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Updated: June 10, 2025
At the very beginning of January he also projected the building of the Laurentian Library, and wrote, through his Roman agent, Giovanni Francesco Fattucci, requesting to have two plans furnished, one in the Greek, the other in the Latin style. Michelangelo replied as follows: "I gather from your last that his Holiness our Lord wishes that I should furnish the design for the library.
God have mercy on his soul." The Cardinal Giovan Maria Ciocchi, of Monte San Savino, was elected to succeed Paul, and took the title of Julius III. This change of masters was duly noted by Michelangelo in a letter to his "dearest friend," Giovan Francesco Fattucci at Florence.
Fattucci, on the 13th of January 1524, rebuked him in affectionate terms for his want of pluck, informing him that "Jacopo Salviati has given orders that Spina should be instructed to pay you a monthly provision of fifty ducats." Moreover, all the disbursements made for the work at S. Lorenzo were to be provided by the same agent in Florence, and to pass through Michelangelo's hands.
Another commission Clement desired Michael Angelo to undertake was of a curiously absurd character. Fattucci wrote to say that the Pope wished a colossal statue to be erected on the piazza of San Lorenzo, opposite the Stufa Palace. The giant was to top the roof of the Medician Palace, with its face turned in that direction and its back to the house of Luigi della Stufa.
Michelangelo, on the contrary, asserted that he was out of pocket, as we gather from the lengthy report he forwarded in 1524 to Fattucci. The difficulty in the accounts seems to have arisen from the fact that payments for the Sistine Chapel and the tomb had been mixed up.
Michael Angelo says in his letter to Fattucci that the portrait he now modelled of Pope Julius was in bronze, sitting, about seven cubits in height. At the end of the two years that it took him to finish the work he had to cast it twice. He says. "I found that I had four and a half ducats left.
See Heath Wilson, pp. 79-87, and the letter to Giuliano di San Gallo in Milanesi's Archivio Buonarroti, p. 377. Michael Angelo appears to have had some reason to fear assassination in Rome. See Michael Angelo's letters to Giovan Francesco Fattucci, and his family. Gotti, pp. 55-65. See the sonnet to Giovanni da Pistoja:
Clement appears to have arranged matters to some extent with the executors, and we have a hint of the new arrangement in a letter by Michael Angelo to Fattucci, dated Florence, October 24, 1525:— "MESSER GIOVAN FRANCESCO,—In reply to your last, the four statues I have in hand are not yet finished, and much has still to be done upon them.
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."
Fattucci begins by declaring that he is wholly guiltless of things which his friend too credulously believed upon the strength of gossip. He expresses the deepest grief at this unjust and suspicious treatment. The letter shows him to have been more hurt than resentful. The details are sufficiently picturesque to warrant the translation of a passage.
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