The elder Saracinesca paused in his walk, and broke out into a loud laugh. "Already! You see, Giovannino," he said. "Tell him, Pasquale, that Don Giovanni caught a severe cold at the ball last night or no wait! What shall we say, Giovannino?"
He looked up as Giovanni entered, and started from his chair when he saw his son's face. "Good heavens! Giovannino! what has happened?" he cried, in great anxiety. "I came to tell you that Corona and I are going to Saracinesca to- morrow," answered Sant' Ilario, in a low voice. "What? At this time of year? Besides, you cannot get there. The road is full of Garibaldians and soldiers.
John, which had been placed in the palace of the Counts Gualandi Rosselmini, at Pisa, in 1817, and was rediscovered there in 1874. It is supposed to be this San Giovannino by Michael Angelo, though it has nothing of the large quality of Michael Angelo’s work. Donatello has been suggested as the author, but it has still less of the square planes and ascetic character of the great Donato.
For a long time this S. Giovannino was attributed to Donatello; and it certainly bears decided marks of resemblance to that master's manner, in the choice of attitude, the close adherence to the model, and the treatment of the hands and feet.
I remembered here with admiration the conduct of Father Carnesecchi, who, having on one occasion conducted two ladies and their cavaliers about the church of San Giovannino, and pointed out what beauties it possessed and many which it did not was mistaken by them for the sacristan and offered a small gratuity at the door.
"Signorina, I must enjoy it, by force." "You do it wonderfully. Do you know that? You do it better than the men." Again the conscious look came into the boy's face and body, as if his soul were faintly swaggering. "There is no one in the Bay who can dive better than I can," he answered. "Giovannino thinks he can. Well, let him think so. He would not dare to make a bet with me."
When we study the evolution of Michelangelo's ideal of form, we find at the beginning of his life a very short period in which he followed the traditions of Donatello and imitated Greek work. The seated Madonna in bas-relief and the Giovannino belong to this first stage. So does the bas-relief of the Centaurs.
If he was reluctant to renounce his rights it was after all more on Giovanni's account, and for the sake of Corona and little Orsino. He himself was an old man and had lived most of his life out already. "You have your mother's heart, Giovannino," he said simply, but there was a slight moisture in his eyes, which few emotions had ever had the power to bring there.
The Prince was evidently in a hurry, and moreover, he was tired and very hungry. An hour later, as both the men sat over the coffee in the dining-room, his mood was mellower. A dinner at home has a wonderful effect upon the temper of a man who has travelled and fared badly for eight-and-forty hours. "Giovannino," said old Saracinesca, "have you any idea what the Cardinal thinks of your marriage?"
We notice them particularly in the Dying Slave of the Louvre, which is certainly one of his most characteristic works. Good judges are therefore perhaps justified in identifying this S. Giovannino, which is now in the Berlin Museum, with the statue made for Lorenzo di Pierfrancesco de' Medici. The next piece which occupied Michelangelo's chisel was a Sleeping Cupid.