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Updated: June 12, 2025


About this time two plans were set on foot for erecting monuments to Michelangelo's memory. The scheme started by the Romans immediately after his death took its course, and the result is that tomb at the SS. Apostoli, which undoubtedly was meant to be a statue-portrait of the man. Vasari received from Lionardo Buonarroti commission to erect the tomb in S. Croce. The correspondence of the latter, both with Vasari and with Jacopo del Duca, who superintended the Roman monument, turns for some time upon these tombs. It is much to Vasari's credit that he wanted to place the Piet

On the other hand, the American, who liked to talk to her in his own tongue, and to make her chatter to him in return, would tell her many a story of the old master painters, of Cimabue and the boy Giotto, of Lionardo da Vinci, and half a dozen others; old, old tales of the days when, as we sometimes fancy, looking back through the mist of centuries, there were giants on the earth, but all new and fresh to our little Madelon, and with a touch or romance and poetry about them as told by the enthusiastic artist, which readily seized her imagination; indeed he himself, with his black velvet cap, and short pipe, and old coat, became somehow ennobled and idealised in her simple mind by his association through his art with the mighty men he was teaching her to reverence.

It is surely not without significance that this metempsychosis of genius should have happened in the case of Lionardo, himself the magician of Renaissance art, the lover of all things double-natured and twin-souled. Two painters of the Lombard school, Bernardino Luini and Gaudenzio Ferrari, demand separate notice.

At Pavia Lionardo was presented to Francis I, of France, who, zealous in patronizing art, engaged the painter to follow Francis's fortunes at a salary of seven hundred crowns a year. Lionardo spent the remainder of his life in France. His health had long been declining before he died, aged sixty-seven years, at Cloux, near Amboise. He had risen high in the favour of Francis.

To this critique we may add that both Lionardo and Poggio were led astray by the false taste of the earlier Renaissance. Their admiration for Livy and the pedantic proprieties of a labored Latinism made them pay more attention to rhetoric than to the substance of their work.

But the Romans, who regarded him as a fellow citizen, resented this, and Lionardo was obliged to send the body away disguised as a bale of merchandise, addressed to the custom-house at Florence. Vasari wrote, on March 10, duly informing him that the packing-case had arrived, and had been left under seals until Lionardo’s arrival at the custom-house.

Lionardo da Vinci at Milan was perfecting his problems of psychology in painting, offering to the world solutions of the greatest difficulties in the delineation of the spirit by expression. Yet not a trace of Lionardo's subtle play of light and shadow upon thoughtful features can be discerned in the work of the Bellini. For them the mysteries of the inner and the outer world had no attraction.

"When you come home with twenty apologies for laying out a less number of shillings upon that print after Lionardo, which we christened the 'Lady Blanch; when you looked at the purchase, and thought of the money and thought of the money, and looked again at the picture was there no pleasure in being a poor man?

But of this I am sure: their friends merely make them look silly by comparing them with contemporary French masters, or even with Lionardo da Vinci. Wilcoxism is a terrible disease because it slowly but surely eats away our sense of imperfection, our desire for improvement, and our power of self-criticism.

What had hitherto been treated with religious timidity, with conventional stiffness, or with realistic want of grandeur, was now humanised and at the same time transported into a higher intellectual region; and though Lionardo discrowned the Apostles of their aureoles, he for the first time in the history of painting created a Christ not unworthy to be worshipped as the praesens Deus.

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