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Updated: May 16, 2025
To sum up this question of Michelangelo's authentic portraits: I repeat that Bonasoni's engraving represents him at the age of seventy; Leoni's wax model and medallions at eighty; the eight bronze heads, derived from Daniele's model, at the epoch of his death. In painting, Marco Venusti and Daniele da Volterra helped to establish a traditional type by two episodical likenesses, the one worked into Venusti's copy of the Last Judgment (at Naples), the other into Volterra's original picture of the Assumption (at Trinit
Montelupo and Montorsoli, among sculptors, Marcello Venusti and Pontormo, Daniele da Volterra and Sebastiano del Piombo, among painters, felt his direct influence. But they did not stand in the same relation to him as Raffaello's pupils to their master.
Michael Angelo formed no school in the strict sense of the word. Yet his influence was not the less felt on that account, nor less powerful than Raphael's in the same direction. During his manhood the painters Sebastian del Piombo, Marcello Venusti, and Daniele da Volterra, had endeavoured to add the charm of oil-colouring to his designs; and long before his death, the seduction of his mighty mannerism had begun to exercise a fatal charm for all the schools of Italy. Painters incapable of fathoming his intention, unsympathetic to his rare type of intellect, and gifted with less than a tithe of his native force, set themselves to reproduce whatever may be justly censured in his works. To heighten and enlarge their style was reckoned a chief duty of aspiring craftsmen; and it was thought that recipes for attaining to this final perfection of the modern arts might be extracted without trouble from Michael Angelo's masterpieces. Unluckily, in proportion as his fame increased, his peculiarities grew with the advance of age more manneristic and defined; so that his imitators fixed precisely upon that which sober critics now regard as a deduction from his greatness. They failed to perceive that he owed his grandeur to his personality; and that the audacities which fascinated them, became mere whimsical extravagances when severed from his terribilit
Michelangelo's type of face was well accentuated, and all the more or less contemporary portraits of him reproduce it. Time is wasted in the effort to assign to little men their special part in the creation of a prevalent tradition. It seems to me, therefore, the function of sane criticism not to be particular about the easel-pictures ascribed to Venusti, Del Conte, and Bugiardini.
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