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Updated: May 1, 2025
Your house is watched continually every night, and I often go to visit it by day. The hens and master cock are in fine feather, and the cats complain greatly over your absence, albeit they have plenty to eat." Angelini never writes now without mentioning Cavalieri.
If he had prejudices they were against the men of his own order. Once, in summing up the results of an unsatisfactory general election, he wrote: "A dozen marquises, two dozen counts, without reckoning barons and cavalieri it was enough to drive one mad!" When he had to do with men born of the people, he instinctively treated them on a perfect equality, not a common trait, if the truth were told.
The Florentine envoy sent a despatch to inform the Duke of the event, and he tells him the arrangements made as to the inventory of property and the disposal for safe-keeping of seven or eight thousand crowns found in a sealed box, opened in the presence of Messer Tomaso dei Cavalieri and Maestro Daniele da Volterra.
Despatch of Bartolomeo Cavalieri to Ercole, Macon, September 8, 1503. Bembo, Opp. iii, 309. After Lucretia's first transports had passed she may well have blessed her good fortune, for to what danger would she have been exposed if she now, instead of being Alfonso's wife, was still forced to share the destiny of the Borgias!
He did this notably in the case of both Vittoria Colonna and Tommaso dei Cavalieri. For the latter he designed subjects from Greek mythology; for the former, episodes in the Passion of our Lord.
He composed several pieces, madrigals and sonnets, under the genial influence of this exchange of thoughts. It was a period at which his old love of versifying revived with singular activity. Other friends, like Tommaso Cavalieri, Luigi del Riccio, and afterwards Vasari, enticed his Muse to frequent utterance.
That these two documents were really addressed to Cavalieri, without any thought of Vittoria Colonna, is proved by three letters sent to Michelangelo by the young man in question. One is dated August 2, 1533, another September 2, and the third bears no date. The two which I have mentioned first belong to the summer of 1533; the third seems to be the earliest.
When Vasari wrote in 1568, the dead sculptor's friend, Tommaso dei Cavalieri, was proceeding with the work. There is every reason, therefore, to assume that the latter building, at any rate, fairly corresponds to his intention. Like the cupola of S. Peter's, the Campidoglio has always been regarded as one of Michelangelo's most meritorious performances in architecture.
Speaking of his numerous allies and acquaintances, Vasari writes: "Immeasurably more than all the rest, he loved Tommaso dei Cavalieri, a Roman gentleman, for whom, as he was young and devoted to the arts, Michelangelo made many stupendous drawings of superb heads in black and red chalk, wishing him to learn the method of design.
Finally, about a week before the opera was produced, a new soprano was engaged to sing another rôle hitherto taken by the prospective Salome. Instantly the dread headlines on all the front pages of the metropolitan press announced that Miss Garden would resign before Madame Cavalieri should sing in any of her rôles. Mr. Hammerstein's "eyes twinkled," as the reporters besieged him.
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