Читать книгу The Life of Michelangelo Buonarroti - John Addington Symonds - Страница 15

Michelangelo left Bologna hastily. It is said that a sculptor who had expected to be employed upon the arca of S. Domenic threatened to do him some mischief if he stayed and took the bread out of the mouths of native craftsmen. He returned to Florence some time in 1495. The city was now quiet again, under the rule of Savonarola. Its burghers, in obedience to the friar's preaching, began to assume that air of pietistic sobriety which contrasted strangely with the gay licentiousness encouraged by their former master. Though the reigning branch of the Medici remained in exile, their distant cousins, who were descended from Lorenzo, the brother of Cosimo, Pater Patriae, kept their place in the republic. They thought it prudent, however, at this time, to exchange the hated name of de' Medici for Popolano. With a member of this section of the Medicean family, Lorenzo di Pierfrancesco, Michelangelo soon found himself on terms of intimacy. It was for him that he made a statue of the young S. John, which was perhaps rediscovered at Pisa in 1874. For a long time this S. Giovannino was attributed to Donatello; and it certainly bears decided marks of resemblance to that master's manner, in the choice of attitude, the close adherence to the model, and the treatment of the hands and feet. Still it has notable affinities to the style of Michelangelo, especially in the youthful beauty of the features, the disposition of the hair, and the sinuous lines which govern the whole composition. It may also be remarked that those peculiarities in the hands and feet which I have mentioned as reminding us of Donatello—a remarkable length in both extremities, owing to the elongation of the metacarpal and metatarsal bones and of the spaces dividing these from the forearm and tibia—are precisely the points which Michelangelo retained through life from his early study of Donatello's work. We notice them particularly in the Dying Slave of the Louvre, which is certainly one of his most characteristic works. Good judges are therefore perhaps justified in identifying this S. Giovannino, which is now in the Berlin Museum, with the statue made for Lorenzo di Pierfrancesco de' Medici.

The next piece which occupied Michelangelo's chisel was a Sleeping Cupid. His patron thought this so extremely beautiful that he remarked to the sculptor: "If you were to treat it artificially, so as to make it look as though it had been dug up, I would send it to Rome; it would be accepted as an antique, and you would be able to sell it at a far higher price." Michelangelo took the hint. His Cupid went to Rome, and was sold for thirty ducats to a dealer called Messer Baldassare del Milanese, who resold it to Raffaello Riario, the Cardinal di S. Giorgio, for the advanced sum of 200 ducats. It appears from this transaction that Michelangelo did not attempt to impose upon the first purchaser, but that this man passed it off upon the Cardinal as an antique. When the Cardinal began to suspect that the Cupid was the work of a modern Florentine, he sent one of his gentlemen to Florence to inquire into the circumstances. The rest of the story shall be told in Condivi's words.

"This gentleman, pretending to be on the lookout for a sculptor capable of executing certain works in Rome, after visiting several, was addressed to Michelangelo. When he saw the young artist, he begged him to show some proof of his ability; whereupon Michelangelo took a pen (for at that time the crayon [lapis] had not come into use), and drew a hand with such grace that the gentleman was stupefied. Afterwards, he asked if he had ever worked in marble, and when Michelangelo said yes, and mentioned among other things a Cupid of such height and in such an attitude, the man knew that he had found the right person. So he related how the matter had gone, and promised Michelangelo, if he would come with him to Rome, to get the difference of price made up, and to introduce him to his patron, feeling sure that the latter would receive him very kindly. Michelangelo, then, partly in anger at having been cheated, and partly moved by the gentleman's account of Rome as the widest field for an artist to display his talents, went with him, and lodged in his house, near the palace of the Cardinal." S. Giorgio compelled Messer Baldassare to refund the 200 ducats, and to take the Cupid back. But Michelangelo got nothing beyond his original price; and both Condivi and Vasari blame the Cardinal for having been a dull and unsympathetic patron to the young artist of genius he had brought from Florence. Still the whole transaction was of vast importance, because it launched him for the first time upon Rome, where he was destined to spend the larger part of his long life, and to serve a succession of Pontiffs in their most ambitious undertakings.

Before passing to the events of his sojourn at Rome, I will wind up the story of the Cupid. It passed first into the hands of Cesare Borgia, who presented it to Guidobaldo di Montefeltro, Duke of Urbino. On the 30th of June 1502, the Marchioness of Mantua wrote a letter to the Cardinal of Este, saying that she should very much like to place this piece, together with an antique statuette of Venus, both of which had belonged to her brother-in-law, the Duke of Urbino, in her own collection. Apparently they had just become the property of Cesare Borgia, when he took and sacked the town of Urbino upon the 20th of June in that year. Cesare Borgia seems to have complied immediately with her wishes; for in a second letter, dated July 22, 1502, she described the Cupid as "without a peer among the works of modern times."