foot full of columns and niches, where many ancient statues are to go; and all around are various ornaments, doors, windows, and the like, of which some are already in place. On the other side from this, towards the north, below the Araceli, there is to follow another similar facade; and before it, towards the west, is to be an ascent of baston-like steps, which will be almost level, with a border and parapet of balusters; here will be the principal entrance, with a colonnade, and bases on which will be placed all that wealth of noble statues in which the Campidoglio is now so rich. In the middle of the Piazza, on a base in the form of an oval, is placed the famous bronze horse on which is the statue of Marcus Aurelius, which the same Pope Paul caused to be removed from the Piazza di Laterano, where Sixtus IV had placed it. This edifice is now being made so beautiful that it is worthy to be numbered among the finest works that Michelagnolo has executed, and it is being carried to completion at the present day under the direction of M. Tommaso de' Cavalieri, a Roman gentleman who was, and still is, one of the greatest friends that Michelagnolo ever had, as will be related hereafter.
Pope Paul III had caused San Gallo, while he was alive, to carry forward the Palace of the Farnese family, but the great upper cornice, to finish the roof on the outer side, had still to be constructed, and his Holiness desired thatj^ichelagnolo should execute it from his own designs and directions. Michelagnolo, not being able to refuse the Pope, who so esteemed and favoured him, caused a model of wood to be made, six braccia in length, and of the size that it was to be; and this he placed on one of the corners of the Palace, so that it might show what effect the finished work would have. It pleased his Holiness and all Rome, and that part of it has since been carried to completion which is now to be seen, proving to be the most varied and the most beautiful of all that have ever been known, whether ancient or modern. On this account, after San Gallo was dead, the Pope desired that Michelagnolo should have charge of the whole fabric as well; and there he made the great marble window with the beautiful columns of variegated marble, which is over the principal door of the Palace, with a large escutcheon of great beauty and variety, in marble, of Pope Paul III, the founder of that Palace. Within the Palace he continued, above the first range of the court, the two other ranges, with the most varied, graceful, and beautiful windows, ornaments and upper cornice that have ever been seen, so that, through the labours and the genius of that man that court has now become the most handsome in Europe. He widened and enlarged the Great Hall, and set in order the front vestibule, and caused the vaulting of that vestibule to be constructed in a new variety of curve, in the form of a half oval.
Now in that year there was found at the Baths of Antoninus a mass of marble seven braccia in every direction, in which there had been carved by the ancients a Hercules standing upon a mound, who was holding the Bull by the horns, with another figure assisting him, and around that mound various figures of Shepherds, Nymphs, and different animals a work of truly extraordinary beauty, showing figures so perfect in one single block without any added pieces, which was judged to have been intended for a fountain. Michelagnolo advised that it should be conveyed into the second court, and there restored so as to make it spout water in the original manner; all which advice was approved, and the work is still being restored at the present day with great diligence, by order of the Farnese family, for that purpose. At that time, also, Michelagnolo made a design for the building of a bridge across the River Tiber in a straight line with the Farnese Palace, to the end that it might be possible to go from that palace to another palace and gardens that they possessed in the Trastevere, and also to see at one glance in a straight line from the principal door which faces the Campo di Fiore, the court, the fountain, the Strada Giulia, the bridge, and the beauties of the other garden, even to the other door which opened on the Strada di Trastevere a rare work, worthy of that Pontiff and of the judgment, design, and art of Michelagnolo.
In the year 1547 died Sebastiano Veneziano, the Friar of the Piombo; and, Pope Paul proposing that the ancient statues of his Palace should be restored, Michelagnolo willingly favored the Milanese sculptor Guglielmo della Porta, a young man of promise, who had been recommended by the above-named Fra Sebastiano to Michelagnolo, who, liking his work, presented him to Pope Paul for the restoration of those statues. And the matter went so far forward that Michelagnolo obtained for him the office of the Piombo, and he then set to work on restoring the statues, some of which are to be seen in that Palace at the present day. But Guglielmo, forgetting the benefits that he had received from Michelagnolo, afterwards became one of his opponents.
In the year 1549 there took place the death of Pope Paul III; whereupon, after fhe election of Pope Julius III, Cardinal Farnese gave orders for a grand tomb to be made for his kinsman Pope Paul by the hand of Fra Guglielmo, who arranged to erect it in S. Pietro, below the first arch of the new church, beneath the tribune, which obstructed the floor of the church, and was, in truth, not the proper place. Michelagnolo advised, most judiciously, that it could not and should not stand there, and the Frate, believing that he was doing this out of envy, became filled with hatred against him; but afterwards he recognized that Michelagnolo had spoken the truth, and that the fault was his, in that he had had the opportunity and had not finished the work, as will be related in another place. And to this I can bear witness, for the reason that in the year 1550 I had gone by order of Pope Julius III to Rome to serve him (and very willingly, for love of Michelagnolo), and I took part in that discussion. Michelagnolo desired that the tomb should be erected in one of the niches, where there is now the Column of the Possessed, which was the proper place, and I had so gone to work that Julius III was resolving to have his own tomb made in the other niche with the same design as that of Pope Paul, in order to balance that work; but the Frate, who set himself against this, brought it about that his own was never finished after all, and that the tomb of the other Pontiff was also not made; which had all been predicted by Michelagnolo.
In the same year Pope Julius turned his attention to having a chapel of marble with two tombs constructed in the Church of S. Pietro a Montorio for Cardinal Antonio di Monte, his uncle, and Messer Fabiano, his grandfather, the first founder of the greatness of that illustrious house. For this work Vasari having made designs and models, Pope Julius, who always esteemed the genius of Michelagnolo and loved Vasari, desired that Michelagnolo should fix the price between them; and Vasari besought the Pope that he should prevail upon him to take it under his protection. Now Vasari had proposed Simone Mosca for the carvings of this work, and Raffaello da Montelupo for the statues; but Michelagnolo advised that no carvings of foliage should be made in it, not even in the architectural parts of the work, saying that where there are to be figures of marble there must not be any other thing. On which account Vasari feared that the work should be abandoned, because it would look poor; but in fact, when he saw it finished, he confessed that Michelagnolo had shown great judgment.
Michelagnolo would not have Montelupo make the statues, remembering how badly he had acquitted himself in those of his own tomb of Julius II, and he was content, rather, that they should be entrusted to Bartolommeo Ammanati, whom Vasari had proposed, although Buonarroti had something of a private grievance against him, as also against Nanni di Baccio Bigio, caused by a reason which, if one considers it well, seems slight enough; for when they were very young, moved rather by love of art than by a desire to do wrong, they had entered with great pains into his house, and had taken from Antonio Mini, the disciple of Michelagnolo, many sheets with drawings; but these were afterwards all restored to him by order of the Tribunal of Eight, and, at the intercession of his friend Messer Giovanni Norchiati, Canon of S. Lorenzo, he would not have any other punishment inflicted on them. Vasari, when Michelagnolo spoke to him of this matter, said to him, laughing, that it did not seem to him that they deserved any blame, and that he himself, if he had ever been able, would have not taken a few drawings only, but robbed him of everything by his hand that he might have been able to seize, merely for the sake of learning art. One must look kindly, he said, on those who seek after excellence, and also reward them, and therefore such men must not be treated like those who go about stealing money, household property, and other things of value; and so the matter was turned into a jest. This was the reason that a beginning was made with the work of the Montorio, and that in the same year Vasari and Ammanati went to have the marble conveyed from Carrara to Rome for the execution of that work.
At that time Vasari was with Michelagnolo every day; and one morning the Pope in his kindness gave them both leave that they might visit the Seven Churches on horseback (for it was Holy Year), and receive the Pardon in company. Whereupon, while going from one church to another, they had many useful and beautiful conversations on art and every industry, and out of these Vasari composed a dialogue, which will be published at some more favorable opportunity, together with other things concerning art. In that year Pope Julius III confirmed the Motuproprio of Pope Paul III with regard to the building of S. Pietro; and although much evil was spoken to him of Michelagnolo by the friends of the San Gallo faction, in the matter of that fabric of S. Pietro, at that time the Pope would not listen to a word, for Vasari had demonstrated to him (as was the truth) that Michelagnolo had given life to the building, and also persuaded his Holiness that he should do nothing concerned with design without the advice of Michelagnolo. This promise the Pope kept ever afterwards, for neither at the Vigna Julia did he do anything without his counsel, nor at the Belvedere, where there was built the staircase that is there now, in place of the semicircular staircase that came forward, ascending in eight steps, and turned inwards in eight more steps, erected in former times by Bramante in the great recess in the center of the Belvedere. And Michelagnolo designed and caused to be built the very beautiful quadrangular staircase, with balusters of peperino stone, which is there at the present day.