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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
Down to 1881 he printed chiefly volumes of verse which gave him a genuine, if not popular reputation. In that year he brought out his first romance, Malombra, and from time to time during the past quarter of a century he has followed it with Daniele Cortis, Il Mistero del Poeta, Piccolo Mondo Antico, Piccolo Mondo Moderno, and finally, in the autumn of 1905, Il Santo.
His object was to ascertain how far he might have committed himself, by appearing in such a place, when his visit could not well be attributed to more than one motive. 'Maso he knew, as the oldest pilot of the place, and he had also some knowledge of Daniele Bruno; but the three other seamen were strangers to him.
"Every one of them, Signore: this is Daniele Bruno, whose father was killed in a battle with the Algerines, and whose mother was the daughter of a mariner, as well known in Elba as " "Never mind the particulars, Tommaso Tonti," interrupted the vice-governatore "it is sufficient that thou knowest all thy companions to be honest men, and faithful servants of the sovrano.
East of Monte Santo, along the southern edge of the Plateau, stand Monte San Gabriele and Monte San Daniele. Here the Plateau falls precipitously down to the Vippacco valley, only the long brown foothill of San Marco breaking the drop.
Whereupon simple Daniele, who always followed him about, marvelling asked, "What does this thing mean, father?" The old man had his answer ready, "Now I see rivers of blood running, and these proud and magnificent buildings which you see exalted shall be destroyed even to the foundations by the Saracens." And the monk fled from the doomed city, like a true prophet, and went overseas.
Returning now to the passage cited from Vasari, we find that he reckons only two authentic portraits in painting of Michelangelo, one by Bugiardini, the other by Jacopo del Conte. He has neglected to mention two which are undoubtedly attempts to reproduce the features of the master by scholars he had formed. Probably Vasari overlooked them, because they did not exist as easel-pictures, but were introduced into great compositions as subordinate adjuncts. One of them is the head painted by Daniele da Volterra in his picture of the Assumption at the church of the Trinit
DANIELE DE VOLTERRA (1509-1566) was the best scholar of Michael Angelo. His principal pictures are the "Descent from the Cross," in the Church of Trinit
When Henry II. of France died, in 1559, his widow, Catherine de’ Medici, wrote to Michael Angelo asking him to supply at least the design for the equestrian statue of the late King she desired to set up in the courtyard of the royal château at Blois. The sketch was prepared and the work given to Daniele da Volterra.
It remains to speak of that "full relief in bronze made by Daniele da Volterra," which Vasari mentions among the four genuine portraits of Buonarroti. From the context we should gather that this head was executed during the lifetime of Michelangelo, and the conclusion is supported by the fact that only a few pages later on Vasari mentions two other busts modelled after his death.
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