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"Granacci happened to show him a print of S. Antonio tormented by the devils. This was the work of Martino d'Olanda, a good artist for the times in which he lived; and Michelangelo transferred the composition to a panel.
In the conversations recorded by Francesco d'Olanda he quietly and philosophically exculpates men of the artistic temperament from such charges, which were undoubtedly brought against him, and which the recluse manner of his life to some extent accounted for. It may be well here to resume the main points of the indictment brought against Michelangelo's sanity by the neo-psychologists.
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.
The tradition that they used to meet often in the little Church of Saint Sylvester, behind the Colonna gardens, rests upon the fact that they once held a consultation there in the presence of Francesco d'Olanda, a Portuguese artist, when Vittoria was planning the Convent of Saint Catherine, which she afterwards built not very far away.
It was at S. Silvestro that she dwelt, retired in widowhood, and here occurred those Sunday morning conversations of which Francesco d'Olanda has left us so interesting a record. During the next year, 1519, a certain Tommaso di Dolfo invited him to visit Adrianople.
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