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MURILLO, THE WORK OF . . . . 3.50 net BRENTANOS, Fifth Ave. & 27th St.. NEW YORK \ Bildnis Mi ch el a ngel o s Aussclinitt aus einem deni Salviati zugeschriebenen Getnalde in der Samtnlung Chaix d'Est-Ange in Paris THE WORK OF MICHELANGELO reproduced in One Hundred and Sixty-nine Illustrations WITH A BIOGRAPHICAL INTRODUCTION ABRIDGED FROM FRITZ KNAPP . 1/ NEW YORK BRENT ANO'S MCMXIII Copyright, igoS, by Brentano's '%<> MICHELANGELO 267392 MICHELANGELO HIS LIFE AND HIS ART The birth of Michelangelo took place at the time of the passing of the storm of the Renaissance. That storm was followed by the crystallization of the art-spirit of Tuscany in the person of this supremely gifted creative artist who was destined to embody the deepest feelings in the soul of the people of Italy. In the work of Michelangelo the wild passions of the race to which he belonged found wonderful expression, an expression of the South comparable to that which Rembrandt accomplished of the North. What Rem- brandt did for the Teutonic spirit, Michelangelo did for the Latin. To both these masters art was the articles of their living faith, a faith to which they devoted their lives with almost impassioned self- sacrifice. Michelangelo was descended from a pure Etruscan family. His ancestors had lived in Tuscany for centuries, and in Florence the Buonarroti family had been known for many generations. Its mem- bers had occupied the highest public positions. There Ludovico di Leonardo Simone Buonarroti had held the office of Podesta of Chiusi and Caprese, and in Caprese was born on the 6th of March, 1475, to Francesca and Ludovico their second son, Michelangelo. Shortly after, the family moved to Florence, where Michelangelo grew up and was educated. Early in life this new Buonarroti evinced the biting wit and sharp tongue which were to bring him so many enemies later in life. He received his first wound while studying in the Brancacci chapel, where a young sculptor, Torrigiani by name, became so enraged that he broke Michelangelo's nose, a disfigurement which the artist bore to the grave. His passionate temper also remained with him. When in 1506 Pope Julius II, irritated by Michelangelo's sharp retorts, refused to grant him admittance and had him shown the door by a groom, the artist stormed with rage, packed up his belongings and 5 left Rome after sending the Pope the following letter: " Holy Father: This morning I was thrown out of the Palace by your Holi- ness's order. I therefore let you know that from now on, if you desire to see me, you will have to look for me elsewhere." It speaks well for the Pope's high-mindedness that, in spite of these little dif- ferences, he continued to treat Michelangelo with regard. The greatest genius is but a human being to his contemporaries, and, high as Michelangelo's gifts were held by the men of his time, there were not a few who tried to vex his life and put stumbling blocks in the way of his success. Bramante, for instance, the archi- tect of St. Peter's, endeavored by many means to sow hatred between Raffael and his brother artist. Andrea Sansovino and Baccio Ber- dinelli did the same. This picture of the relations between artists in the days of the Renaissance is not too pleasant an one to contem- plate. Envy and vanity played no small part then, even as they do now, and Michelangelo was not the man to sit quietly under the slings and arrows of his enemies. His retorts aggravated matters, so that he found himself 'alone. And it was well that it happened so. Michelangelo was one of those Titans who are self-centred in their own might. Work was the best expression of the spirit for him, and in work he found a vent for his higher feelings. He was a silent man, generally, among men. We read much of his affection for his relatives, but of love for a woman we know noth- ing. His relations with Vittoria Colanna, which have been worked up into a love romance, w^ere of quite a platonic character. They only knew each other intimately in 1538, and then both were on the threshold of old age. His poems are not the expression of the passion of a young man; they are the religious an.d philosophical reflections of an old man weary of life. It is when he wields, the chisel or the painter's brush that the passion in the man shows itself, and the creative imagination finds clearest expression. In the days of the Renaissance the free citizens of Italy were distinguished for their family pride, which found its most dignified labor in safeguarding and improving the estates of the family. Any- thing like a trade was obnoxious to it, so that when the young Michelangelo determined to be an artist, it was only after long resistance that his father permitted him to become apprenticed to what was then considered a trade. In later years, when Michel- angelo had attained the highest honors and fame, he expressed this pride in a letter he wrote in 1548: " Tell the priest not to write any more to the ' sculptor Michelangelo,' because I am known onlv as 6 Michelangelo Buonarotti; and if a Florentine desires to have an altar picture painted, I let him search for a painter. For I have never been painter or sculptor in the sense that I kept a store. I have always, for the honor of my fathers and brothers, even when I served popes, guarded myself in that respect." The boy first served under Domenico Ghirlandajo, in 1489, but of that schoolday period only a few sketches remain. They bear clear testimony to a diligent study of the frescoes of Masaccio in the Brancacci chapel. Strangely enough they also seem to verify, from the cross-line work, the theory that the young artist had studied the engravings of Martin Schongauer, and that his first work was a colored copy of his sketches for St. Anthony. Michelangelo did not stay long with Ghirlandajo, for in 1490 he entered the workshop of Bartolo. With this pupil of the great Donatello he found what he was looking for. From this time also began his intimacy with the Medicis. Lorenzo the Magnificent espe- cially helped the youth in every way. He overcame the father's opposition to the son's desire for an art career, and received the young man at his house, where he met the celebrities of the day. How the great Lorenzo came to know the young Michelangelo is thus told by Conivi in the artist's own words: " One day, Lorenzo, walking in the gardens of San Marco, found the boy copving an antique faun mask. He was surprised at the excellence of the work, but remarked jokingly that so old a faun would scarcely have all his teeth. The boy immediately knocked out some of the faun's teeth and then presented the work to Lorenzo." Whether the story be true or not, the faun's mask in the Museo Nazionale which has been identified with this tale is not the genuine one. Bartolo's influence on Michelangelo's early work is undoubted. It is marked in the low relief of the " Madonna at the Stairs "; the stiffness of the Madonna's pose and the lively play of the children are distinctly reminiscent of Donatello. Of course the weak model- ling proves also that the young sculptor was still far from having attained his masterly skill; this came to him only after indefatigable industry and constant effort. Moreover, his powerful and impas- sioned imagination required exquisitely accomplished hands to give it form, and these could only come to him after years of labor. In the* fall of 1494 Michelangelo left Florence and went at first to Bologna. He did not trust the Medici, he said, since Lorenzo had been succeeded by the flighty Pietro. During the six months he stayed in Bologna he executed three statuettes for the Arch of St. 7 Dominicus which show the influence of the last of the great Gothic artists, Jacopo della Quercia, especially in the figure of St. Petronius. The third figure, St. Proclus, is formed after the St. Agricola of Niccolo deir Area. Michelangelo was never a master of folds, so that, when he could, he made his figures naked. He did this with the St. Proclus of the Arch, which looks more like an ancient bar- barian than a Christian saint. For Michelangelo the art of the ancients had always a powerful attraction. He never ceased to equal and, if possible, to surpass their masterpieces. When, in 1495, he returned to Florence, he made a sleeping Amor with the direct intent of counterfeiting the ancients. The Amor was sold as a genuine antique to Cardinal Riario. The deception bore good results, for the Cardinal, aware of the fraud, summoned Michelangelo to Rome, and the future builder of St. Peter's entered the Eternal City for the first time on the 25th of June, 1496. In Rome, Michelangelo could satisfy his passion for the an- tique. What he learned from the work of the ancients is splendidly realized in his statue of Bacchus, ordered in 1497, by Jacopo Galli. Unfortunately, we are not in a position to compare his frescoes with the work he did before the Roman period, because the work he did then has all been lost — the wooden crucifix for S. Spirito; the Her- cules, the Giovannino and the sleeping Amor, have all disappeared. Comparing this Bacchus with the earlier " Proclus " we see at once the enormous strides the artist had made, both in technique and treatment. The Bacchus is a piece of pure realism of almost brutal power. Intoxication is evident in every suggestion of movement, and yet the truth of the presentation strikes us as admirable. The exact opposite of this Bacchus is the " Pieta," ordered in 1498. It is an idealization of the soul's aspiration, in impressive dignity and silent resignation. No purer Virgin Mary has ever been chiselled. Her silent suffering seems to say: " Behold my Sorrow." Closely related in treatment to this "Pieta" is the Madonna of Brugge which Michelangelo executed later. It is the same subject, but treated even with greater clearness and refinement; the sharp con- trasts of the former give place to a more delicate accentuation. Such tender harmony and soft feeling are seldom found in the work of this master. In sharp contrast to these is the next work, the famous " David." This we may call the last wild outburst of quattrocento realism. It was the artist's ambition to give the Florentines something extraor- 8 dinary, and he did. A marble block, six metres in length, was given Michelangelo by Pietro Soderini in 1501. Out of this giant rock something wonderful was to appear. With almost fanatic zeal Michelangelo began it on Sept. 13, 1501. By the beginning of 1502 it was completed, and the " David " was the result. The whole of Florence was summoned to decide where the statue was to be placed. Michelangelo and Leonardo favored the Loggia dei Lanzi, and it would have been placed there but for the fact that the square had to be kept free for popular festivities. It was placed instead in a position next to the gate of the Signoria. There, from Sept. 8, 1504, the "David" stood as a guardian of liberty, in place of the " Judith " of Donatello which had been erected there in 1495 to commemorate the expulsion of the Medici. In 1874, however, the "David" was removed into the Academy, where, in a small inside room, it is now hidden, and bears standing witness to the stupidity of museum officialism. The " David " shows the extreme of Michelangelo^s realism. It lacks the rhythm of proportion and clearness of motive which are so necessary to the sense of beauty. The moment chosen by the artist is that of the high tension immediately before the sling is thrown at the giant Goliath. The eyes are directed sharply at the approaching enemy, and the feet are light and springy. We feel that in the next moment the left foot will shoot out and the left hand will throw back the sling-sack containing the stone. It is a masterpiece of the quattrocento spirit. A change, however, came in the wax statuette in the Casa Buo- narroti, apparently a model for a bronze " David," ordered in 1502. This evinces a more graceful position and richer effect of motion. The change may in all likelihood be due to the influence of Leo- nardo, w^ho had returned to Florence in 1 500-1. This change is also manifest in the Doni Madonna and the marble relief in London. A new period in the art of Michelangelo dates from now on. The spirit of the cinquecento takes the place of that of the quattrocento realism. It comes like the awakening to a new consciousness. No one but Leonardo, the ideal type of spiritual power, could have effected this. It must be remembered that Michelangelo then was not what he is to us now. He was a beginner, and could scarcely resist the magnetic influence of so remarkable a personality as Leonardo's, a man equally great as artist, scientist, musician, and scholar. In the three Tondi, especially the one in the Museo Nazionale, Michel- angelo shows his new awakening. The importance of the change 9 can scarcely be overestimated. Here, at last, is shown the neces- sity for the entire independence of the figure. The motive of motion is here in the figure itself, and not in its accessories. Michel- angelo recognized that motion must be dependent on the figure, and this dependence he found in the purely mechanical gravity by which the body receives, so to speak, its own physical centre. The motion revolves, as it were, around this inner pressure of the masses, which act as a centripetal force cohering the motions to a vertical line. It is in the vividly moving line and the pressing mass that the artist for the first time realized the possibility of making stone eloquent. In his next work, the carton of the Battle of Cascina, which Pietro Soderini, the Gonfaloniere of Florence, commissioned Michelangelo to do, the young artist showed himself perfectly in- toxicated with artistic motives. He was given the work to compete with the elder Leonardo, who had received his order, in the spring of 1504, for a fresco which was to adorn the great hall of the City Hall, to represent the glorious history of Florence. Leonardo fin- ished his fresco, but Michelangelo was called to Rome in 1505, and his work on the carton was interrupted. He returned to Florence in 1506 and worked on it for several months. He then allowed it to lie and, unwisely, permitted his work free access for artists to study. It thus fell a victim to the carelessness of copyists. A spir- ited entire sketch in the Albertina, a poor engraving by Schiavonetti, and a very careless grisaille in Holkham give us but imperfect ideas of it. It became more and more clear to Michelangelo that the lan- guage of the artist is a language of signs which consist of line and mass, and it is in the eloquent expression of the struggle between these signs that he must embody his psychical motives. In this sense Michelangelo shows his kinship with modern thought. It was the completion by him of the great work of the Renaissance which lib- erated the individual from the chains of feudalism. In thus giving plastic art its language of signs, he liberated it from the binding traditions of the other arts and from religion. He stands in strong ^contrast not only with the Middle Ages, but with the ancients. The 'ancients attempted to subject the individual expression to the laws of beauty. Christianity substituted for the laws of beauty the moral law of humanity. Michelangelo made art the language of his own I soul. His waving line makes of the dead mass a living form. All feeling comes from contrast. It is when we meet with resistance either in ourselves or from without that we become conscious of our- 10 selves, and in overcoming those resistances we attain freedom. Thus it is that in contrast with the world does our own personality grow. In Michelangelo the lighter the wave line the happier is his expres-|\ sion of feeling; the more inert the mass the greater is his oppression^ of feeling. The rhythm of his motions is not a rhythm of beauty, but, like a melody in music, it is a rhythm of feeling. It is with these ideas that we may best view Michelangelo's masterpiece, which shows his genius in its full power. We refer to the painting on the ceiling of the Sistine Chapel. In March, 1505, Michelangelo had been summoned to Rome by Pope Julius II at the instigation of Giuliano della San Gallo. After some hesitancy the Pope gave him the order for his tomb, which was the beginning of " the tragedy of the tomb," a matter to which we shall refer later. Its progress was hindered by the intrigues of Bramante, who, in 1506, had been appointed architect of St. Peter's. In the March of that year Michelangelo fled to Florence. The Pope was anxious for a reconciliation, and this took place in November. An order was then given Michelangelo for a great bronze statue of the Pope, which was finished in 1508, and placed above the gate of St. Petronio. In 151 1, on the return of Bentivoglio, the Pope's enemy, this statue was broken and the bronze sold to Alfonso d'Este as material for cannon. In 1508 Michelangelo returned to Rome. The Pope, moved by . Bramante, who was anxious to turn the artist from his plastic work, gave the order for the painting of the chapel of Sixtus IV, which Michelangelo accepted, and on which he began to work on May 10, 1508. The mere mechanical labor on this work must have been enor- mous. The wooden stage erected for him by Bramante could not be used, and a new one had to be built. The first layer of color fell ofif, and he had to find a satisfactory new mixture. The help hired for him in Florence were no good, and they were discharged, and others taken on and again discharged. Finally, Michelangelo had to finish the work alone. At first he had intended to use twelve figures only, those of the twelve Apostles. But these he found would make the design too simple. His imagination and his creative impulse demanded more and more, and in the end he had painted three hundred and forty- three figures. The work was so exacting that he hardly took time to eat. The impatient old Pope kept continually hurrying and importuning. On Sept. i, 15 10, he had finished the great cupola. II Then followed a short interval until January, 1511, when he began again. By October, 15 12, he had completed the corners and lunettes, and on the 31st of that month the chapel was thrown open to the public. If ever the hand of men did a thing that has never been equalled, it is certainly this ceiling of Michelangelo's. It is so stupendous an achievement that it is impossible to find even a comparison with it. Neither in the ancient nor in the Renaissance art do we find any- thing to equal it. It was a departure in execution from anything that had hitherto been accomplished. It is filled with Michelan- gelo's feeling for the plastic, and betrays no hint of a striving after effect by means of optical illusions. It is not a unit intended to be seen from one position. Figures stand isolated against figures, each independent in itself. As we enter the chapel we see a whole separated into rhythmic repetitions, with an apparent strange contradiction in that the eye has to travel backward in the story told. It was in this way that Michelangelo had worked. The first representation deals with the history of Noah, in which figures of no extraordinary proportions are presented. A break follows — the story of Cain and Abel being omitted — and we are led at once into the Garden of Eden. Here the figures are of heroic size; and from here on they become larger and larger. We feel the wild expression of the artist's creative pas- sion until, in the last picture, that of the first day of the Creation, God the Father Himself is seen in the wild chaos of a raging tornado. Everything, however, is treated as plastic and is felt as plastic. The vague spiritual visions of the quattrocentists are no more. Here are living forms embodying the hidden powers of men and the universe. Could the attraction of the mass be more expressive than it is in the Creation of Eve? Not by touch but by a wonderful secret force does the powerful hand of God the Father raise Eve. The figure in profile rises in life-like silhouette to the right from the sleeping Adam, whose body expresses so vividly the non-resistance of the lifeless, helpless mass. Then again, in the creation of Adam, the life-giving force of the line has never more powerfully been expressed by Michelangelo. To the right the heavenly powers in a wild cyclonic storm are held together by the waving mantle of the God the Father. The wild disorder is finally collected in the pointed finger of the Creator, from * whence flows the life into the body of Adam, who, as he wakens into 1, consciousness, is directing his dreamy gaze at the source of life. 12 In the other days of the creation the figures of the God the Father become of gigantic proportions. They are no longer of human size, but enormous masses. Great, simple gestures indicate the all-powerful will. He moves, a heavy embodied force over the waters. A powerful hand rises, reaches out from the cloud, and the separation of Earth and Water is accomplished. The placing of the sun and moon is indicated in a similar manner — a suggested motion is sufficient to show the act. A stretching out of the raging creating power brings the earth, and causes the planets to grow. Finally, we are taken to the utter chaos of the beginning. From an indomitable cyclone of storm the creative will separates the chaos into light and darkness. To this sacred history are added the powerful figures of seven prophets and five Sibyls: Jonah, Jeremiah, Daniel, Ezekiel, Isaiah, Joel, and Zachariah. The Sibyls, because of their unusual number, have been identified as the five divisions of the earth: Delphica is Greece; Erythrea is Greater Greece; Cumaca is Italy; Persica is Asia, and Libyca is Africa. Here also the historical sequence of the story is inverse to the order of treatment and work. An examination of all the single figures show^s us that the sitting motive seemed to ^ ting figure, and even in Donatello the motive is not understood. The first important sitting figure is the bronze statue of Pope Innocent VIII by Antonio Pollajuolo. This with the sitting allegorical fig- ures of the Virtues undoubtedly influenced Michelangelo. With the completion of this gigantic work in 1512 the artist went back to his studio. But now began the second act in the tragedy of Michelangelo's life — what has been called the tragedy of the tomb. The Pope was not too greatly interested in this tomb. He had given the order because he could not think of anything better. Bramante's remark that the tomb would suggest approaching death was in itself enough to damp the ardor of the Pope, who desired nothing so much as to live long. The Pope, however, had a greats ^ idea. He wishei i to ann ounce to the generation coming his own glory by a tomb to be placed in one ofthechapels of St. Peter's. ' ' 13 Where Michelangelo obtained his model for the tomb is not known. A free-standing tomb was in itself a new thing at that time. It was to consist of three stories, each decorated with figures in relief after the manner of the ancient sarcophagi, and canopied by Uranus, the heavens, who welcomes the figure of the Pope. On Feb. 21, 1513, the Pope died, and his relatives made a new contract for the tomb, which they now asked should be built with one side against the wall. The general plan was changed very little, except that Mary was to be shown meeting the dead Pope. In a third contract, on July 11, 1516, the side was shortened, and thus gradually the imposing free-standing tomb became smaller and smaller until, by the fourth contract of April 29, 1562, it had become a mere tomb in the wall to be placed in the church of San Pietro in Vincoli. By the fifth contract outside assistance was per- mitted the artist, and Raflael da Montelupo and others were called in to help. In February, 1545, the monument was at last completed in the form in which we now see it in San Pietro in Vincoli. The question arises: What did the artist originally plan? Fur- ther, why had he permitted such changes and alterations? He had begun his work with great enthusiasm, had journeyed to Carrara in 1505, and had selected the blocks of marble for the four statues. Then came the quarrel with the Pope, and later, his work on the ceiling. In 151 1 he began again, but he could not devote his entire thought and energy to it until he had completed the ceiling. The great statue of " Moses " and the two statues of the Slaves were finished in 15 16. But these are nothing by com- parison with the mighty work of the ceiling. The Pope had given him five years' time, and yet in twice that period he had only accom- plished three statues. The Moses masterpiece was originally in- tended to form one of eight similar figures which were to adorn the middle story of the tomb. It now stands alone in a tomb pressed against the wall and surrounded by mean architecture. It was Michelangelo's good fortune that he should receive new orders which called for his highest powers. He was thus never com- pelled to fritter away his time and divide his thoughts on small things. In 1513 Julius II had been succeeded in the papal chair by Giovanni Medici, with the title of Leo X. Leo entered the cities of his fathers in great splendor, and, of course, monuments were required to celebrate the glories of the great family. The incom- pleted facade of San Lorenzo was to be finished, and in 1517 Michel- angelo, now living in Florence, was ordered to furnish a model. 14 The contract of Jan. 19, 1518, gave the rcmuneraiion as 40,000 ducats. It was to be a two-story fagade, richly adorned with recesses in which were to be figures and reliefs. The contract, however, was dissolved in 1520, and the facade never executed. Instead of the fagade, however, he was given the Chapel of San Lorenzo. It was to contain four tombs, those of Lorenzo the Mag- nificent, Giuliano the Elder, Lorenzo, Duke of Urbino, and Giuli- ano, Duke of Nemours. In 1524 the plan was enlarged to include the tombs of the two Medicean popes, Leo X and Clement VII. As we see from the drawings two of the tombs were to adorn one wall. The fourth wall with a recess was to contain the altar. Only two of the tombs were finished, those of Lorenzo the younger and Giuliano, and the finishing touches to these were not given by the master himself, but by Vasari under the master's directions. In 1534 Michelangelo had left Florence. ^ Perhaps the chief progress Michelangelo made is his success in C attaining absolute lack of color in plastic art. A colorless plastic art really owes its existence to him. The Quattrocentists still con- tinued to paint their statues in the belief that the ancients had done the same. Leonardo had already recognized the disturbing influence of strong local color, and had used instead a uniform color. Vivid color afifects the eye, causing it to lose its sense for fine modelling and the fine play of lights on a delicately modelled body. Michel- angelo provided a colorless, shadowless background against which the finely modelled form stands out most powerfully. With him painting and architecture were only means to an end. Another progress made by Michelangelo is in the change in sen- timent. In place of the strong passion and energy in the Sistine ceiling is a sombre melancholy, a feeling absolutely new in art. The figures do not oppose each other with individual self-poise, but blend in a harmony for the total efifect. This is especially note- worthy in the " Pensiero." The art of Michelangelo, and, indeed, the whole of plastic art, had now attained its highest expression. The desire for complicated motives grows. A number of statues which are difiicult of arrange- ment chronologically, and which, perhaps, belong to a later period, show this. Of special beauty is the " David " formerly named Apollo, in the Museo Nazionale. The proportions are exceptionally moderate, the treatment of the flesh of admirable softness, the flow of lines clear and unexaggerated. His last remarkable works Michelangelo executed as a painter 15 and architect, and not as a sculptor. On Sept. 20, 1534, he had left Florence, never to see it again, and moved to Rome. Shortly after his arrival Paul III ordered him to decorate the altar wall of the Sistine Chapel with a giant fresco of the Last Judgment. The fresco was unveiled on Dec. 25, 1541. To this painting mankind has shown an admiration and astonishment rarely given to any work of art. It is no longer possible to enjoy it fully, because, unfortunately, its condition is against that. The blue of the sky is disagreeably loud, and the tone of the bodies gray and dead. It is only after a prolonged study that we are able to appreciate the beauty of the forms. Each body is a masterpiece in anatomical execution and full of feeling. The painting impresses us with the feeling that this is no longer the passionate youth or the vigorous man, but the aging Michelangelo to whom fate has whispered its warnings. He was living in more serious times, and Vittoria Colonna had come into his life. A popu- lar verdict would give higher evidences of the philosopher emanci- pated from religion only to be chained by his new thought. This is where the fifteenth-century genius had already foreshadowed the seventeenth-century sceptic. The lengths to which Michelangelo finally went may be seen in the two frescoes of the Capella Paolina, executed in 1542-50, which show an exaggeration in motive bordering on the incomprehensible. Still, in spite of the exaggeration, they are so sincere in their truth that they have the same quality of greatness as have all his works. ^^-^As an architect Michelangelo is certainly whimsical. The Porta Pia, indeed, is grotesque. But even here the work is not sense- less. How beautifully light is the effect of the cupola in the Chapel of the Medici. How imposing is the plan of the Capitoline build- ings — the magnificent groupings of the buildings around the statue of Marcus Aurelius; the splendid double staircase with the fountain and river gods in the palace of the senators. All exemplify the spirit of the great artist in its effort to embody high ideals. Once again did this masterful spirit assert itself, and this time he set his own task. The cupola of St. Peter's had to be finished, and Michelangelo began the work for his own pleasure. He had been the architect on St. Peter's since 1547. The year 1557 and 1558 saw the heaviest of the work done, but it was not until 1592 that it was completed. It is the crown of the grand old man's life. If anything there be which proclaims Michelangelo's glory, it is surely this cupola. It radiates over the city by the Tiber, and gives a visitor his first and most lasting impression. Bramante's plans were in 16 existence for Michelangelo to follow, and he did so to a certain extent; but the architect-painter's cupola is more slender than Bra- mante's. It is a Tuscan's spirit now which reigns and raises us gently as if to the stars. It is the soul that rises — the body has dis- appeared. Michelangelo died on Feb. 27, 1564, and was officially buried in the Church of the Apostles. His bones, however, were carried in secret to Florence, where, at the San Croce, he was solemnly interred on March 11 of the same year. On his tomb, erected in 1588 after plans by Vasari, by Giovanni dell' Opera, sit the three arts of Sculpture, Painting, and Architecture. 17 ABBREVIATIONS AND EXPLANATIONS H. = Height B. = Width AuF HoLz = on wood AuF LEiNWAND = on caiivas AuF ScHiEFER = on slate The figures giving the sizes of the paintings stand for metres 'Floreiiz, Museo Buonarroti^ Die Madonna an der Treppe Virain Marv with child at the stairs Um 1493—1-494 Marmor, H. 0,56, B. 0,39 La Vieree a I'escalier Michelangelo 1 s ™ u 'Berlin, Kaiser-Friedrich-.Museum Marmor, H. 0,785 Apollo Apollo Apollon Bologna, S. DomeiiiLO St. Petronius Der heilige Petronius 1494 Saint Petrone 'Bologna, S. Domenlco Si. Proculus Der heilige Proculus 1494 Saint Procule 3ologna, S. Domenico Marmor Leuchtertragender Engel Angel bearing a candlestick 1494 Ange portant un chandelier Limdoii, Victoria and Albert-Museui' Cupid Marinor H. 1,0") Cupido 1503—1504 Cupidon "Florenz, Museo nazionale Der trunkene Bacchus The drunken Bacchus 1497 Marmor, H. 2,08 Bacchus ivre Florenz, Museo Buonarroti Skizze ftir den David auf S. 12 Um 1501 Sketches for the David-statue — Esquisses pour la statue de David Links Wachs, H. 0,48, reclits Ton, H. 0,52 Skizze ftir einen Bronze-David Um 1502 11 *Florenz, Accademia delle belle Artl Marmor, H. 5,50 David 1501—1503 12 ''Florenz, Accademia delle bi'lle Arti Marmor, H. 5,50 David 1501—1503 13 Florenz, Accadeniia delle belle Arti David (Teilbild) 1501—1503 14 Florenz, Accadtmia Ucllt; belle Arti David (Teilbild) 1501—1503 15 '^Florenz, Uffizien The Holy Family Die heilige Familie Urn 1503 Auf Holz, Durchm. 1,18 La sainte familie 16 tiriigge, LlebfrauenKircl A\armnr, 11. 1,2', Madonna mit Kind Virgin Mary with child 1500—1502 La Vierge avec I'enfant Michelangelo 2 17 * London, Kgl. Akademie der Kiinste Marmor, Durclim. 1,09 Maria mit dem Kinde und dem kleinen Johannes Virgin Mary with ciiild and little St. John Urn 1503 La Vierge avec I'enfant et le petit Saint Jean *Florenz, Museo nazionale Marmor, Durchm.O.SI Maria mit dem Kinde und dem kleinen Johannes Urn 1503 Virgin Mary with child and little St. John La Vierge avec I'enfant Jesus et le petit Saint Jean 19 ^Florenz, Accademia delle belle Art! St. Matthew Unfinished Marmor, H. 2,20 Matthaus Unvollendet 1504—1505 Saint Matthieu Inacheve 20 DIE SIXTINISCHE KAPELLE An Stelle einer alteren von Papst Nikolaus III. erbauten Kapelle des vati- kanischen Palastes lieB Papst Sixtus IV. die nach ihm benannte Kapelle durch den florentinischen Architekten Giovanni de' Dolci erbauen. Ini Jahre 1473 wird die alte Kapelle zum letzten Male erwahnt. Bald darauf mu6 der Neubau be- gonnen worden sein ; am 15. August 1483 horte der Papst darin die erste Messe, und am 24. August erfolgte die feierliche Weihe. Das Innere der Kapelle stellt sich als ein einfacher rechteckiger Saal von 48 m Lange, 13,20 m Breite und 18 m Hohe dar, dessen Langseiten durch je acht korinthische Pilaster gegliedert sind. Zwolf rundbogige Fenster, je sechs an jeder Langseite oberhalb einer Galerie mit eisernem Gelander, erhellen den Raum, dessen Decke ein flaches Tonnengewolbe bildet (vgl. die Abbildung auf S. XXXI). Dieser einfache Raum lud zur Ausschmiickung durch Gemalde ein, zu denen die grofien Wand- und Deckenflachen einen geeigneten Platz boten. Sixtus IV. zog zu diesem Zweck die florentinischen Maler Sandro Botticelli, Cosimo Ros- selli, Domenico Ghirlandajo und Pietro Perugino heran, mit denen er am 27. Oktober 1481 einen Kontrakt abschloB, auf Grund dessen sie sich verpflichteten, bis zum 15. Marz des folgenden Jahres zehn Darstellungen aus dem Alten und dem Neuen Testament auszufuhren, und zwar nach den Angaben des Architekten de' Dolci. Spater wurde die Zahl der Wandgemalde auf zwolf erhoht, und zu ihrer Ausfiihrung wurden noch Pinturicchio und Luca Signorelli hinzugezogen. Wie es schon immer die christliche Kunst liebte, bringen die Darstellungen ent- sprechende Szenen aus dem Alten und dem Neuen Testament. Auf der linken Wand sehen wir das Leben Mosis als alttestamentliches Vorbild zu dem Leben Christi, das auf der rechten Wand dargestellt ist. Die Darstellungen sind, be- ginnend vom Eingang: A. LinkeWand: 1. Pinturicchio, Die Beschneidung desMoses- knaben. 2. Sandro Botticelli, Das Jugendleben des Moses. 3. Cosimo Rosselli (?), Pharaos Untergang im Roten Meer. 4. Derselbe, Die Gesetzgebung auf Sinai. 5. Botticelli, Die Bestrafung der Rotte Korah. 6. Luca Signorelli, Das Testament des Moses. B. Rechte Wand: 1. Pinturicchio, Die Taufe Christi, 2. Botticelli, Das Reinigungsopfer des Aussiitzigen. 3. Domenico Ghirlandajo, Die Berufung der ersten Junger. 4. Cosimo Rosselli, Die Bergpredigt Christi. 5. Pietro Perugino, Die Schlusselubergabe. 6. Cosimo Rosselli, Das letzte Abendmahl. An der Altar- wand befand sich von Pietro Perugino Die Himmelfahrt Maria zwischen zwei Fresken von demselben Kunstler, links die Rettung des Moses aus dem Wasser und rechts die Geburt Christi darstellend. Das Altarbild und die beiden Fresken wurden beseitigt, als Michelangelo mit der Ausfuhrung des Jungsten Gerichts begann. Oberhalb dieser Fresken, zwischen den Fenstern, befinden sich die Bilder von 28 Papsten, die von Fra Diamante, Ghirlandajo, Botticelli und Rosselli aus- gefuhrt wurden. Die Namen der Papste finden sich in den lateinischen Inschriften unterhalb der Nischen, in denen die Figuren wie Statuen stehen. Unterhalb der Fresken wurden die Wande von Filippo Germisone mit buntfarbigen Teppich- (Fortsetzung auf der Riickseite des Einschaltbildes) )ecke 23 mustern bemalt, die an hohen Festen durch gewebte, seit 1519 durch die be- ruiimten „Arrazzi", die nach Raffaels Kartons in Arras gewebten Teppiche (siehe Klassiker der Kunst, Bd. I: Raffael, 4. Aufl., S. 129 ff.), bedeckt wurden. Die Wande waren so mit farbigem Schmuck bedeckt. Nun gait es noch, die kahle Decke, ein flaclies Tonnengewdlbe, zu schmiicken. Julius II., der zweite aus dem Geschlechte der Rovere, ging an die Vollendung dieses von seinem Onkel begonnenen Werkes. Schon Anfang 1506 hat er den Plan gefafit, aber erst Anfang April ruft der Papst Michelangelo nach Rom. 3000 Dukaten soli er erhalten. Am 10. Mai 1508 geht er an die Arbeit. Wie er selbst schreibt, waren im ersten Ent- wurf nur die zwolf Apostel in den Bogenfeldern vorgesehen; die iibrigen Felder sollten mit Ornamenten ausgefiillt werden (siehe Zeichnung in London, British Museum [Frey, Taf. 43]). „Als ich das Werk anfing, schien es mir ein arm- liches Ding zu werden, und ich sagte dem Papst, es dunke mich, dafi die Apostel auf alle einen armlichen Eindruck machen. Als der Papst fragte: Warum? antwortete ich, weil sie selbst arm waren. Da gab er mir den neuen Auftrag, ich mdge machen, was ich wolle, er werde mich zufriedenstellen, und ich solle die Decke bemalen bis zu den geschichtiichen Wandbildern herab." Bramante sollte zuerst das Geriist bauen. Michelangelo macht eigne Entwurfe und lafit es von Piero di Jacopo Rosselli aufrichten. Dann erst entwarf Michelangelo den grofiartigen Plan, den er trotz mancher Stockungen in vier Jahren zur Ausfiihrung brachte. Herbst 1508 begann er allein mit der Malerei. Am 27. Januar 1509 klagte er in einem Briefe an seinen Vater, da6 er vom Papste noch nicht einen Groschen erhalten habe, daB aber seine Arbeit auch noch nicht so weit vorgeschrilten sei, dafi sie Bezahlung verdiene. Im September 1510 waren die Mittelbilder der Decke, die Halite des Werkes, vollendet; dann lieB Michelangelo die Arbeit liegen, weil er keine Bezahlung erhielt und deshalb zweimal nach Bologna reisen mufite, wo sich Julius 11. damals aulhielt. Im Januar 1511 nahm er die Arbeit wieder auf. Am 14. August veranstaltet der Papst eine Messe; erst nach derselben kann die Malerei der Fresken in den Zwickeln und Bogenfeldern in Angriff genommen sein. Ihre Vollendung erfolgte Ende Oktober 1512, kurz vor AUerheiligen. Aber Michelangelo sollte dieser Kapelle noch weiteren Schmuck verleihen. Paul III. brachte den in Florenz weilenden Kiinstler nach Rom, die Altarwand der Sistina mit einem machtigen Fresko des Jiingsten Gerichtes zu bedecken. Am 15. April 1535 erhielt der Baumeister der Engelsburg, der Florentiner Perino del Capitano, 25 Dukaten fiir das Geriist ausgezahlt, das er in der Sixtinischen Kapelle, „wo der Maler Michelangelo malt", aufgestellt hatte. Um diese Zeit mufi Michel- angelo also bereits mit der Ausfiihrung in Fresko begonnen haben, die er ganz allein bis zu Ende durchfuhrte. Nach dem Bericht Vasaris wurde das Gemalde am Weihnachtstage 1541 enthiillt, „zum Staunen Roms, ja der ganzen Welt". Dem Jiingsten Gericht muBten auBer den beiden erwahnten Fresken Peruginos auch zwei der Liinettenbilder Michelangelos weichen, die die Vorfahren Christi darstellen. Ihre Kompositionen sind uns in Stichen von Adam Ghisi erhalten (Nr. 62 bis 65 der Folge der Stiche nach den Deckenfiguren). (Vgl. Steinmann, Die Sixtinische Kapelle, Bd. I und II. Miinchen, Bruckmann.) 23 24 25 26 w u 27 28 29 30 31 Rom, Sixtinische Kapelle The prophet Zachariah Der Prophet Zacharias 1508—1510 Le prophete Zacharie 32 Rom, Sixtinische Kapelle The prophet Joel Der Prophet Joel 1508—1510 Le prophete Joel 33 Rom, Sixlinisctie Kapelle The Sibyl of Delphi Die delphische Sibylle 150S— 1510 La Sibylle de Delphes 34 Rom, Sixtinische Kapelle Fresko Der Prophet Jesaias The prophet Esaias 1508—1510 Le prophete Isaie Michelangelo 3 35 Rom, Sixtiiilsclie Kapelle Die erythraische Sibylle The Erythrean Sibyl 1508—1510 La Sibylle erythree 36 Rom, Sixtinische Kapelle Fresko Der Prophet Hesekiel The prophet Ezekiel 1508—1510 Le prophete Ezechiel 37 Rom, Sixtiiiische Kapelle The Sibvl of Cumae Die cumaische Sibylle 1508—1510 La Sibylle de Cumes 38 Rom, SixUnische Kapelle The prophet Daniel Der Prophet Daniel 1508-1510 Le piophele Daniel 39 Rom, Sixtinische Kapelle The Persian Sibyl Die persische Sibylle 1508—1510 La Sibylle de Perse 40 Rom, Sixtinisciie Kapelle Der Prophet Jeremias The prophet Jeremiah 1508-1510 Le prophete Jeremie 41 Rom, Sixtinische Kapelle The Libyan Sibyl Die libysche Sibylle 1508-1510 La Sibylle libyque 42 Rom, Sixtinische Kapelle The prophet Jonah Der Prophet Jonas 1508—1510 Le prophete Jonas 43 Rom, Slxtinische Kapelle Die delphische Sibylle (Ausschnitt) The Sibyl of Delphi 1508-1510 La Sibylle de Delphes (Detail) (Detail) 44 Rom, Sixtinische Kapelle Die cumaische Sibylle (Ausschnitt) The Sibyl of Cumae 1508-1510 La Sibylle de Cumes (Detail) (Detail) 45 Rom, Sixtinisclie Kapelle The prophet Esaias (Detail) Der Prophet Jesaias (Ausschnitt) 1508—1510 Le prophete Isaie (Detail) 46 Rom, Sixtinische Kapelle Fresko Der Prophet Jeremias (Ausschnitt) The prophet Jeremiah 1508-1510 Le prophete Jeremie (Detail) (Detail) 47 *Rom, Sixtinisctie Kapelle Fresko Figur zur Rechten der delphischen Sibylle Figure on the right of the Sibyl of Delphi 1508—1510 Figure a droite de la Sibylle de Delphes 48 Rom, Slxtinisclie Kapelle Figur zur Linken der delphischen Sibylle Figure on the left of the Sibyl of Delphi 1508—1510 Figure ^ gauche de la Sibylle de Delphes 49 Rom, Sixtinische Kapelle Figur zur Rechten Joels Figure on the right of Joel 1508-1510 Figure a droite de Joel 50 Rom, Slxtinische Kapelle Figur zur Linken Joels Figure on the left of Joel 1508-1510 Figure a gauche de Joel Michelangelo 4 51 Rom, Slxtinische Kapelle Fresko Figur zur Rechten der erythraischen Sibylle Figure on the right of the Erythrean Sibyl 150S-1510 Figure a droite de la Sibylle erythree 52 Rom, Sixtlnische Kapelle Fresko Figur zur Linken des Jesaias Figur on the left of Esaias 1508-1510 Figure a gauche d'Isaie 53 Rom, Sixtinische Kapelle Figur zur Rechten des Jesaias Ficrure on the right of Esaias 1508-1510 Figure a droite d'Isaie 54 Rom, Sixtinlsche Kapelle Fresko Figur zur Linken der erythraischen Sibylle Figure on the left of the Erythrean Sibyl 1508—1510 Figure a gauche de la Sibylle erythree 55 r rcbivu Rom, Sixtinische Kapelle Figur zur Linken der cumaischen Sibylle Figure on the left of the Sibyl of Cumae 1508-1510 Figure a gauche de la Sibylle de Cumes 56 Rom, Sixtinlsche Kapelle Figur zur Rechten der cumaischen Sibylle Figure on the right of the Sibyl of Cumae 1508—1510 Figure a droite de la Sibylle de Cumes 57 Frcsko Rom, Sixtinische Kapelle Figur zur Rechten des Hesekiel Figure on the right of Ezel^iel 1508-1510 Figure a droite d'Ezechiel 58 Rom, Sixtinisctie Kapelle Fresko Figur zur Linken des Hesekiel Figure on the left of Ezekiel 1508—1510 Figure a gauche d'Ezechiel 59 ,€ C C / c ' C C Rom, Sixtinische Kapelle Fresko Figur zur Rechten Daniels Figure on the right of Daniel 1508—1510 Figure h droite de Daniel 60 Rom, Sixtinlsclie Kapelle Fresko Figur zur Linken Daniels Figure on the left of Daniel 1508—1510 Figure a gauche de Daniel 61 Rom, Sixtinische Kapelle ^resKo Figur zur Rechten der persischen Sibylle Figure on the right of the Persian Sibyl 1508-1510 Figure a droite de la Sibylle de Perse 62 Rom, Sixtinisclie KaptUc Figur zur Linken der persischen Sibylle Figure on the left of the Persian Sibyl 1508-1510 Figure a gauche de la Sibylle de Perse 63 „ „.,,., ,. ,, rresKo Rom, Sixtinische Kapelle Figur zur Rechten der libyschen Sibylle Figure on the right of the Libyan Sibyl 1508-1510 Figure a droite de la Sibylle libyque 64 Rom, Sixtinische Kapelle Figur zur Linken der libyschen Sibylle Figure on the left of the Libyan Sibyl 1508-1510 Figure a gauche de la Sibylle libyque 65 Figur zur Rechten des Jeremias Figure on the. right of Jeremiah 1508—1510 Figure a droite de Jeremie 66 Rom, Sixtinische Kapelle In; Figur zur Linken des Jeremias Figure on the left of Jeremiah 1508-1510 Figure a gauche de Jeremie Michelangelo 5 67 3 TX UJ i: c ^ 69 o O 2 s — 70 o Si •a 1 c — 3 2 71 15 O I 72 Ctj - 73 74 76 76 uj ::i 77 78 79 Aminadab Aminadab Rom, Sixtinisctie Kapelle Boas and Obed 5oas und Obed 1511 — 1512 Booz et Obeth 80 Abiah Abias Roni, Sixtinische Kapelle Jotham und Ahas Jotham and Ahas 1511—1512 Joathan et Achaz 81 Abiud and Eliakim Abiud und Eliakim 1511-1512 Abiud et Eliachim Rom, Sistinlsclic Kapclle Achin and Eliud Achin und Eliud 1511-1512 Achin et Eliud 82 Jacob and Joseph Jakob und Joseph 1511—1512 Jacob et Joseph Rom, SiMinisclK- Kapelle Eleasar and Mathan Eleasar und Matthan 1511-1512 Eleazar et Mathan Michelangelo 6 83 Asor and Zadok Asor und Zadok 1511—1512 Azor et Sadoch Kom, Sixiinisclic h jpvlk' Jechonia und Sealthiel Jechonia and Sealthiel 1511—1512 Jechonias et Salathiel 84 Manasse and Amon Manasse und Amon 1511—1512 Manasse et Amon Rom, Sixtinisclie Kapelle Fresken Josaphat und Joram Josaphat and Joram 1511—1512 Josaphat et Joram 85 David and Salomon David und Salomo 1511-1512 David et Salomon Rom, Sixtinisclie Kapelle Naason Nahesson 1511 — 1512 Naason 86 •London, Nationalgalerie The entombment Die Grablegung Christ! Urn 1512 Auf Holz, H. 1,66, B. 1,48 La mise au tombeau 87 1 1^ \ /Y *Rom, S. Pietro in vlncoli Moses Marmor, 11- 2,55 Moses Urn 1513—1516 Moise 88 Rom, S. Pietro in vincoli Moses Marmor, li. 2,. Moses Urn 1513— 1516 Moise 89 Rom, S. Pietro In vincoli Moses (Detail) Moses (Teilbild) Urn 1513-1516 Moise (Detail) 90 Rom, S. Pletro in Moses (Detail) Moses (Teilbild) Um 1513-1516 Moise (Detail) 91 ' I'aris, Louvre Marmor, H. 2,2U The fettered slave (Tomb of Julius II.) Der gefesselte Sklave (Grabmal Julius' 11.) Um 1513-1516 L'esclave lie (Tombeau de Jules II) 92 f Paris, Louvre The dying slave (Tomb of Julius II.) Der sterbende Sklave (Qrabmal Julius' II.) Um 1513-1516 Marmor, H. 2,30 L'esclave mourant (Tombeau de Jules II) 93 Florenz, Accademia delle belle Arti Unfinished statue Unvollendete Figur 1518-1522 Marmor, H. ca. 2,30 Statue inachevee 94 Florenz, Accademia delle bMe Arti Unfinished statue Unvollendete Figur 1518-1522 >\ariiior, II. ca i',30 Statue inachevee 95 ' Florenz, Accademia delle belle Art! Unfinished statue UnvoUendete Figur 1518-1522 Marmor, H. ca. 2,30 Statue inachevee 96 ■ Plorenz, Accademia delle belle Arti Unfinished slatue Marmor, H. ca. 2,30 Unvollendete Figur 1518-1522 Statue inachevee 97 ^Rom, Sa. Maria sopra Minerva Marmor, H. 2,08 Der auferstandene Christus The resurrected Christ 1518—1521 Le Christ tessuscite 98 *Florenz, Accademla delle belle Art! Victorv Marmor, H. 2,80 Der Sieg Urn 1525 La victoire Michelangelo 7 99 o ^ Cl, « OJ « I ex' a. U 100 ''Florenz, San Lorenzo (Sagrestia nuova) Marmor H. 2 07 Die Madonna mit dem Kinde Virgin IVlary with child 1524-1532 La Vierge avec I'enfant 101 •Florenz, ban Lorenzo (Sagrcsiia iiuova) Grabmal des Giuliano de' Medici Tomb of Giuliano de' Medici 1521—1534 Tombeau de Julien de Medicis 102 "Florenz, San Lorenzo (Sagrestia nuova) Marmor, H. 1,80 Giuliano de' Medici 1524-1533 103 104 105 'Florenz, San Lorenzo (Sagrestia nuova) Grabmal des Lorenzo de' Medici Tomb of Lorenzo de' Medici 1521—1534 Tombeau de Laurent de Medicis 106 *Florenz, San Lorenzo (Sayreslia nuova) Marmor, H. 1,8 Lorenzo de' Medici (1524-1533) 107 108 Ms: o — '^ Q o O S 109 'Florenz, San Lorenzo (Sagrestla nuova) Die Morgendammerung (Teilstiick) (Vom Grabmal des Lorenzo de' Medici) Dawn (Detail) 1524—1533 L'aurore (Detail) (Tomb of Lorenzo de' Medici) (Tombeau de Laurent de Medicis) 110 Ill <^ a •— 112 Entrance-hall Biblioteca Laurenziana Vorhalle 1524—1534 Vestibule 113 'Florenz, Museo nazionale Marmor, H. 1,49 David (fiuher Apollo genannt) David Um 1530 David (formerly named Apollo) (autrefois nomme ApoUon) 114 * Petersburg, Ereniitage Kauernder Jiingling A cowering young man Um 1513—1516 Marmor, H. 0,56 Jeune homme accroupi Michelangelo 8 115 'Rom, Vatikan (Sixtinische Kapelle) The last judgment Das jiingste Gericht 1534—1541 Le jugement dernier 116 Rom, Sixtinische Kapelle Christ and the Virgin Mary Detail from the last judgment Christus und die Madonna Teilstiick aus dem jiingsten Gericht 1534—1541 Le Christ et la Madone Detail du jugement dernier 117 118 119 Rom, Sixtinische Kapelle The last judgment Detail Das jiingste Gericht Teilstiick Le jugement dernier Detail 120 Rom, Sixtinische Kapelle The last judgment Detail Das jiingste Gericht Teilstuck Le jugement dernier Detail 121 122 O 123 Rom, Sixtinische Kapelle The last judgment Detail Das jiingste Gericht Teilstuck Le jugement dernier Detail 124 Rotn, Sixtinlsche Kapelle The last judgment Detail Das jiingste Gericht Teilstuck Le jugement dernier Detail 125 Rom, Sixtlnische Kapelle The last judgment Detail Das jiingste Gericht Teilstiick Le jugement dernier Detail 12G 't-lorciii, musco nazionaie A\armor, H. 0,6o Brutus Nach 1539 127 i-Rom, S. Pietro in vincoli Marmor, H. 2,03 Rachel Rahel Urn 1543-1545 Rachel 128 '^Rom, S. Pietro in vlncol Marmor, H. 2,07 Lea Um 1543—1545 129 130 "n cm Q Michelangelo 9 131 'Rom, Vatikan (Cappella Paolina) Fresko Die Bekehrung Pauli The conversion of St. Paul 1542-1550 La conversion de Sainl Paul 132 133 lOi !i -SciOC.KAi'iiiA ! X li'.^v^ !:xkaum.ari-a\ic:hae£|j i;r]N-LVCEM-AEDIT/' ■The plan of the Capitol After the engraving of Du Perac (1569) 134 AROTI-A-STEPHANO'DVPERAC-PAKISIENSIACCVRATEDELINEAIA J SALYTISOO&LXIX ifmif 9»»»»f rr .^t^f f f ftf i : (1569) Plan du Capitole D'apres la gravure de Du Perac (1569) 135 136 u 137 D- .b 138 Michelangelo 9-' 139 *Rom, Palazzo Rondanini Pieta Urn 1550 140 ' Florenz, Dom The entombment Marmor, H. 2,34 Die Grablegung Christi Seit 1550 La mise au tombeau 141 XI " o ^ (/I <1J