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Updated: June 21, 2025
Condivi has given us the story of his early difficulties and of his first picture, probably in Michael Angelo’s own words; we may supplement this account by the following extract from Vasari, who gathered his information from the gossip of the workshops of Florence, and from Ridolfo Ghirlandaio, the son of his first master.
The poem was banned by Rome, although not until after its author's death. In our National Gallery is a picture which used to be considered Botticelli's No. 1126, "The Assumption of the Virgin" especially as it is mentioned with some particularity by Vasari, together with the circumstance that the poet and painter devised it in collaboration, in which the poem is translated into pigment.
Vasari says that not very long before the Last Judgment was finished, Michelangelo fell from the scaffolding, and seriously hurt his leg. The pain he suffered and his melancholy made him shut himself up at home, where he refused to be treated by a doctor. There was a Florentine physician in Rome, however, of capricious humour, who admired the arts, and felt a real affection for Buonarroti.
She is no relation of mine, as she herself told me. Mrs. Luttrell! it sounds a little odd. Odder, too, to think that I must never sign myself Brian Luttrell any more. Bernardino Vasari! I think I might as well stick to the plain John Stretton, which I adopted on the spur of the moment at San Stefano. I suppose I shall soon have to meet the woman who calls herself who is my mother.
This pupil, Giulio Romano, was so familiar with every stroke of Raphael's that if he were deceived surely any one might be; so the replica was given to the Duke of Mantua, who never found out the difference. Years afterward Giulio Romano showed the picture to Vasari, believing it to be the original Raphael, neither Andrea nor the Medici having told Romano the truth.
Vasari being then entreated by the Veronese architect, Michele San Michele, to stay in Venice, he might perhaps have consented to remain there for a year or two; but Cristofano always dissuaded him from it, saying that it was not a good thing to stay in Venice, where no account was taken of design, nor did the painters in that city make any use of it, not to mention that those painters themselves were the reason that no attention was paid there to the labours of the arts; and he declared that it would be better to return to Rome, the true school of noble arts, where ability was recognized much more than in Venice.
If we can realize that Giotto, with his legends, and Picasso, with his cubes, are after the same thing, surely we can understand that when Vasari talks of "Truth to Nature" or "nobility of sentiment," and Mr. Roger Fry of "planes" and "relations," both are about the same business. Only a fool could suppose that the ancients were less sensitive to art than we are.
Titian, in his return from Rome, which he was never to revisit, made a stay at Florence with an eye, as we may guess, both to business and pleasure. There, as Vasari takes care to record, our master visited the artistic sights, and rimase stupefatto remained in breathless astonishment as he had done when he made himself acquainted with the artistic glories of Rome.
Vasari, who lived in close intimacy with Michelangelo, and undoubtedly was familiar with the model, gives a confused but very minute description of the building. It is clear from this that the dome was designed with two shells, both of which were to be made of carefully selected bricks, the space between them being applied to the purpose of an interior staircase.
He wrote it down he could write and read a little, which I could never do; and he told me what he had written: 'I, Giovanni Vasari, have heard my wife, Vincenza, say that she stole an English gentleman's child, and put her own child in its place.
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