The Life of Michelangelo Buonarroti. John Addington Symonds

the female type he afterwards preferred, resembles that of a young woman. For this he was rebuked by critics who thought that her age should correspond more naturally to that of her adult son. Condivi reports that Michelangelo explained his meaning in the following words: "Do you not know that chaste women maintain their freshness far longer than the unchaste? How much more would this be the case with a virgin, into whose breast there never crept the least lascivious desire which could affect the body? Nay, I will go further, and hazard the belief that this unsullied bloom of youth, besides being maintained in her by natural causes, may have been miraculously wrought to convince the world of the virginity and perpetual purity of the Mother. This was not necessary for the Son. On the contrary, in order to prove that the Son of God took upon himself, as in very truth he did take, a human body, and became subject to all that an ordinary man is subject to, with the exception of sin; the human nature of Christ, instead of being superseded by the divine, was left to the operation of natural laws, so that his person revealed the exact age to which he had attained. You need not, therefore, marvel if, having regard to these considerations, I made the most Holy Virgin, Mother of God, much younger relatively to her Son than women of her years usually appear, and left the Son such as his time of life demanded." "This reasoning," adds Condivi, "was worthy of some learned theologian, and would have been little short of marvellous in most men, but not in him, whom God and Nature fashioned, not merely to be peerless in his handiwork, but also capable of the divinest concepts, as innumerable discourses and writings which we have of his make clearly manifest."

      The Christ is also somewhat youthful, and modelled with the utmost delicacy; suggesting no lack of strength, but subordinating the idea of physical power to that of a refined and spiritual nature. Nothing can be more lovely than the hands, the feet, the arms, relaxed in slumber. Death becomes immortally beautiful in that recumbent figure, from which the insults of the scourge, the cross, the brutal lance have been erased. Michelangelo did not seek to excite pity or to stir devotion by having recourse to those mediaeval ideas which were so passionately expressed in S. Bernard's hymn to the Crucified. The aesthetic tone of his dead Christ is rather that of some sweet solemn strain of cathedral music, some motive from a mass of Palestrina or a Passion of Sebastian Bach. Almost involuntarily there rises to the memory that line composed by Bion for the genius of earthly loveliness bewailed by everlasting beauty—

       E'en as a corpse he is fair, fair corpse as fallen aslumber.

      It is said that certain Lombards passing by and admiring the Pietà ascribed it to Christoforo Solari of Milan, surnamed Il Gobbo. Michelangelo, having happened to overhear them, shut himself up in the chapel, and engraved the belt upon the Madonna's breast with his own name. This he never did with any other of his works.

      This masterpiece of highest art combined with pure religious feeling was placed in the old Basilica of S. Peter's, in a chapel dedicated to Our Lady of the Fever, Madonna della Febbre. Here, on the night of August 19, 1503, it witnessed one of those horrid spectacles which in Italy at that period so often intervened to interrupt the rhythm of romance and beauty and artistic melody. The dead body of Roderigo Borgia, Alexander VI., lay in state from noon onwards in front of the high altar; but since "it was the most repulsive, monstrous, and deformed corpse which had ever yet been seen, without any form or figure of humanity, shame compelled them to partly cover it." "Late in the evening it was transferred to the chapel of Our Lady of the Fever, and deposited in a corner by six hinds or porters and two carpenters, who had made the coffin too narrow and too short. Joking and jeering, they stripped the tiara and the robes of office from the body, wrapped it up in an old carpet, and then with force of fists and feet rammed it down into the box, without torches, without a ministering priest, without a single person to attend and bear a consecrated candle." Of such sort was the vigil kept by this solemn statue, so dignified in grief and sweet in death, at the ignoble obsequies of him who, occupying the loftiest throne of Christendom, incarnated the least erected spirit of his age. The ivory-smooth white corpse of Christ in marble, set over against that festering corpse of his Vicar on earth, "black as a piece of cloth or the blackest mulberry," what a hideous contrast!

      VIII

      It may not be inappropriate to discuss the question of the Bruges Madonna here. This is a marble statue, well placed in a chapel of Notre Dame, relieved against a black marble niche, with excellent illumination from the side. The style is undoubtedly Michelangelesque, the execution careful, the surface-finish exquisite, and the type of the Madonna extremely similar to that of the Pietà at S. Peter's. She is seated in an attitude of almost haughty dignity, with the left foot raised upon a block of stone. The expression of her features is marked by something of sternness, which seems inherent in the model. Between her knees stands, half reclining, half as though wishing to step downwards from the throne, her infant Son. One arm rests upon his mother's knee; the right hand is thrown round to clasp her left. This attitude gives grace of rhythm to the lines of his nude body. True to the realism which controlled Michelangelo at the commencement of his art career, the head of Christ, who is but a child, slightly overloads his slender figure. Physically he resembles the Infant Christ of our National Gallery picture, but has more of charm and sweetness. All these indications point to a genuine product of Michelangelo's first Roman manner; and the position of the statue in a chapel ornamented by the Bruges family of Mouscron renders the attribution almost certain. However, we have only two authentic records of the work among the documents at our disposal. Condivi, describing the period of Michelangelo's residence in Florence (1501–1504), says: "He also cast in bronze a Madonna with the Infant Christ, which certain Flemish merchants of the house of Mouscron, a most noble family in their own land, bought for two hundred ducats, and sent to Flanders." A letter addressed under date August 4, 1506, by Giovanni Balducci in Rome to Michelangelo at Florence, proves that some statue which was destined for Flanders remained among the sculptor's property at Florence. Balducci uses the feminine gender in writing about this work, which justifies us in thinking that it may have been a Madonna. He says that he has found a trustworthy agent to convey it to Viareggio, and to ship it thence to Bruges, where it will be delivered into the hands of the heir of John and Alexander Mouscron and Co., "as being their property." This statue, in all probability, is the "Madonna in marble" about which Michelangelo wrote to his father from Rome on the 31st of January 1507, and which he begged his father to keep hidden in their dwelling. It is difficult to reconcile Condivi's statement with Balducci's letter. The former says that the Madonna bought by the Mouscron family was cast in bronze at Florence. The Madonna in the Mouscron Chapel at Notre Dame is a marble. I think we may assume that the Bruges Madonna is the piece which Michelangelo executed for the Mouscron brothers, and that Condivi was wrong in believing it to have been cast in bronze. That the statue was sent some time after the order had been given, appears from the fact that Balducci consigned it to the heir of John and Alexander, "as being their property;" but it cannot be certain at what exact date it was begun and finished.

      IX

      While Michelangelo was acquiring immediate celebrity and immortal fame by these three statues, so different in kind and hitherto unrivalled in artistic excellence, his family lived somewhat wretchedly at Florence. Lodovico had lost his small post at the Customs after the expulsion of the Medici; and three sons, younger than the sculptor, were now growing up. Buonarroto, born in 1477, had been put to the cloth-trade, and was serving under the Strozzi in their warehouse at the Porta Rossa. Giovan-Simone, two years younger (he was born in 1479), after leading a vagabond life for some while, joined Buonarroto in a cloth-business provided for them by Michelangelo. He was a worthless fellow, and gave his eldest brother much trouble. Sigismondo, born in 1481, took to soldiering; but at the age of forty he settled down upon the paternal farm at Settignano, and annoyed his brother by sinking into the condition of a common peasant.

      The constant affection felt for these not very worthy relatives by Michelangelo is one of the finest traits in his character. They were continually writing begging letters, grumbling and complaining. He supplied them with funds, stinting himself in order to maintain them decently and to satisfy their wishes. But the more he gave, the more they demanded; and on one or two occasions, as we shall see in the course of this biography, their rapacity and ingratitude roused his bitterest indignation. Nevertheless, he did not swerve from the path of filial and brotherly kindness which his generous nature