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encounters) replied, No; a sword suits me better than a book, as I know more about the one than the other.

The pope returned to Rome, and Michael Angelo remained sixteen months to finish this bronze; but the people, unmindful of the pope's malediction, destroyed the statue as soon as his partisans ceased to have power in Bologna; and the pieces (except the head, which was long preserved in the museum of Duke Alphonso at Ferrara) were cast into a piece of ordnance, and christened Julia after the pope.

When this statue had been completed, Michael Angelo returned to Rome: here he was again thwarted by the jealousy of one of his rivals, Bramante, then the architect of St. Peter's, who, conceiving that the pope inclined more to sculpture than architecture, persuaded him to abandon for a while the completion of the monument, urging that it was ill-omened to prepare a tomb during his life. It was he who suggested to the pope that Michael Angelo should be employed in the painting the vault of the Sistine chapel, erected to the memory of his uncle Sixtus. Bramante's object in doing this was a hope that by these means Michael Angelo would be prevented from displaying his genius in that art in which he most excelled, and would, in the exercise of one in which he was almost unskilled, be brought in comparison with his relation Raphael, then just rising into eminence and favour at the papal court. Michael Angelo, at once desirous of completing the monument, and of avoiding the execution of a work in colours, an art which he had not practised, did all he could to persuade the pope to consign the ornamenting the chapel to Raphael.

Julius, whose temper was too eager and ardent to enable him to wait with any thing like patience the time requisite for the completion of the monument, which required much study and thought, was not sorry for an excuse to change the employment of Michael Angelo; and it is probable his independence and unbending manner were displeasing to a pontiff, little accustomed to opposition; this, and the frequent demands for money as the work proceeded, may have made him glad to find some reason for suspending the completion of the tomb.

tion, he set to work on his design in good earnest. Finding the scaffolding erected by Bramante unsuited to his object, he invented one of a superior construction and of great simplicity, which was adopted in the building of St. Peter's; and, as suggested by Mr. Duppa, is most probably the same admirable piece of machinery which is now used at Rome whenever there is occasion for scaffolding to repair or construct the interior of public buildings. He gave this invention to the poor carpenter who was employed to construct it, and who, by the profits derived from it, was enabled to raise a marriage portion for his two daughters. Unused to working in fresco, which is done by painting on the wet plaster so that the colour becomes incorporated in the wall, and requires much experience and practical dexterity, Michael Angelo met with many difficulties in the progress of his work, and at first sent for two artists from Florence to instruct and assist him, but these were soon dismissed, and the whole work executed by himself. Julius, who was old, and eager for the completion of whatever he had once planned, used frequently to visit the painting during its progress, and became so impatient to see the effect of the design, that, in order to gratify his curiosity, the scaffolding was by his order removed before the picture was finished; and so desirous were all to see the ceiling about which such expectation had been raised, that the area of the chapel was immediately filled, the pope entering even before the dust occasioned by the removal of the boards had cleared away. Vasari says, that Raphael on seeing this great work, changed his style, from the hints it afforded: this, however, is questioned by the partisans of that great painter. It is not, however, of much importance to consider how far it was correct: no one will be so hardy as to deny that in the art of design, the greatness of Michael Angelo's genius might have furnished hints for improvement even to so distinguished a master as Raphael.

Bramante, if he had really conceived that he should lower the reputation of Michael Angelo, by compelling him to work at a branch of the art with which he had previously but slight acquaintance, must have been completely disappointed in his object. It is stated, When Michael Angelo found that he however, that he tried to prevent Micould not change the pope's determina-chael Angelo fiom completing the whole,

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and to persuade the pope to allow Raphael to execute the designs for that part of the chapel which was unfinished. Julius however, more firmly than ever convinced of the powers of Michael Angelo, by this new proof which he had afforded, confided the whole work to him, and continued impatient for its completion. It is, however, probable that he did not, in the irritable temper and independent bearing of the painter, find so accommodating a spirit as he was accustomed to discover amongst his courtiers and dependents. The patron and artist were often at variance during the progress of the work, and for some impatient answer which he received from Michael Angelo, the pope threatened to have him thrown down from the platform on which he was painting, if the work was not speedily finished. At the end of twenty months the scaffolding was removed for the last time, and at length in possession of his wish, the pope on All Saints Day sang mass in the chapel. Michael Angelo thus hurried, had not put the finishing touches to some of the parts; but though he was permitted to do this, he left his work as it was, rather than have the scaffolding erected anew. When the pope suggested that there was a want of ornament and gilding which he wished to have added; Michael Angelo, feeling perhaps that this would impair rather than add to its grandeur, said, "No, holy father, those who are represented in these designs were simple men, and wore neither gold nor silver, they were poor but holy, despising all worldly riches."-For this great work he received 3000 crowns.

A brief notice like the present does not afford an opportunity of entering into any detailed description of these pictures; neither would any great advantage result from doing so. In a subsequent page, however, in considering the character of the different paintings of Michael Angelo, we shall give the opinion of Sir Joshua Reynolds and Mr. Fuseli on these works; authors, perhaps, more capable of appreciating their merit, than any who have yet written on the fine arts.

The size of our page does not enable us to give an idea of the various designs of which this great work consisted, but an outline is given of a single group in one of the compartments, representing Charity, which Mr. Flaxman pronounces to be the finest group, ancient or modern, ever designed.

Julius, whilst he patronised and richly rewarded his favourite, appears to have been a hard task-master, and to have treated him on more occasions than those already enumerated with harshness and caprice. This, the independent and irritable spirit of the artist could not brook, and the result was that he was more than once in disgrace. Just before his death, the pope ordered Cardinal Santi Quattro and his nephew the Cardinal Agnese to cause his mausoleum to be completed, though on a smaller scale than that which was originally planned; but Michael Angelo was again thwarted in his desire to finish this work which had been so long begun, and which would have been a splendid tribute to the memory of one who had been his patron. Leo the Tenth, who succeeded Julius, immediately after his accession employed him to go to Florence to execute a magnificent façade to the church of St. Lorenzo, which had remained unfinished from the time of his grandfather Cosmo de Medici. The cardinals intrusted with the superintendence of the monument, and the artist himself, for some time resisted the order; but the wishes of Leo were soon discovered to be commands, and Michael Angelo once more departed, even in tears, (as his friend Vasari states,) to Carrara, to superintend the procuring the marble for this new work. The only indulgence which could be procured was that he might, whilst at Florence, proceed in the execution of the figures for the mausoleum. When he had arrived at Carrara, Leo hearing that there were quarries within the Florentine dominions, where it was conceived marble equally good as that at Carrara might be procured, Michael Angelo was ordered to proceed to them in order to superintend the obtaining the marble, notwithstanding he represented that the quality was inferior, and that from the situation of the quarries it would be necessary that roads should be cut through both mountains and marshes for its transport. If the reader has felt regret that one so devoted to his art-one who had given such testimony of genius, should have met with so much opposition and found such little real encouragement, his feelings of disappointment will be increased when he learns that the great talents of Michael Angelo were during the whole reign of Leo, employed in the execution of that which probably would have been as well or even better performed by a

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stone-mason. Eight years and some months, (being the whole pontificate,) were entirely spent at these quarries, and in petty disputes with the agents of the pope as to money.

Historians, and particularly Mr. Roscoe, have given Leo more credit for his patronage of genius than, perhaps, he merited. With respect to Michael Angelo, it must be admitted that he reaped no benefit from the magnificence of him whom it has been the fashion to represent as the universal patron of genius. His title to this praise has been successfully impeached by Mr. Duppa, who observes, that when he ascended the papal throne, the arts in

Rome were in their meridian, that he found greater talents than he employed, and greater works commenced, than he completed; that those men who have been for succeeding ages the admiration of mankind, Leonardo da Vinci, Michael Angelo, and Raphael, executed their best works before his accession; and that Bramante, the architect of St. Peter's, died in the second year of his pontificate. Leonardo da Vinci is acknowledged not to have been benefited by his munificence; and, for the magnificence of the state chambers in the Vatican, posterity is indebted to Julius the Second, as those two rooms, which were painted by Raphael, which are his

greatest productions, were nearly completed at the pope's death.

It may indeed be questioned whether Leo the Tenth had any very refined taste for works of art, when it is considered that the cartoons which Raphael was employed by him to execute, were sent to Flanders, as patterns for tapestry; and that when the carpets were executed, no inquiry appears to have been made after the original designs, seven of which now form the most valuable specimens of art in this country; from the merit of these, the value of those which have been destroyed, may well be estimated again, as to Leonardo da Vinci, one qualified to stand in rivalry with Michael Angelo,-the painter of the Last Supper, it is even doubtful whether he visited Rome during the time of Leo, but it is certain he was at no time employed by him.

On the death of Leo, during the reign of his successor, Adrian the Sixth, the arts were no longer favoured at Rome: and Michael Angelo was allowed to employ himself in the execution of two statues, which were to form part of the monument of his patron Julius.

The Duke of Urbino, the nephew of Julius, impatient at the delay which had taken place in the execution of this work, sought to compel Michael Angelo to account for some large sums of money, which it was pretended had been received by him. The duke petitioned Adrian that he might be summoned to Rome for the purpose of rendering the required information. Giuliano de Medici, (afterwards Clement the Seventh,) who was at this time governor of Florence, had employed Michael Angelo to erect a library and new sacristy to the church of St. Lorenzo, to serve as a mausoleum for the Medici family in order that he might be allowed to proceed with these, the governor interfered with the pope, and obtained permission that the artist should remain at Florence. He was in no danger of receiving from Adrian any new commission which would interrupt the progress of his works, as the pope was not only ignorant of, but hostile to the fine arts; and had even determined to destroy the paintings of the Sistine chapel, conceiving that they were more fitted for a bath than a church; and when the group of the Laocoon was shewn to him, he is said to have turned away, refusing to even look at the idols of the heathens This pope, who was considered

by the Italians as a Flemish barbarian, died after a short reign of twenty months, to the great joy of the Romans.

Adrian was succeeded by Clement the Seventh, whose desire that Michael Angelo should proceed with the works at Florence which he had ordered, again interfered to prevent the completion of the monument. The complaints of the nephew, however, at length compelled the artist to return to Rome, in order to attempt some amicable arrangement with respect to these claims. The weakness, ambition, and crooked policy of Clement early involved him in ruin, and soon after his accession. he was taken prisoner, and his capital plundered by the army of the Constable of Bourbon. Up to this period Michael Angelo had only to contend with the perversity and injustice of his patrons, and the jealousy and opposition of his rivals; in addition to these, he now found himself involved in the troubles of contending parties; and without coming to any settlement with the duke, he determined again to leave Rome for Florence, that he might proceed with the chapel and library of St. Lorenzo.

From the time when Sodarini had been driven from the government, Florence became again subject to the rule of the Medici. When the ecclesiastical states were overrun by a foreign enemy, the Florentines began to entertain hopes of ridding themselves of their oppressors, and of obtaining a free government. For this purpose they were induced to join the Venetians, together with the Dukes of Ferrara, Mantua, and Urbino, who had united with England and France in order to oppose the growing power of Charles the Fifth. One of the first objects of Clement on the recovery of his liberty, was to reconquer the Tuscan states, the sovereignty of which was guaranteed to his family by the treaty of Barcelona. The Florentines, although unsupported by their allies, and abandoned to their fate by Francis the First, who was compelled to enter into the treaty of Cambray, maintained a gallant struggle for their liberty. When it was determined to fortify the city, Michael Angelo was appointed the military architect, or engineer to superintend the erection of the necessary works; and he, preferring the liberties of his country to the interests of the family of his patron, did not hesitate to accept the task.

His appointment to such an important

post is a proof of the high estimation in which his talents were held by his countrymen. Before commencing the necessary works, he went to Ferrara to inspect the fortifications, which were then considered to be the best in Italy. Whilst there, he was received by Alphonso Duke of Ferrara with great courtesy, who afforded him all the information and assistance which he required. The duke took the opportunity of his presence to request that he would execute some work of art for him, and on his return to Florence, notwithstanding his urgent occupations respecting the defence of the city, he commenced a picture of Leda, which Vasari describes as exquisitely beautiful. This painting it appears, however, never reached the duke, because, as is related by Michael Angelo's biographers, some one sent by the duke expressed dissatisfaction at the work, which induced the indignant artist to refuse to send it, and it was given, together with some models, to one of his attendants, who took them into France. The Leda afterwards came into the possession of Francis the First, but was nearly obliterated by the holy fury of a confessor in the time of Louis the Thirteenth. A French artist, who saw the picture at Fontainbleau after it had been injured, says the remains of it possessed much of the manner of Titian in the colouring, and in support of this it is to be remarked, it was not till after Michael Angelo's return from Venice, where he became acquainted with that great master's style, that he finished the Leda. The original cartoon or design for this work, was some years since brought to this country by Mr. Lock, and by him presented to the Royal Academy. During this period, in addition to painting the Leda, he proceeded with the figures for the monument in St. Lorenzo.

Michael Angelo appears to have displayed equal skill and patriotism in his conduct throughout the siege, and in all respects to have justified the confidence reposed in him by his country. The Florentines struggled bravely for the maintenance of their independence, and, aided by his skill, long defended themselves against the besieging army of the Prince of Orange, the general of Charles the Fifth. Having reason to doubt the good faith of some of the leading persons intrusted with the command of the defence, Buonaroti informed the authorities of his suspi

cions, but the information was disre garded, and his warnings were attributed to timidity. Finding himself treated with contumely and contempt, and despairing of rendering assistance to those who were unwilling to serve themselves, he determined to withdraw secretly from Florence and go to Venice. He left the city in company with one of his scholars and a friend, and they carried with them 12,000 crowns in gold concealed in their cloaks. In passing through Ferrara he was recognised by the duke, who happened to see his name in the list of strangers which was kept by the police, and sending for him shewed him all respect, and by every kind of persuasion, joined to the offer of an honourable provision, endeavoured to induce him to remain at Ferrara, at least until the war was ended. He persisted however in his determination to depart, but not wishing to be outdone in generosity even by the duke, pointing to the cloaks of his companions where the gold was concealed, said that he had with him 12,000 crowns, which, if wanted, were at the duke's service. From Ferrara he proceeded to Venice, living as much retired as the importunities of those, who were desirous of doing honour to his genius, would permit. While there he is said by Vasari to have made, at the request of the doge, the design for the famous bridge of the Rialto, though it is now generally understood that the drawing from which the bridge was executed, was not the one made by him.

The Florentines soon finding their loss, followed him by entreaties to return to their assistance; and as concessions were made, and reparation offered for the indignities and slights received, he, at some personal risk, returned to his country, in order once again to renew the struggle for the maintenance of its liberty. The emperor, having effected a treaty with the Venetians, and all Italy except Florence having been restored to peace, was enabled to concentrate his forces: this, coupled with the treachery of the captain-general of Florence, hastened the downfal of the city, and a capitulation was entered into, in which there was provision for the preservation of life and liberty to those who had dared to defend their country against conquest and oppression. This treaty was explained as all such treaties are usually interpreted, where the strongest retains the power of dictating the terms

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