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Updated: May 31, 2025
It is not impossible that the Jubilees were founded partly in order to regulate and render harmless this sinister passion for vagabondage which seized on the whole populations at times of religious excitement. The great sanctuaries of Italy, such as Loreto and others, had meantime become famous, and no doubt diverted a certain part of this enthusiasm.
In one or two cases he boldly repeats the same figure in the same picture, feature for feature, as in the Virgin and S. John of the Rospigliosi "Holy Family," limb for limb as in the flying soldiers of the Loreto "Conversion of Saul." He was also most faithful to his own type of limb or feature, especially those in which Morelli has taught us always to look for similarity.
They were finished some time before 1484, and bear very marked traces of Florentine impressions. Of these Vasari writes: "In Santa Maria di Loreto, he painted in the sacristy in fresco, the four Evangelists, the four Doctors, and other Saints, which are very beautiful; and for this work he was liberally rewarded by Pope Sixtus."
At this time a church dedicated to S. Maria di Loreto was being built at the Macello de' Corbi, near the Column of Trajan, in Rome, and it was brought to perfection by Antonio, with decorations of great beauty.
Of the celebrated Madonna of Loreto there are not fewer than ten rival claimants for authenticity; while sketches, studies, and works not directly imitated from, but partaking of the character of great artists, and often clever enough to be confounded with their undoubted works, are not rare. Portraits, being direct studies from Nature, are difficult to decide upon.
Finally, Pope Clement, having determined that Buonarroti should return to Florence to finish the works of the sacristy and library of S. Lorenzo, gave him orders, since many statues were wanting there, as will be told in the Life of Michelagnolo himself, that he should avail himself of the most able men that could be found, and particularly of Fra Giovanni Agnolo, employing the same methods as had been adopted by Antonio da San Gallo in order to finish the works of the Madonna di Loreto.
He has murdered a priest of the Holy Catholic Church." Horror stayed them for a moment, and then they rushed at De la Vega. "He does not deny it!" they cried. "Is it true? Is it true?" and they surged about him hot with menace. "It is quite true," said De la Vega, coldly. "I plundered the shrine of Loreto and murdered its priest."
But Baccio answering him arrogantly with many abusive words, Maestro Andrea could endure no more, and rushed upon him in order to kill him; but Bandinelli was torn away from him by some who intervened between them. Being therefore forced to depart from Loreto, Baccio had his scene carried to Ancona; but he grew weary of it, although it was near completion, and he went away leaving it unfinished.
He also made the design and preparations for the decoration of S. Maria at Loreto, which was afterwards continued by Andrea Sansovino; and an endless number of models for palaces and temples, which are in Rome and throughout the States of the Church. So sublime was the intellect of this marvellous craftsman, that he made a vast design for restoring and rearranging the Papal Palace.
The gold still gleamed in the vestments of the padre. For a few moments De la Vega dared not raise his eyes to the Lady of Loreto, standing aloft in the dull blaze of adamantine candles. When he did, he rose suddenly from his knees and left the mission. The pearls were there. It took him but a short time to gain the confidence of the priest and the little population.
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