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Daniele did his work with a good deal of discretion, hiding as little of the original fresco as possible: the additions are unfortunately offensive in colour. The early engravings show the picture in its original state, and show that the additions are not so many or so important as might be supposed, as most of the larger masses of draperies are seen to be Michael Angelo’s own work.
The gray colour and the uneasiness of an old man who has suffered a slight stroke are evidently indicated here. During the next four days he lived in his arm-chair. On the 15th, Diomede Leoni wrote to Lionardo, with a letter enclosed, signed by Michael Angelo but written by Daniele da Volterra.
On the 21st of April 1565 Diomede writes again: "I delivered your messages to Messer Daniele, who replies that you are always in his mind, as also the two heads of your lamented uncle. They will soon be cast, as also will my copy, which I mean to keep by me for my honour."
The claims of Palma himself, Pellegrino da San Daniele, Cariani and Sebastiano del Piombo, have all found protagonists among modern critics.
"Had the painter sent you to Purgatory, I would have used my best efforts to get you released; but I exercise no influence in hell; ubi nulla est redemptio." Before Michelangelo's death, his follower, Daniele da Volterra, was employed to provide draperies for the most obnoxious figures, and won thereby the name of Il Braghettone, or the breeches-maker.
The custom of taking plaster casts from the faces of the illustrious dead, in order to perpetuate their features, was so universal in Italy, that it could hardly have been omitted in the case of Michelangelo. The question now arises whether the bronze head ascribed by Vasari to Daniele da Volterra was executed during Michelangelo's lifetime or after his decease, and whether we possess it.
On the iron railing above mentioned was the representation of a golden heart, pierced with arrows; for these are nuns of the Sacred Heart. In the various chapels there are several paintings in fresco, some by Daniele da Volterra; and one of them, the "Descent from the Cross," has been pronounced the third greatest picture in the world.
When Michael Angelo died the work was left in the hands of Daniele, who was a slow workman, as Cellini tells us. In 1566 Daniele died also, and only the horse was cast; it now serves as part of Biard’s statue of Louis XIII. In 1560 Leone Leoni made the well-known medal of Michael Angelo, which is our best portrait of him. It represents him in old age.
Michelangelo did not leave the house again, but spent the next four days partly reclining in an arm-chair, partly in bed. Upon the 15th following, Diomede Leoni wrote to Lionardo, enclosing a letter by the hand of Daniele da Volterra, which Michelangelo had signed. The old man felt his end approaching, and wished to see his nephew.
If I am no better than I should be, I suppose I am not worse than I could be. And I cannot allow you to praise me for that." "You are of the race of the Samaritans," said I, "whether you hail from Venice or Tuscany. I am an Englishman, my name is Francis. How are you called?" He said, "I believe my name is Daniele; but they call me here, in the company, Belviso."
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