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So your lordship will be able to have them; and you may rest assured that you will be well and quickly served." Alberti, we may conjecture, was one of Daniele's men alluded to by Jacopo del Duca. It is probable that just at this time they were making several replicas from their deceased master's model, in order to dispose of them at an advantage while Michelangelo's memory was still fresh.
And to make an end of St. Elia with Crisione, let me record here the simple Daniele's last act of piety to his master. It is little that in such company he fought with devils, or that after he had written with much labour a beautiful Psalter, the old monk bade him fling it and worldly pride together over the cliff into a lake.
What happened to the bronze heads in the interval between June 1564 and April 1566 may be partly understood from Diomede Leoni's correspondence. This man, a native of San Quirico, was Daniele's scholar, and an intimate friend of the Buonarroti family.
Nearly four months had elapsed since Michelangelo's decease, and this was quite enough time for the wax model to be made. The work of casting was begun, but Daniele's health at this time became so wretched that he found it impossible to work steadily at any of his undertakings. He sank slowly, and expired in the early spring of 1566.
To sum up this question of Michelangelo's authentic portraits: I repeat that Bonasoni's engraving represents him at the age of seventy; Leoni's wax model and medallions at eighty; the eight bronze heads, derived from Daniele's model, at the epoch of his death. In painting, Marco Venusti and Daniele da Volterra helped to establish a traditional type by two episodical likenesses, the one worked into Venusti's copy of the Last Judgment (at Naples), the other into Volterra's original picture of the Assumption (at Trinit
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