learned and very reverend Don Vincenzo Borghini, of whom mention has been made above with regard to some other matter, has collected into a large book innumerable drawings by excellent painters and sculptors, both ancient and modern; and on the ornamental borders of two leaves opposite to each other, which contain drawings by the hand of Donato and of Michelagnolo Buonarroti, he has written, with much judgment, these two Greek epigrams; on Donato's, "[Greek: ê Dônatos Bonarhrôtizei]," and on Michelagnolo's, "[Greek: ê Bonarhrôtos Dônatizei]"; which mean in Latin, "Aut Donatus Bonarrotum exprimit et refert; aut Bonarrotus Donatum," and in our own tongue, "Either the spirit of Donato works in Buonarroto, or that of Buonarroto began by working in Donato."
MICHELOZZO MICHELOZZI
LIFE OF MICHELOZZO MICHELOZZI
SCULPTOR AND ARCHITECT OF FLORENCE
If every man who lives in this world were to realize that he may have to live when he is no longer able to work, there would not be so many reduced to begging in their old age for that which they consumed without any restraint in their youth, when their large and abundant gains, blinding their true judgment, made them spend more than was necessary and much more than was expedient. For, seeing how coldly a man is looked upon who has fallen from wealth to poverty, every man should strive—honestly, however, and maintaining the proper mean—to avoid having to beg in his old age. And whosoever will act like Michelozzo—who did not imitate his master Donato in this respect, although he did in his virtues—will live honourably all the course of his life, and will not be forced in his last years to go about miserably hunting for the wherewithal to live.
Now Michelozzo applied himself in his youth to sculpture under Donatello, and also to design; and although he realized their difficulties, nevertheless he went on ever practising so diligently with clay, with wax, and with marble, that he ever showed ability and great talent in the works that he made afterwards. There was one art in which he surpassed many and even his own self, for, after Brunellesco, he was held to be the most methodical architect of his times, and the one who was best able to arrange and contrive palaces, convents, and houses for human habitation, and who designed them with the greatest judgment, as will be told in the proper place. Of this man Donatello availed himself for many years, because he was very well practised in working marble and in the business of casting in bronze; of which we have proof in a tomb in S. Giovanni at Florence (which was made by Donatello, as it has been said, for Pope Giovanni Coscia), since the greater part was executed by Michelozzo; and there we can see a very beautiful marble statue by his hand, two braccia and a half in height, representing Faith (in company with one of Hope and one of Charity made by Donatello, of the same size), which does not suffer by comparison with the others. Moreover, above the door of the sacristy and the Office of Works, opposite to S. Giovanni, Michelozzo made a little S. John in full-relief, wrought with diligence, which was much extolled.
Michelozzo was so intimate with Cosimo de' Medici that the latter, recognizing his genius, caused him to make the model for the house and palace at the corner of the Via Larga, beside S. Giovannino; for he thought that the one made by Filippo di Ser Brunellesco, as it has been said, was too sumptuous and magnificent, and more likely to stir up envy among his fellow-citizens than to confer grandeur or adornment on the city, or bring comfort to himself. Wherefore, being pleased with the model that Michelozzo had made, he had the building brought to completion under his direction in the manner that we see at the present day, with all the beautiful and useful arrangements and graceful adornments that are seen therein, which have majesty and grandeur in their simplicity; and Michelozzo deserves all the greater praise in that this was the first palace which was built in that city on modern lines, and which was divided up into rooms both useful and most beautiful. The cellars are excavated to more than half their depth underground, namely, four braccia below, with three above for the sake of light; and there are also wine-cellars and store-rooms. On the ground-floor there are two courtyards with magnificent loggie, on which open saloons, chambers, antechambers, studies, closets, stove-rooms, kitchens, wells, and staircases both secret and public, all most convenient. On each floor there are apartments with accommodation for a whole family, with all the conveniences that are proper not only to a private citizen, such as Cosimo then was, but even to the most splendid and most honourable of Kings; wherefore in our own times Kings, Emperors, Popes, and all the most illustrious Princes of Europe have been comfortably lodged there, to the infinite credit both of the magnificence of Cosimo and of the excellent ability of Michelozzo in architecture.
In the year 1433, when Cosimo was driven into exile, Michelozzo, who loved him very greatly and was most faithful to him, accompanied him of his own free will to Venice and insisted on remaining with him all the time that he stayed there; and in that city, besides many designs and models that he made for private dwellings and public buildings and decorations for the friends of Cosimo and for many gentlemen, he built, at the command and expense of Cosimo, the library of the Monastery of S. Giorgio Maggiore, a seat of the Black Friars of S. Justina; and this was not only finished with regard to walls, book-shelves, wood-work, and other adornments, but was also filled with many books. Such was the occupation and amusement of Cosimo during that exile, from which he was recalled to his country in the year 1434; whereupon he returned almost in triumph, and Michelozzo with him. Now, while Michelozzo was in Florence, the Palazzo Pubblico della Signoria began to threaten to collapse, for some columns in the courtyard were giving way, either because there was too much weight pressing on them, or because their foundations were weak and awry, or even perchance because they were made of pieces badly joined and put together. Whatever may have been the reason, the matter was put into the hands of Michelozzo, who accepted the undertaking willingly, because he had provided against a similar peril near S. Barnaba in Venice, in the following manner. A gentleman had a house that was in danger of falling down, and he entrusted the matter to Michelozzo; wherefore he—according to what Michelagnolo Buonarroti once told me—caused a column to be made in secret, and prepared a number of props; and hiding everything in a boat, into which he entered together with some builders, in one night he propped up the house and replaced the column. Michelozzo, therefore, emboldened by this experience, averted the danger from the palace, doing honour both to himself and to those by whose favour he had received such a charge; and he refounded and rebuilt the columns in the manner wherein they stand to-day. First he made a stout framework of props and thick beams standing upright to support the centres of the arches, made of nut-wood, and upholding the vaulting, so that this came to support equally the weight that was previously borne by the columns; then, little by little removing those that were made of pieces badly joined together, he replaced them with others made of pieces and wrought with diligence, in such a manner that the building did not suffer in any way and has never moved a hair's breadth. And in order that his columns might be known from the others, he made some of them at the corners with eight sides, with capitals that have the foliage carved in the modern fashion, and some round; and all are very easily distinguished from the old columns that Arnolfo made formerly. Afterwards, by the advice of Michelozzo, it was ordained by those who then governed the city that the arches of those columns should be unburdened and relieved of the weight of the walls that rested upon them; that the whole courtyard should be rebuilt from the arches upwards, with a row of windows in modern fashion, similar to those that he had made for Cosimo in the courtyard of the Palace of the Medici; and that designs in rustic-work should be carved on the walls, for the reception of those golden lilies that are still seen there at the present day. All this Michelozzo did with great promptitude; and on the second tier, directly above the windows of the said courtyard, he made some round windows (so as to have them different from the aforesaid windows), to give light to the rooms on that floor, which are over those of the first floor, where there is now the Sala de' Dugento. The third floor, where the Signori and the Gonfalonier lived, he made
