The Life of Michelangelo Buonarroti. John Addington Symonds

Чтение книги онлайн.

СКАЧАТЬ 1501 from Lyons, saying that Pierre de Rohan, Maréchal de Gié, who stood high in favour at the court of Louis XII., greatly desired a copy of the bronze David by Donatello in the courtyard of the Palazzo Vecchio. He appeared willing to pay for it, but the envoys thought that he expected to have it as a present. The French alliance was a matter of the highest importance to Florence, and at this time the Republic was heavily indebted to the French crown. Soderini, therefore, decided to comply with the Marshal's request, and on the 12th of August 1502 Michelangelo undertook to model a David of two cubits and a quarter within six months. In the bronze-casting he was assisted by a special master, Benedetto da Rovezzano. During the next two years a brisk correspondence was kept up between the envoys and the Signory about the statue, showing the Marshal's impatience. Meanwhile De Rohan became Duke of Nemours in 1503 by his marriage with a sister of Louis d'Armagnac, and shortly afterwards he fell into disgrace. Nothing more was to be expected from him at the court of Blois. But the statue was in progress, and the question arose to whom it should be given. The choice of the Signory fell on Florimond Robertet, secretary of finance, whose favour would be useful to the Florentines in their pecuniary transactions with the King. A long letter from the envoy, Francesco Pandolfini, in September 1505, shows that Robertet's mind had been sounded on the subject; and we gather from a minute of the Signory, dated November 6, 1508, that at last the bronze David, weighing about 800 pounds, had been "packed in the name of God" and sent to Signa on its way to Leghorn. Robertet received it in due course, and placed it in the courtyard of his château of Bury, near Blois. Here it remained for more than a century, when it was removed to the château of Villeroy. There it disappeared. We possess, however, a fine pen-and-ink drawing by the hand of Michelangelo, which may well have been a design for this second David. The muscular and naked youth, not a mere lad like the colossal statue, stands firmly posed upon his left leg with the trunk thrown boldly back. His right foot rests on the gigantic head of Goliath, and his left hand, twisted back upon the buttock, holds what seems meant for the sling. We see here what Michelangelo's conception of an ideal David would have been when working under conditions more favourable than the damaged block afforded. On the margin of the page the following words may be clearly traced: "Davicte cholla fromba e io chollarcho Michelagniolo,"—David with the sling, and I with the bow.

      Meanwhile Michelangelo received a still more important commission on the 24th of April 1503. The Consuls of the Arte della Lana and the Operai of the Duomo ordered twelve Apostles, each 4–¼ cubits high, to be carved out of Carrara marble and placed inside the church. The sculptor undertook to furnish one each year, the Board of Works defraying all expenses, supplying the costs of Michelangelo's living and his assistants, and paying him two golden florins a month. Besides this, they had a house built for him in the Borgo Pinti after Il Cronaca's design. He occupied this house free of charges while he was in Florence, until it became manifest that the contract of 1503 would never be carried out. Later on, in March 1508, the tenement was let on lease to him and his heirs. But he only held it a few months; for on the 15th of June the lease was cancelled, and the house transferred to Sigismondo Martelli.

      The only trace surviving of these twelve Apostles is the huge blocked-out S. Matteo, now in the courtyard of the Accademia. Vasari writes of it as follows: "He also began a statue in marble of S. Matteo, which, though it is but roughly hewn, shows perfection of design, and teaches sculptors how to extract figures from the stone without exposing them to injury, always gaining ground by removing the superfluous material, and being able to withdraw or change in case of need." This stupendous sketch or shadow of a mighty form is indeed instructive for those who would understand Michelangelo's method. It fully illustrates the passages quoted above from Cellini and Vasari, showing how a design of the chief view of the statue must have been chalked upon the marble, and how the unfinished figure gradually emerged into relief. Were we to place it in a horizontal position on the ground, that portion of a rounded form which has been disengaged from the block would emerge just in the same way as a model from a bath of water not quite deep enough to cover it. At the same time we learn to appreciate the observations of Vigenere while we study the titanic chisel-marks, grooved deeply in the body of the stone, and carried to the length of three or four inches. The direction of these strokes proves that Michelangelo worked equally with both hands, and the way in which they are hatched and crossed upon the marble reminds one of the pen-drawing of a bold draughtsman. The mere surface-handling of the stone has remarkable affinity in linear effect to a pair of the master's pen-designs for a naked man, now in the Louvre. On paper he seems to hew with the pen, on marble to sketch with the chisel. The saint appears literally to be growing out of his stone prison, as though he were alive and enclosed there waiting to be liberated. This recalls Michelangelo's fixed opinion regarding sculpture, which he defined as the art "that works by force of taking away." In his writings we often find the idea expressed that a statue, instead of being a human thought invested with external reality by stone, is more truly to be regarded as something which the sculptor seeks and finds inside his marble—a kind of marvellous discovery. Thus he says in one of his poems: "Lady, in hard and craggy stone the mere removal of the surface gives being to a figure, which ever grows the more the stone is hewn away." And again—

       The best of artists hath no thought to show Which the rough stone in its superfluous shell Doth not include: to break the marble spell Is all the hand that serves the brain can do.

      S. Matthew seems to palpitate with life while we scrutinise the amorphous block; and yet there is little there more tangible than some such form as fancy loves to image in the clouds.

      To conclude what I have said in this section about Michelangelo's method of working on the marble, I must confirm what I have stated about his using both left and right hand while chiselling. Raffaello da Montelupo, who was well acquainted with him personally, informs us of the fact: "Here I may mention that I am in the habit of drawing with my left hand, and that once, at Rome, while I was sketching the Arch of Trajan from the Colosseum, Michelangelo and Sebastiano del Piombo, both of whom were naturally left-handed (although they did not work with the left hand excepting when they wished to use great strength), stopped to see me, and expressed great wonder, no sculptor or painter ever having done so before me, as far as I know."

      V

      If Vasari can be trusted, it was during this residence at Florence, when his hands were so fully occupied, that Michelangelo found time to carve the two tondi, Madonnas in relief enclosed in circular spaces, which we still possess. One of them, made for Taddeo Taddei, is now at Burlington House, having been acquired by the Royal Academy through the medium of Sir George Beaumont. This ranks among the best things belonging to that Corporation. The other, made for Bartolommeo Pitti, will be found in the Palazzo del Bargello at Florence. Of the two, that of our Royal Academy is the more ambitious in design, combining singular grace and dignity in the Madonna with action playfully suggested in the infant Christ and little S. John. That of the Bargello is simpler, more tranquil, and more stately. The one recalls the motive of the Bruges Madonna, the other almost anticipates the Delphic Sibyl. We might fancifully call them a pair of native pearls or uncut gems, lovely by reason even of their sketchiness. Whether by intention, as some critics have supposed, or for want of time to finish, as I am inclined to believe, these two reliefs are left in a state of incompleteness which is highly suggestive. Taking the Royal Academy group first, the absolute roughness of the groundwork supplies an admirable background to the figures, which seem to emerge from it as though the whole of them were there, ready to be disentangled. The most important portions of the composition—Madonna's head and throat, the drapery of her powerful breast, on which the child Christ reclines, and the naked body of the boy—are wrought to a point which only demands finish. Yet parts of these two figures remain undetermined. Christ's feet are still imprisoned in the clinging marble; His left arm and hand are only indicated, and His right hand is resting on a mass of broken stone, which hides a portion of His mother's drapery, but leaves the position of her hand uncertain. The infant S. John, upright upon his feet, balancing the chief group, is hazily subordinate. The whole of his form looms blurred through the veil of stone, and what his two hands and arms are doing with the hidden right arm and hand of the Virgin may hardly be conjectured. It is clear that on this side of the composition the marble СКАЧАТЬ