The Life of Michelangelo Buonarroti. John Addington Symonds

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СКАЧАТЬ S. Maria Novella; and being absent one day, Michelangelo set himself to draw from nature the whole scaffolding, with some easels and all the appurtenances of the art, and a few of the young men at work there. When Domenico returned and saw the drawing, he exclaimed: 'This fellow knows more about it than I do,' and remained quite stupefied by the new style and the new method of imitation, which a boy of years so tender had received as a gift from heaven."

      Both Condivi and Vasari relate that, during his apprenticeship to Ghirlandajo, Michelangelo demonstrated his technical ability by producing perfect copies of ancient drawings, executing the facsimile with consummate truth of line, and then dirtying the paper so as to pass it off as the original of some old master. "His only object," adds Vasari, "was to keep the originals, by giving copies in exchange; seeing that he admired them as specimens of art, and sought to surpass them by his own handling; and in doing this he acquired great renown." We may pause to doubt whether at the present time—in the case, for instance, of Shelley letters or Rossetti drawings—clever forgeries would be accepted as so virtuous and laudable. But it ought to be remembered that a Florentine workshop at that period contained masses of accumulated designs, all of which were more or less the common property of the painting firm. No single specimen possessed a high market value. It was, in fact, only when art began to expire in Italy, when Vasari published his extensive necrology and formed his famous collection of drawings, that property in a sketch became a topic for moral casuistry.

      Of Michelangelo's own work at this early period we possess probably nothing except a rough scrawl on the plaster of a wall at Settignano. Even this does not exist in its original state. The Satyr which is still shown there may, according to Mr. Heath Wilson's suggestion, be a rifacimento from the master's hand at a subsequent period of his career.

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      Condivi and Vasari differ considerably in their accounts of Michelangelo's departure from Ghirlandajo's workshop. The former writes as follows: "So then the boy, now drawing one thing and now another, without fixed place or steady line of study, happened one day to be taken by Granacci into the garden of the Medici at San Marco, which garden the magnificent Lorenzo, father of Pope Leo, and a man of the first intellectual distinction, had adorned with antique statues and other reliques of plastic art. When Michelangelo saw these things and felt their beauty, he no longer frequented Domenico's shop, nor did he go elsewhere, but, judging the Medicean gardens to be the best school, spent all his time and faculties in working there." Vasari reports that it was Lorenzo's wish to raise the art of sculpture in Florence to the same level as that of painting; and for this reason he placed Bertoldo, a pupil and follower of Donatello, over his collections, with a special commission to aid and instruct the young men who used them. With the same intention of forming an academy or school of art, Lorenzo went to Ghirlandajo, and begged him to select from his pupils those whom he considered the most promising. Ghirlandajo accordingly drafted off Francesco Granacci and Michelangelo Buonarroti. Since Michelangelo had been formally articled by his father to Ghirlandajo in 1488, he can hardly have left that master in 1489 as unceremoniously as Condivi asserts. Therefore we may, I think, assume that Vasari upon this point has preserved the genuine tradition.

      Having first studied the art of design and learned to work in colours under the supervision of Ghirlandajo, Michelangelo now had his native genius directed to sculpture. He began with the rudiments of stone-hewing, blocking out marbles designed for the Library of San Lorenzo, and acquiring that practical skill in the manipulation of the chisel which he exercised all through his life. Condivi and Vasari agree in relating that a copy he made for his own amusement from an antique Faun first brought him into favourable notice with Lorenzo. The boy had begged a piece of refuse marble, and carved a grinning mask, which he was polishing when the Medici passed by. The great man stopped to examine the work, and recognised its merit. At the same time he observed with characteristic geniality: "Oh, you have made this Faun quite old, and yet have left him all his teeth! Do you not know that men of that great age are always wanting in one or two?" Michelangelo took the hint, and knocked a tooth out from the upper jaw. When Lorenzo saw how cleverly he had performed the task, he resolved to provide for the boy's future and to take him into his own household. So, having heard whose son he was, "Go," he said, "and tell your father that I wish to speak with him."

      A mask of a grinning Faun may still be seen in the sculpture-gallery of the Bargello at Florence, and the marble is traditionally assigned to Michelangelo. It does not exactly correspond to the account given by Condivi and Vasari; for the mouth shows only two large tusk-like teeth, with the tip of the tongue protruding between them. Still, there is no reason to feel certain that we may not have here Michelangelo's first extant work in marble.

      "Michelangelo accordingly went home, and delivered the message of the Magnificent. His father, guessing probably what he was wanted for, could only be persuaded by the urgent prayers of Granacci and other friends to obey the summons. Indeed, he complained loudly that Lorenzo wanted to lead his son astray, abiding firmly by the principle that he would never permit a son of his to be a stonecutter. Vainly did Granacci explain the difference between a sculptor and a stone-cutter: all his arguments seemed thrown away. Nevertheless, when Lodovico appeared before the Magnificent, and was asked if he would consent to give his son up to the great man's guardianship, he did not know how to refuse. 'In faith,' he added, 'not Michelangelo alone, but all of us, with our lives and all our abilities, are at the pleasure of your Magnificence!' When Lorenzo asked what he desired as a favour to himself, he answered: 'I have never practised any art or trade, but have lived thus far upon my modest income, attending to the little property in land which has come down from my ancestors; and it has been my care not only to preserve these estates, but to increase them so far as I was able by my industry.' The Magnificent then added: 'Well, look about, and see if there be anything in Florence which will suit you. Make use of me, for I will do the utmost that I can for you.' It so happened that a place in the Customs, which could only be filled by a Florentine citizen, fell vacant shortly afterwards. Upon this Lodovico returned to the Magnificent, and begged for it in these words: 'Lorenzo, I am good for nothing but reading and writing. Now, the mate of Marco Pucci in the Customs having died, I should like to enter into this office, feeling myself able to fulfil its duties decently.' The Magnificent laid his hand upon his shoulder, and said with a smile: 'You will always be a poor man;' for he expected him to ask for something far more valuable. Then he added: 'If you care to be the mate of Marco, you can take the post, until such time as a better becomes vacant.' It was worth eight crowns the month, a little more or a little less." A document is extant which shows that Lodovico continued to fill this office at the Customs till 1494, when the heirs of Lorenzo were exiled; for in the year 1512, after the Medici returned to Florence, he applied to Giuliano, Duke of Nemours, to be reinstated in the same.

      If it is true, as Vasari asserts, that Michelangelo quitted Ghirlandajo in 1489, and if Condivi is right in saying that he only lived in the Casa Medici for about two years before the death of Lorenzo, April 1492, then he must have spent some twelve months working in the gardens at San Marco before the Faun's mask called attention to his talents. His whole connection with Lorenzo, from the spring of 1489 to the spring of 1492, lasted three years; and, since he was born in March 1475, the space of his life covered by this patronage extended from the commencement of his fifteenth to the commencement of his eighteenth year.

      These three years were decisive for the development of his mental faculties and special artistic genius. It is not necessary to enlarge here upon Lorenzo de' Medici's merits and demerits, either as the ruler of Florence or as the central figure in the history of the Italian Renaissance. These have supplied stock topics for discussion by all writers who have devoted their attention to that period of culture. Still we must remember that Michelangelo enjoyed singular privileges under the roof of one who was not only great as diplomatist and politician, and princely in his patronage, but was also a man of original genius in literature, of fine taste in criticism, and of civil urbanity in manners. The palace of the Medici formed a museum, at that period unique, considering the number and value of its art treasures—bas-reliefs, vases, coins, engraved stones, paintings by the best contemporary masters, statues in bronze and marble by Verocchio and Donatello. СКАЧАТЬ