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Updated: June 2, 2025
And so in a short time, Buonarroti, Salviati, Daniello, and Taddeo having been taken from the world, our arts have suffered a very great loss, and particularly the art of painting. Taddeo was very bold in his work, and had a manner passing soft and pastose, and very far removed from the hardness often seen.
Buonarroti, it is clear, wasted his time, not through indolence, but through allowing the gloom of a suspicious and downcast temperament what the Italians call accidia to settle on his spirits. Skipping a year, we find that these troublesome negotiations about the tomb were still pending.
In the year 1547 Perino del Vaga died, leaving unfinished the Hall of Kings, which, as has been related, is in the Papal Palace, in front of the Sistine and Pauline Chapels; and by the mediation of many friends and lords, and in particular of Michelagnolo Buonarroti, Daniello was set in his place by Pope Paul III, with the same salary that Perino had received, and was commanded to make a beginning with the ornaments of the walls that were to be executed in stucco, with many nudes in the round over certain pediments.
Buonarroti, who was sincerely attached to Varj, and felt his artistic reputation now at stake, offered to make a new statue. But the magnanimous Roman gentleman replied that he was entirely satisfied with the one he had received.
When, in 1496, young Buonarroti, at the age of twenty-three, came from Florence to Rome to seek his fortune at the opulent Pontifical Court, he brought a letter of recommendation to Cardinal Sforza-Riario.
What confirms me in the opinion that Mr. Fornum's cameo is the most veracious portrait we possess of Michelangelo in old age, is that its fragility of structure, the tenuity of life vigorous but infinitely refined, reappears in the weak drawing made by Francesco d'Olanda of Buonarroti in hat and mantle. This is a comparatively poor and dreamy sketch.
A forlorn façade The church of the Medici Cosimo's parents' tomb Donatello's cantoria and pulpits Brunelleschi's sacristy Donatello again The palace of the dead Grand Dukes Costly intarsia Michelangelo's sacristy A weary Titan's life The victim of capricious pontiffs The Medici tombs Mementi mori The Casa Buonarroti Brunelleschi's cloisters A model library.
And Michelagnolo Buonarroti, seeing the work one day, and reflecting that a youth of nineteen had done it, said: "This young man, judging from what may be seen here, will become such that, if he lives and perseveres, he will exalt this art to the heavens."
There was a grand manner of medallion-portraiture in Italy, deriving from the times of Pisanello; and Leoni's bronze is worthy of that excellent tradition. He preserved the salient features of Buonarroti in old age. But having to send down to posterity a monumental record of the man, he added, insensibly or wilfully, both bulk and mass to the head he had so keenly studied.
The life of Italian artists at the time of the Renaissance may be illustrated by two biographies. Michael Angelo Buonarroti and Benvenuto Cellini were almost opposite in all they thought and felt, experienced and aimed at. The one impressed his own strong personality on art; the other reflected the light and shadow of the age in the record of his manifold existence.
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