LITMIR.BIZ

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an enemy. He had already quitted Bologna in haste from dread of assassination or maltreatment at the hands of native sculptors.

      VI

      The negotiations which passed between the Pope and the Signory of Florence about what may be called the extradition of Michelangelo form a curious episode in his biography, throwing into powerful relief the importance he had already acquired among the princes of Italy. I propose to leave these for the commencement of my next chapter, and to conclude the present with an account of his occupations during the summer months at Florence.

      Signor Gotti says that he passed three months away from Julius in his native city. Considering that he arrived before the end of April, and reached Bologna at the end of November 1506, we have the right to estimate this residence at about seven months. A letter written to him from Rome on the 4th of August shows that he had not then left Florence upon any intermediate journey of importance. Therefore there is every reason to suppose that he enjoyed a period of half a year of leisure, which he devoted to finishing his Cartoon for the Battle of Pisa.

      It had been commenced, as we have seen, in a workshop at the Spedale dei Tintori. When he went to Bologna in the autumn, it was left, exposed presumably to public view, in the Sala del Papa at S. Maria Novella. It had therefore been completed; but it does not appear that Michelangelo had commenced his fresco in the Sala del Gran Consiglio.

      Lionardo began to paint his Battle of the Standard in March 1505. The work advanced rapidly; but the method he adopted, which consisted in applying oil colours to a fat composition laid thickly on the wall, caused the ruin of his picture. He is said to have wished to reproduce the encaustic process of the ancients, and lighted fires to harden the surface of the fresco. This melted the wax in the lower portions of the paste, and made the colours run. At any rate, no traces of the painting now remain in the Sala del Gran Consiglio, the walls of which are covered by the mechanical and frigid brush-work of Vasari. It has even been suggested that Vasari knew more about the disappearance of his predecessor's masterpiece than he has chosen to relate. Lionardo's Cartoon has also disappeared, and we know the Battle of Anghiari only by Edelinck's engraving from a drawing of Rubens, and by some doubtful sketches.

      The same fate was in store for Michelangelo's Cartoon. All that remains to us of that great work is the chiaroscuro transcript at Holkham, a sketch for the whole composition in the Albertina Gallery at Vienna, which differs in some important details from the Holkham group, several interesting pen-and-chalk drawings by Michelangelo's own hand, also in the Albertina Collection, and a line-engraving by Marcantonio Raimondi, commonly known as "Les Grimpeurs."

      We do not know at what exact time Michelangelo finished his Cartoon in 1506. He left it, says Condivi, in the Sala del Papa. Afterwards it must have been transferred to the Sala del Gran Consiglio; for Albertini, in his Memoriale, or Guide-Book to Florence, printed in 1510, speaks of both "the works of Lionardo da Vinci and the designs of Michelangelo" as then existing in that hall. Vasari asserts that it was taken to the house of the Medici, and placed in the great upper hall, but gives no date. This may have taken place on the return of the princely family in 1512. Cellini confirms this view, since he declares that when he was copying the Cartoon, which could hardly have happened before 1513, the Battle of Pisa was at the Palace of the Medici, and the Battle of Anghiari at the Sala del Papa. The way in which it finally disappeared is involved in some obscurity, owing to Vasari's spite and mendacity. In the first, or 1550, edition of the "Lives of the Painters," he wrote as follows: "Having become a regular object of study to artists, the Cartoon was carried to the house of the Medici, into the great upper hall; and this was the reason that it came with too little safeguard into the hands of those said artists: inasmuch as, during the illness of the Duke Giuliano, when no one attended to such matters, it was torn in pieces by them and scattered abroad, so that fragments may be found in many places, as is proved by those existing now in the house of Uberto Strozzi, a gentleman of Mantua, who holds them in great respect." When Vasari published his second edition, in 1568, he repeated this story of the destruction of the Cartoon, but with a very significant alteration. Instead of saying "it was torn in pieces by them" he now printed "it was torn in pieces, as hath been told elsewhere." Now Bandinelli, Vasari's mortal enemy, and the scapegoat for all the sins of his generation among artists, died in 1559, and Vasari felt that he might safely defame his memory. Accordingly he introduced a Life of Bandinelli into the second edition of his work, containing the following passage: "Baccio was in the habit of frequenting the place where the Cartoon stood more than any other artists, and had in his possession a false key; what follows happened at the time when Piero Soderini was deposed in 1512, and the Medici returned. Well, then, while the palace was in tumult and confusion through this revolution, Baccio went alone, and tore the Cartoon into a thousand fragments. Why he did so was not known; but some surmised that he wanted to keep certain pieces of it by him for his own use; some, that he wished to deprive young men of its advantages in study; some, that he was moved by affection for Lionardo da Vinci, who suffered much in reputation by this design; some, perhaps with sharper intuition, believed that the hatred he bore to Michelangelo inspired him to commit the act. The loss of the Cartoon to the city was no slight one, and Baccio deserved the blame he got, for everybody called him envious and spiteful." This second version stands in glaring contradiction to the first, both as regards the date and the place where the Cartoon was destroyed. It does not, I think, deserve credence, for Cellini, who was a boy of twelve in 1512, could hardly have drawn from it before that date; and if Bandinelli was so notorious for his malignant vandalism as Vasari asserts, it is most improbable that Cellini, while speaking of the Cartoon in connection with Torrigiano, should not have taken the opportunity to cast a stone at the man whom he detested more than any one in Florence. Moreover, if Bandinelli had wanted to destroy the Cartoon for any of the reasons above assigned to him, he would not have dispersed fragments to be treasured up with reverence. At the close of this tedious summary I ought to add that Condivi expressly states: "I do not know by what ill-fortune it subsequently came to ruin." He adds, however, that many of the pieces were found about in various places, and that all of them were preserved like sacred objects. We have, then, every reason to believe that the story told in Vasari's first edition is the literal truth. Copyists and engravers used their opportunity, when the palace of the Medici was thrown into disorder by the severe illness of the Duke of Nemours, to take away portions of Michelangelo's Cartoon for their own use in 1516.

      Of the Cartoon and its great reputation, Cellini gives us this account: "Michelangelo portrayed a number of foot-soldiers, who, the season being summer, had gone to bathe in the Arno. He drew them at the very moment the alarm is sounded, and the men all naked run to arms; so splendid is their action, that nothing survives of ancient or of modern art, which touches the same lofty point of excellence; and, as I have already said, the design of the great Lionardo was itself most admirably beautiful. These two Cartoons stood, one in the palace of the Medici, the other in the hall of the Pope. So long as they remained intact, they were the school of the world. Though the divine Michelangelo in later life finished that great chapel of Pope Julius (the Sistine), he never rose halfway to the same pitch of power; his genius never afterwards attained to the force of those first studies." Allowing for some exaggeration due to enthusiasm for things enjoyed in early youth, this is a very remarkable statement. Cellini knew the frescoes of the Sistine well, yet he maintains that they were inferior in power and beauty to the Battle of Pisa. It seems hardly credible; but, if we believe it, the legend of Michelangelo's being unable to execute his own designs for the vault of that chapel falls to the ground.

      VII

      The great Cartoon has become less even than a memory, and so, perhaps, we ought to leave it in the limbo of things inchoate and unaccomplished. But this it was not, most emphatically. Decidedly it had its day, lived and sowed seeds for good or evil through its period of brief existence: so many painters of the grand style took their note from it; it did so much to introduce the last phase of Italian art, the phase of efflorescence, the phase deplored by critics steeped in mediaeval feeling. To recapture something of its potency from the description of contemporaries is therefore our plain duty, and for this we must have recourse to Vasari's text. He says: "Michelangelo filled his canvas with nude men, who, bathing at the time of summer heat in Arno, were suddenly called to arms, the enemy assailing them. The

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