It is said that if any painter who knew Raphael (and even any who did not) asked him for a drawing, he would leave what he was doing himself in order to help. And he always kept employed a vast number of artists whom he helped and instructed with a love that belonged rather to children of his own than to his fellow craftsmen. He was never seen leaving his house to go to court but that he was accompanied by fifty painters, all able and excellent artists, going with him to do him honour.
In short, Raphael lived more like a prince than a painter. The art of painting was supremely fortunate in securing the allegiance of a craftsman who, through his virtues and his genius, exalted it to the very skies. It is fortunate also in having disciples today who follow in the footsteps of Raphael. For he showed them how to live and how to combine virtue and art; and in him these qualities prevailed on the magnificent Julius II and the munificent Leo X, despite their exalted dignity and rank, to make him their intimate friend and show him every mark of favour. Because of their favours and rewards Raphael was able to win great honour both for himself and his art. Happy, too, may be called all those who were employed in Raphael’s service and worked under him; for whoever followed him discovered that he had arrived at a safe haven. Just so, those who follow Raphael in the future will win fame on earth, and if they follow also the example of his life they will be rewarded in heaven.
This epitaph was written for Raphael by Bembo:
D.O.M.
RAPHAELI . SANCTIO . IOAN . F . VRBINAT .
PICTORI . EMINENTISS . VETERVMQ . AEMULO
CVIVS . SPIRANTEIS . PROPE . IMAGINEIS
SI . CONTEMPLERE
NATVRAE . ATQUE . ARTIS . FOEDVS
FACILE . INSPEXERIS
IVLII . II . ET LEONIS . X . PONTT . MAXX .
PICTVRAE . ET . ARCHITECT . OPERIBVS
GLORIAM . AVXIT
VIXIT . AN . XXXVII . INTEGER . INTEGROS
QVO . DIE . NATVS . EST . EO . ESSE . DESIIT
VIII . ID . APRIL . MDXX
ILLE . HIC . EST . RAPHAEL . TIMVIT . QVO . SOSPITE . VINCI
RERVM . MAGNA . PARENS . ET . MORIENTE . MORI .1
And Count Baldesar Castiglione wrote on the death of Raphael in this manner:
Quod lacerum corpus medica sanaverit arte,
Hippolytum Stygiis et revocarit aquis,
Ad Stygias ipse est raptus Epidaurius undas;
Sic precium vitae mors fuit artifici.
Tu quoque dum toto laniatam corpore Romam
Componis miro, Raphael, ingenio,
Atque Urbis lacerum ferro, igni, annisque cadaver
Ad vitam, antiquum jam revocasque decus;
Movisti Superum invidiam, indignataque mors est,
Et quod longa dies paullatim aboleverat, hoc te
Mortali spreta lege parare iterum.
Sic miser heu! prima cadis intercepte juventa,
Deberi et morti nostraque nosque mones. 1
LIFE OF MICHELANGELO BUONARROTI
Florentine painter, sculptor, and architect, 1475–1564
ENLIGHTENED by what had been achieved by the renowned Giotto and his school, all artists of energy and distinction were striving to give the world proof of the talents with which fortune and their own happy temperaments had endowed them. They were all anxious (though their efforts were in vain) to reflect in their work the glories of nature and to attain, as far as possible, perfect artistic discernment or understanding. Meanwhile, the benign ruler of heaven graciously looked down to earth, saw the worthlessness of what was being done, the intense but utterly fruitless studies, and the presumption of men who were farther from true art than night is from day, and resolved to save us from our errors. So he decided to send into the world an artist who would be skilled in each and every craft, whose work alone would teach us how to attain perfection in design (by correct drawing and by the use of contour and light and shadows, so as to obtain relief in painting) and how to use right judgement in sculpture and, in architecture, create buildings which would be comfortable and secure, healthy, pleasant to look at, well-proportioned and richly ornamented. Moreover, he determined to give this artist the knowledge of true moral philosophy and the gift of poetic expression, so that everyone might admire and follow him as their perfect exemplar in life, work, and behaviour and in every endeavour, and he would be acclaimed as divine. He also saw that in the practice of these exalted disciplines and arts, namely, painting, sculpture, and architecture, the Tuscan genius has always been pre-eminent, for the Tuscans have devoted to all the various branches of art more labour and study than all the other Italian peoples. And therefore he chose to have Michelangelo born a Florentine, so that one of her own citizens might bring to absolute perfection the achievements for which Florence was already justly renowned.
So in the year 1474 in the Casentino, under a fateful and lucky star, the virtuous and noble wife of Lodovico di Leonardo Buonarroti gave birth to a baby son. That year Lodovico (who was said to be related to the most noble and ancient family of the counts of Canossa) was visiting magistrate at the township of Chiusi and Caprese near the Sasso della Vernia (where St Francis received the stigmata) in the diocese of Arezzo. The boy was born on Sunday, 6 March, about the eighth hour of the night; and without further thought his father decided to call him Michelangelo, being inspired by heaven and convinced that he saw in him something supernatural and beyond human experience. This was evident in the child’s horoscope which showed Mercury and Venus in the house of Jupiter, peaceably disposed; in other words, his mind and hands were destined to fashion sublime and magnificent works of art. Now when he had served his term of office Lodovico returned to Florence and settled in the village of Settignano, three miles from the city, where he had a family farm. That part of the country is very rich in stone, especially in quarries of grey-stone which are continuously worked by stone-cutters and sculptors, mostly local people; and Michelangelo was put out to nurse with the wife of one of the stone-cutters. That is why once, when he was talking to Vasari, he said jokingly:
‘Giorgio, if my brains are any good at all it’s because I was born in the pure air of your Arezzo countryside, just as with my mother’s milk I sucked in the hammer and chisels I use for my statues.’
As time passed and Lodovico’s family grew bigger he found himself, as he enjoyed only a modest income, in very difficult circumstances and he had to place his sons in turn with the Wool and Silk Guilds. When Michelangelo was old enough he was sent to the grammar school to be taught by Francesco of Urbino; but he was so obsessed by drawing that he used to spend on it all the time he possibly could. As a result he used to be scolded and sometimes beaten by his father and the older members of the family, who most likely considered it unworthy of their ancient house for Michelangelo to give his time to an art that meant nothing to them. It was about this time that Michelangelo became friendly with the young Francesco Granacci, who had been sent as a boy to learn the art of painting from Domenico Ghirlandaio.1 Francesco saw that Michelangelo had a great aptitude for drawing, and as he was very fond of him he used to supply him every day with drawings by Ghirlandaio, who was then regarded, throughout all Italy let alone in Florence, as one of the finest living masters. As a result Michelangelo grew more ambitious with every day that passed, and when Lodovico realized that there was no hope of forcing him to give up drawing he resolved to put his son’s aspirations to some use and make it possible for him to learn the art properly. So on the advice of friends he apprenticed him to Domenico Ghirlandaio.
When this happened Michelangelo was fourteen years old. And incidentally, the author of a biography of Michelangelo which was written after 1550 (when I wrote these Lives the first time) says that some people, because they did not know Michelangelo personally, have said things about him that were never true and have left out others that deserved to be mentioned.2 For instance, he himself taxes Domenico with envy and alleges that he never gave any help to Michelangelo. But this accusation is plainly false, as can be judged from something wr
itten by Michelangelo’s father, Lodovico, in one of Domenico’s record books, which is now in the possession of his heirs. The entry reads as follows:
1488. This first day of April I record that I, Lodovico di Leonardo Buonarroti, do apprentice my son Michelangelo to Domenico and David di Tommaso di Currado for the next three years, under the following conditions: that the said Michelangelo must stay for the stipulated time with the above-named to learn and practise the art of painting, and that he should obey their orders, and that the same Domenico and David should pay him in those three years twenty-four florins of full weight: six in the first year, eight in the second year, and ten in the third year, to a total of ninety-six lire.
And below this, also in Lodovico’s handwriting, is the following entry or record:
The above-named Michelangelo received this sixteenth day of April two gold florins, and I, Lodovico di Leonardo, his father, received twelve lire and twelve soldi on his account.
I have copied these entries straight from the book in order to show that everything I wrote earlier and am writing now is the truth; nor am I aware that anyone was more familiar with Michelangelo than I or can claim to have been a closer friend or more faithful servant, as can be proved to anyone’s satisfaction. Moreover, I do not believe there is anyone who can produce more affectionate or a greater number of letters than those written by Michelangelo and addressed to me. I made this digression for the sake of truth, and it must suffice for the rest of his Life. And now let us go back to Michelangelo himself.
The way Michelangelo’s talents and character developed astonished Domenico, who saw him doing things quite out of the ordinary for boys of his age and not only surpassing his many other pupils but also very often rivalling the achievements of the master himself. On one occasion it happened that one of the young men studying with Domenico copied in ink some draped figures of women from Domenico’s own work. Michelangelo took what he had drawn and, using a thicker pen, he went over the contours of one of the figures and brought it to perfection; and it is marvellous to see the difference between the two styles and the superior skill and judgement of a young man so spirited and confident that he had the courage to correct what his teacher had done. This drawing is now kept by me among my treasured possessions. I received it from Granaccio, along with other drawings by Michelangelo, for my book of drawings; and in 1550, when he was in Rome, Giorgio Vasari showed it to Michelangelo who recognized it and was delighted to see it again. He said modestly that as a boy he had known how to draw better than he did now as an old man.
Another time, when Domenico was working en the principal chapel of Santa Maria Novella, Michelangelo came along and started to draw the scaffolding and trestles and various implements and materials, as well as some of the young men who were busy there. When Domenico came back and saw what Michelangelo had done he said: ‘This boy knows more about it than I do.’ And he stood there astonished at the originality and skill in imitation that his inborn sense of judgement enabled so young an artist to display. Certainly, the work showed all the qualities to be expected of an artist with years of experience. This was because the instinctive grace of Michelangelo’s work was enhanced by study and practice; and every day he produced work that was still more inspired. For example, it was at that time that he made the copy of an engraving by Martin the German that brought him considerable fame.1 Michelangelo did a perfect pen-and-ink copy of this copper engraving, which showed St Anthony being tormented by devils, soon after it had been brought to Florence. He also did the scene in colours; and for this purpose in order to copy some of the strange-looking demons in the picture he went along to the market and bought some fishes with fantastic scales like theirs. The skill with which he did this work won him a considerable reputation. Michelangelo also copied the works of other masters, with complete fidelity; he used to tinge his copies and make them appear black with age by various means, including the use of smoke, so that they could not be told apart from the originals. He did this so that he could exchange his copies for the originals, which he admired for their excellence and which he tried to surpass in his own works; and these experiments also won him fame.
At that time the custodian or keeper of all the fine antiques that Lorenzo the Magnificent had collected at great expense and kept in his garden on the Piazza di San Marco was the sculptor Bertoldo.2 He had been a pupil of Donatello’s, and the chief reason why Lorenzo kept him in his service was because he had set his heart on establishing a school of firstrate painters and sculptors and wanted Bertoldo to teach and look after them. Bertoldo was now too old to work; nevertheless, he was very experienced and very famous, not only for having polished the bronze pulpits cast by Donatello but also for the many bronze casts of battle-scenes and the other small things he had executed himself with a competence that no one else in Florence could rival. So Lorenzo, who was an enthusiastic lover of painting and sculpture, regretting that he could find no great and noble sculptors to compare with the many contemporary painters of ability and repute, determined, as I said, to found a school himself. For this reason he told Domenico Ghirlandaio that if he had in his workshop any young men who were drawn to sculpture he should send them along to his garden, where they would be trained and formed in a manner that would do honour to himself, to Domenico, and to the whole city. So Domenico gave him some of the best among his young men, including Michelangelo and Francesco Granacci. And when they arrived at the garden they found Torrigiano (a young man of the Torrigiani family) working there on some clay figures in the round that Bertoldo had given him to do.1 After he had seen these figures, Michelangelo was prompted to make some himself; and when he saw the boy’s ambitious nature Lorenzo started to have very high hopes of what he would do. Michelangelo was so encouraged that some days later he set himself to copy in marble an antique faun’s head which he found in the garden; it was very old and wrinkled, with the nose damaged and a laughing mouth. Although this was the first time he had ever touched a chisel or worked in marble, Michelangelo succeeded in copying it so well that Lorenzo was flabbergasted. Then, when he saw that Michelangelo had departed a little from the model and followed his own fancy in hollowing out a mouth for the faun and giving it a tongue and all its teeth, Lorenzo laughed in his usual charming way and said:
‘But you should have known that old folk never have all their teeth and there are always some missing.’
In his simplicity Michelangelo, who loved and feared that lord, reflected that this was true, and as soon as Lorenzo had gone he broke one of the faun’s teeth and dug into the gum so that it looked as if the tooth had fallen out; then he waited anxiously for Lorenzo to come back. And after he had seen the result of Michelangelo’s simplicity and skill, Lorenzo laughed at the incident more than once and used to tell it for a marvel to his friends. He resolved that he would help and favour the young Michelangelo; and first he sent for his father, Lodovico, and asked whether he could have the boy, adding that he wanted to keep him as one of his own sons. Lodovico willingly agreed, and then Lorenzo arranged to have Michelangelo given a room of his own and looked after as one of the Medici household. Michelangelo always ate at Lorenzo’s table with the sons of the family and other distinguished and noble persons who lived with that lord, and Lorenzo always treated him with great respect. All this happened the year after Michelangelo had been placed with Domenico, when he was fifteen or sixteen years old; and he lived in the Medici house for four years, until the death of Lorenzo the Magnificent in 1492. During that period, as salary and so that he could help his father, Michelangelo was paid five ducats a month; and to make him happy Lorenzo gave him a violet cloak and appointed his father to a post in the Customs. As a matter of fact all the young men in the garden were paid salaries varying in amount through the generosity of that noble and magnificent citizen who supported them as long as he lived. It was at this time that, with advice from Politian, a distinguished man of letters, Michelangelo carved from a piece of marble given him by Lorenzo the Battle of Hercu
les with the Centaurs. This was so beautiful that today, to those who study it, it sometimes seems to be the work not of a young man but of a great master with a wealth of study and experience behind him. It is now kept in memory of Michelangelo by his nephew Lionardo, who cherishes it as a rare work of art. Not many years ago Lionardo also kept in his house in memory of his uncle a marble Madonna in bas-relief, little more than two feet in height. This was executed by Michelangelo when he was still a young man after the style of Donatello, and he acquitted himself so well that it seems to be by Donatello himself, save that it possesses more grace and design. Lionardo subsequently gave this work to Duke Cosimo de’ Medici, who regards it as unique, since it is the only sculpture in bas-relief left by Michelangelo.
To return to the garden of Lorenzo the Magnificent: this place was full of antiques and richly furnished with excellent pictures collected for their beauty, and for study and pleasure. Michelangelo always held the keys to the garden as he was far more earnest than the others and always alert, bold, and resolute in everything he did. For example, he spent many months in the church of the Carmine making drawings from the pictures by Masaccio; he copied these with such judgement that the craftsmen and all the others who saw his work were astonished, and he then started to experience envy as well as fame.
Lives of the Artists Page 35
