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Updated: May 1, 2025
Before proceeding to speak of him, I will wind up what has to be said about Tommaso Cavalieri. Not long after the date of the last letter quoted above, Michelangelo returned to Rome, and settled there for the rest of his life.
Expression only finds a smooth and flowing outlet when the man's nature is profoundly stirred by some powerful emotion, as in the sonnets to Cavalieri, or the sonnets on the deaths of Vittoria Colonna and Urbino, or the sonnets on the thought of his own death. For the most part, it is clear that he found great difficulty in mastering his thoughts and images.
The tenor of the sonnet shows that love keeps you perpetually restless. I do not think this ought to be the effect of love, and so I send you one of my poor performances to prove the contrary opinion." We may perhaps assume that this sonnet was the famous No. xxxi., from the last line of which every one could perceive that Michelangelo meant it for Tommaso Cavalieri.
Next day, on the 18th, Diomede Leoni wrote again: "He died without making a will, but in the attitude of a perfect Christian, this evening, about the Ave Maria. I was present, together with Messer Tommaso dei Cavalieri and Messer Daniele da Volterra, and we put everything in such order that you may rest with a tranquil mind.
Many others have occupied themselves with copper-plate engraving, who, although they have not attained to such perfection, have none the less benefited the world with their labours, by bringing many scenes and other works of excellent masters into the light of day, and by thus giving the means of seeing the various inventions and manners of the painters to those who are not able to go to the places where the principal works are, and conveying to the ultramontanes a knowledge of many things that they did not know. And although many plates have been badly executed through the avarice of the printers, eager more for gain than for honour, yet in certain others, besides those that have been mentioned, there may be seen something of the good; as in the large design of the Last Judgment of Michelagnolo Buonarroti on the front wall of the Papal Chapel, engraved by Giorgio Mantovano, and in the engravings by Giovan Battista de' Cavalieri of the Crucifixion of S. Peter and the Conversion of S. Paul painted in the Pauline Chapel at Rome. This Giovan Battista has also executed copper-plate engravings, besides other designs, of the Meditation of S. John the Baptist, of the Deposition from the Cross that Daniello Ricciarelli of Volterra painted in a chapel in the Trinit
It was also in 1532 or 1533 that he formed the most passionate attachment of which we have any knowledge in his life; for he became acquainted about this time with Tommaso Cavalieri. A few years later he was destined to meet with Vittoria Colonna. The details of these two celebrated friendships will be discussed in another chapter.
Stephen, Santo Stefano dei Cavalieri; next to it is the beautiful palace of the Anziani, later the Palazzo Conventuale dei Cavalieri, rebuilt by Vasari.
It was she who furthered the success of the embryo operas of Emilio del Cavalieri, late in the sixteenth century, and roused enthusiasm by her splendid interpretation for Jacopo Peri's "Eurydice," the first opera presented to the public.
The style of this design and its exquisite workmanship correspond exactly with the finish of the Cavalieri series at Windsor. The paper, moreover, is indorsed in Michelangelo's handwriting with a memorandum bearing the date April 12, 1530.
"Le donne, i cavalieri, l' armi, gli amori." Throughout the tales of Charlemagne and his warriors, overtopping by far the crowd of paladins and knights, move two colossal mailed and vizored figures Roland, whom the Italians call Orlando and the Spaniards Roldan, the son of Milon d'Angers and of Charlemagne's sister; and Renaud or Rinaldo, the lord of Montauban, and eldest of the famous four sons of Aymon.
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