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Updated: May 1, 2025
The sun had disappeared behind the summits of the Tyrolean Alps, and the moon was already risen above the low barrier of the Lido. Hundreds of pedestrians were pouring out of the narrow streets of Venice into the square of St. Mark, like water gushing through some strait aqueduct, into a broad and bubbling basin. Gallant cavalieri and grave cittadini; soldiers of Dalmatia, and seamen of the galleys; dames of the city, and females of lighter manners; jewellers of the Rialto, and traders from the Levant; Jew, Turk, and Christian; traveller, adventurer, podest
Passing up the Borgo, here and there we may see signs of ancient Pisa in the sunken pillars, for instance, before a house in a street on the left, Via del Monte, following which we come into the most beautiful Piazza in Pisa, perhaps in Italy, Piazza dei Cavalieri, once the Piazza dei Anziani. On the right is the Church of the Knights of St.
Though he had a fairly good servant in Antonio del Franzese, and was surrounded by well-wishers like Tommaso Cavalieri, Daniele da Volterra, and Tiberio Calcagni, yet he led a very solitary life, and they felt he ought to be protected.
But Vinci, feeling himself growing worse every day, resolved to have himself removed from Genoa; and, having caused an assistant of his own, called Tiberio Cavalieri, to come from Pisa, with his help he had himself carried to Livorno by water, and from Livorno to Pisa in a litter.
This passage serves to explain the extreme sensitiveness of the great artist to personal charm, grace, accomplishments, and throws light upon the self-abandonment with which he sometimes yielded to the attractions of delightful people. We possess a series of Michelangelo's letters addressed to or concerned with Tommaso Cavalieri, the tone of which is certainly extravagant.
In a second letter addressed to G.F. Fattucci, under date October 1549, he conveys "the thanks of Messer Tomao de' Cavalieri to Varchi for a certain little book of his which has been printed, and in which he speaks very honourably of himself, and not less so of me." In neither of these letters does Michelangelo take exception to Varchi's interpretation of Sonnet xxxi.
The sonnets he afterwards composed show that his soul followed her to heaven. Another friend whom Michael Angelo found in this last stage of life, and whom he loved with only less warmth than Vittoria, was a young Roman of perfect beauty and of winning manners. Tommaso Cavalieri must be mentioned next to the Marchioness of Pescara as the being who bound this greatest soul a captive.
Indeed, the second proves that both he and Cavalieri were much pleased with it. Michelangelo even proceeds to inform Fattucci that Cavalieri "has given me a sonnet which I made for him in those same years, begging me to send it on as a proof and witness that he really is the man intended. This I will enclose in my present letter."
He continued to the end of his days in close friendship with Cavalieri, who helped to nurse him during his last illness, who took charge of his effects after his death, and who carried on the architectural work he had begun at the Capitol.
"There is an epistle to this young man," he says, "so studied in its phrases, so devoid of all naturalness, that we cannot extract any rational sense from it without supposing that Cavalieri was himself a friend of the Marchioness, and that Michelangelo, while writing to him, intended rather to address his words to the Colonna."
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