Читать книгу The Life of Michelangelo Buonarroti - John Addington Symonds - Страница 6

Ludovico, who, as we have seen, was Podestà of Caprese and of Chiusi in the Casentino, had already one son by his first wife, Francesca, the daughter of Neri di Miniato del Sera and Bonda Rucellai. This elder brother, Lionardo, grew to manhood, and become a devoted follower of Savonarola. Under the influence of the Ferrarese friar, he determined to abjure the world, and entered the Dominican Order in 1491. We know very little about him, and he is only once mentioned in Michelangelo's correspondence. Even this reference cannot be considered certain. Writing to his father from Rome, July 1, 1497, Michelangelo says: "I let you know that Fra Lionardo returned hither to Rome. He says that he was forced to fly from Viterbo, and that his frock had been taken from him, wherefore he wished to go there (i.e., to Florence). So I gave him a golden ducat, which he asked for; and I think you ought already to have learned this, for he should be there by this time." When Lionardo died is uncertain. We only know that he was in the convent of S. Mark at Florence in the year 1510. Owing to this brother's adoption of the religious life, Michelangelo became, early in his youth, the eldest son of Lodovico's family. It will be seen that during the whole course of his long career he acted as the mainstay of his father, and as father to his younger brothers. The strength and the tenacity of his domestic affections are very remarkable in a man who seems never to have thought of marrying. "Art," he used to say, "is a sufficiently exacting mistress." Instead of seeking to beget children for his own solace, he devoted himself to the interests of his kinsmen.

The office of Podestà lasted only six months, and at the expiration of this term Lodovico returned to Florence. He put the infant Michelangelo out to nurse in the village of Settignano, where the Buonarroti Simoni owned a farm. Most of the people of that district gained their livelihood in the stone-quarries around Settignano and Maiano on the hillside of Fiesole. Michelangelo's foster-mother was the daughter and the wife of stone-cutters. "George," said he in after-years to his friend Vasari, "if I possess anything of good in my mental constitution, it comes from my having been born in your keen climate of Arezzo; just as I drew the chisel and the mallet with which I carve statues in together with my nurse's milk."

When Michelangelo was of age to go to school, his father put him under a grammarian at Florence named Francesco da Urbino. It does not appear, however, that he learned more than reading and writing in Italian, for later on in life we find him complaining that he knew no Latin. The boy's genius attracted him irresistibly to art. He spent all his leisure time in drawing, and frequented the society of youths who were apprenticed to masters in painting and sculpture. Among these he contracted an intimate friendship with Francesco Granacci, at that time in the workshop of Domenico Ghirlandajo. Granacci used to lend him drawings by Ghirlandajo, and inspired him with the resolution to become a practical artist. Condivi says that "Francesco's influence, combined with the continual craving of his nature, made him at last abandon literary studies. This brought the boy into disfavour with his father and uncles, who often used to beat him severely; for, being insensible to the excellence and nobility of Art, they thought it shameful to give her shelter in their house. Nevertheless, albeit their opposition caused him the greatest sorrow, it was not sufficient to deter him from his steady purpose. On the contrary, growing even bolder he determined to work in colours." Condivi, whose narrative preserves for us Michelangelo's own recollections of his youthful years, refers to this period the painted copy made by the young draughtsman from a copper-plate of Martin Schöngauer. We should probably be right in supposing that the anecdote is slightly antedated. I give it, however, as nearly as possible in the biographer's own words. "Granacci happened to show him a print of S. Antonio tormented by the devils. This was the work of Martino d'Olanda, a good artist for the times in which he lived; and Michelangelo transferred the composition to a panel. Assisted by the same friend with colours and brushes, he treated his subject in so masterly a way that it excited surprise in all who saw it, and even envy, as some say, in Domenico, the greatest painter of his age. In order to diminish the extraordinary impression produced by this picture, Ghirlandajo went about saying that it came out of his own workshop, as though he had some part in the performance. While engaged on this piece, which, beside the figure of the saint, contained many strange forms and diabolical monstrosities, Michelangelo coloured no particular without going first to Nature and comparing her truth with his fancies. Thus he used to frequent the fish-market, and study the shape and hues of fishes' fins, the colour of their eyes, and so forth in the case of every part belonging to them; all of which details he reproduced with the utmost diligence in his painting." Whether this transcript from Schöngauer was made as early as Condivi reports may, as I have said, be reasonably doubted. The anecdote is interesting, however, as showing in what a naturalistic spirit Michelangelo began to work. The unlimited mastery which he acquired over form, and which certainly seduced him at the close of his career into a stylistic mannerism, was based in the first instance upon profound and patient interrogation of reality.