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Updated: May 1, 2025
Michael Angelo wrote a number of sonnets and made many drawings for his friends, especially for the Marchioness of Pescara and Messer Tomaso dei Cavalieri, a noble Roman gentleman. For him they were generally subjects from Greek and Roman mythology, but for the Marchioness the drawings always represented episodes from the story of the Passion of our Lord. A Piet
He was also on most friendly terms with my very reverend patron the Cardinal Ridolfi, of blessed memory, that refuge of all men of parts and talent. There are several others whom I omit for fear of being prolix, as Monsignor Claudio Tolomei, Messer Lorenzo Ridolfi, Messer Donato Giannotti, Messer Lionardo Malespini, Lottino, Messer Tommaso dei Cavalieri, and other honoured gentlemen.
Early in the year 1557 serious illness seized Michael Angelo, and his good friends the Cardinal of Carpi, Donato Giannotti, Tomaso Cavalieri, Francesco Bandini, and Lottino ultimately succeeded in persuading him to make a model of his cupola, that the work might not be impeded or altered in the event of his death. He mentions this in a letter to his nephew, Lionardo.
Benedetto Varchi, in his commentary, introduces two of them with these words: "The first I shall present is one addressed to M. Tommaso Cavalieri, a young Roman of very noble birth, in whom I recognised, while I was sojourning at Rome, not only incomparable physical beauty, but so much elegance of manners, such excellent intelligence, and such graceful behaviour, that he well deserved, and still deserves, to win the more love the better he is known."
The most important object was a box sealed with several seals, which the Governor ordered to be opened in the presence of Messer Tommaso dei Cavalieri and Maestro Daniele da Volterra, who had been sent for by Michelangelo before his death. Some seven or eight thousand crowns were found in it, which have now been deposited with the Ubaldini bankers.
Their friendship seems to have been uninterrupted by any disagreement, except on one occasion when Michelangelo gave way to his suspicious irritability, quite at the close of his long life. This drew forth from Cavalieri the following manly and touching letter: "Very magnificent, my Lord, I have noticed during several days past that you have some grievance what, I do not know against me.
It appears from a letter written to Lionardo Buonarroti on February 15, 1564, that his old servant Antonio del Francese, the successor of Urbino in his household, together with Tommaso Cavalieri and Daniello Ricciarelli of Volterra, attended him in his last illness.
It was set to music of a declamatory style by Emilio del Cavalieri, the author's collaborator in the pastoral plays that were really embryo operas. The title of the piece, "The Representation of the Body and the Soul," indicates the allegorical nature of the subject. Its initial performance occurred at Rome, February, 1600, in the oratory of San Filippo's church, Santa Maria della Vallicella.
The supposition that Michelangelo intended the Cavalieri letters to reach Vittoria Colonna through that friend's hands does not, indeed, deserve the complete refutation which I have given it.
There ensues a gap in the correspondence, which is not resumed until July 12, 1533. It now appears that Buonarroti had recently left Rome at the close of another of his visits. Angelini immediately begins to speak of Tommaso Cavalieri. "I gave that soul you wrote of to M. Tommao, who sends you his very best regards, and begs me to communicate any letters I may receive from you to him.
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