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One of these, Bertoldo di Giovanni, who died in 1491, has left us a beautiful relief of a battle, now in the Bargello, and later we catch a glimpse of him in the garden of Lorenzo's villa directing the studies in art of a number of young people, among whom was the youthful Michelangelo.
But from his earliest years he sought for form, despising other things. He passed with contempt through a six months' apprenticeship at Perugia, railing at the great factory of devotional art established there by Perugino, of whom, with his rows of splay-footed saints and spindle-shanked heroes, he spoke with the same sweeping contempt as later Michelangelo.
But apart from the impossibility of combining two such totally different excellences as the colouring of Titian and the drawing of Michelangelo, it appears that Tintoretto's acquaintance with the works of the latter only developed his tendency to a naturalistic style. That which with Michelangelo was the symbol of a higher power in nature was adopted by Tintoretto in its literal form.
If they are in need of cash, they may draw upon his credit with the Spedalingo of S. Maria Novella. The constitutional liability to panic which must be recognised in Michelangelo emerges at the close of the letter. "As to public events, do not meddle with them either by deed or word. Act as though the plague were raging. Be the first to fly."
Foster's ballad form was extremely attenuated, but the melodic content filled it so completely that it seems to strain at the bounds and must be repeated and repeated to furnish full gratification to the ear. His form when compared with the modern ballad's amplitude seems like a Tanagra figurine beside a Michelangelo statue but the figurine is as fine in its scope as the statue is in the greater.
How great was the influence of this picture upon Michelangelo we need only take a few steps into the Tribuna to see, in his Tondo of the Holy Family, No. 1139. The painting is set in a kind of frame in grisaille, surmounted by a head of S. John the Baptist, and two seated Prophets in medallions.
Michelangelo was carried home half dead on this occasion; and Torrigiano, having been exiled from Florence for his violence, came to a bad end. The nose, however, being what it is, bears a proper proportion to the forehead and the rest of the face. The lips are thin, but the lower is slightly thicker than the upper; so that, seen in profile, it projects a little.
So bid your wife look with loving-kindness to his household affairs. I will make everything good to her and all of you, if it be necessary. Do not have the least hesitation, even if you have to expend all that we possess." We may assume that the subsequent reports regarding Lodovico's health were satisfactory; for on the 5th of December Michelangelo set out for Rome.
By the study of Masaccio Raphael was led out to a fresh contact with nature. Fra Bartolomeo revealed to him further possibilities of composition and taught him some of the secrets of color. In Florence, too, he acknowledged the spell of Michelangelo and Leonardo. But though he learned from many teachers, Raphael was never merely an imitator.
Of course, it would be going too far to assert that the great artist did not actually intend the sublimity that we admire and wonder at; but we may be sure that this sublimity is not something deliberately planned and achieved by him. It is there because the theme evoked it, and because Michelangelo was himself a man of the noblest character and of the loftiest imagination.
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