rel="nofollow" href="#ulink_f85f664f-0385-5b3a-8183-c39d9551cc22">[142] See Winckelmann in his "Gems of Baron Stochs," where he records and comments upon the text of the historian, p. 316.
"Duo Dossi e quel che a par sculpe e colora Michel più che mortal Angiol divino." Orl. Fur. Cant. xxxiii. 2.
[144] Raffaello came to Florence towards the end of 1504. (Lett. Pitt. tom. i. p. 2.) In this year Michelangiolo was called to Rome, and left his cartoon imperfect. Having afterwards fled from Rome, through dread of Julius II., he completed it in three months, in the year 1506. Compare the Brief of Julius, in which he recals Michelangiolo (Lett. Pitt. tom. iii. p. 320), with the relation of Vasari (tom. vi. Ed. Fiorent. p. 191). During the time that Michelangiolo laboured at this work, "he was unwilling to shew it to any person (p. 182); and when it was finished it was carried to the hall of the Pope," and was there studied (p. 184). Raffaello had then returned to Florence, and this work might open the way to his new style, which, as a learned Englishman expresses it, is intermediate between that of Michelangiolo and of Perugino.
[145] He chose the companions of those who had painted in the Sistine, Jacopo di Sandro (Botticelli), Agnolo di Donnino, a great friend of Rosselli, and the elder Indaco, a pupil of Ghirlandaio, who were but feeble artists. Bugiardini, Gianacci and Aristotile di S. Gallo, of whom we shall take further notice in the proper place, were there also.
[146] Varchio, in his Funeral Oration, p. 15.
[147] Idea del Tempio della Pittura, p. 47. Ed. Bologn.
[148] Tom. vi. p. 398.
[149] See Entretiens sur les Vies et sur les Ouvrages des plus excellens Peintres, tom. i. p. 502.
[150] See pp. 245, 253.
[151] Lett. Pitt. tom. iii. lett. 227. Rosa, Sat. iii. p. 85.
[152] Salvator Rosa in his third satire, p. 84, narrates the rebuke which the Prelate gave Michelangiolo for his indecency in painting the Saints themselves without garments.
[153] Microscosmo, p. 6.
[154] Tom. ii. p. 254.
[155] He is also blamed for this part of the perspective by others. (See P. M. della Valle in the "Prosa recitata in Arcadia," 1784, p. 260, of the Giorn. Pis. tom, liii.)
[156] Malv. tom. ii. p. 254.
[157] Vite de' Pittori, &c. p. 44.
[158] Dialogo sopra la Pittura.
[159] Idea del Tempio della Pittura, p. 41.
[160] Conca, Descriz. Odeporica della Spagna, tom. i. page 24.
[161] The ignorant believe that Michelangiolo "nailed a man to a cross and left him there to expire, in order to paint from the life a figure of our Saviour on the cross." See Dati, in his notes of the Life of Parrhasius, who is said to have committed a similar homicide. This story of the latter is probably a fable, and undoubtedly it is so of Michelangiolo. The crucifixions of this artist are often repeated, sometimes with a single figure, sometimes with our Lady and S. John; at other times with two Angels, who collect the blood. Bottari mentions several of these pictures in different galleries. To these we may add the picture of the Caprara palace, and those in the possession of Monsignor Bonfigliuoli and of Sigg. Biancani in Bologna. Sig. Co. Chiappini of Piacenza has a very good one, and there is another in the church of the college of Ravenna.
[162] A name given by the Italians to pictures of a dead Christ on the knees of his mother.
[163] Bottari, in his Notes to the Letter of Preziado, doubts whether this supposed scholar of Michelangiolo be Galeazzo Alessi, remarking at the same time that this last was rather an architect than a painter. I am inclined to think that the Matteo in question may have been the foregoing Matteo da Lecce, or da Leccio, and that owing to one of those errors, which Clerche in his "Arte Critica," calls ex auditu, his name in Spain became D'Alessi, or D'Alessio, the letters c and s in many countries being made use of reciprocally. Besides, this Leccese, of whom we write in the fourth volume, flourished in the time of Vargas, went to Spain, affected the style of Michelangiolo, and never settled himself in any place from his desire of seeing the world. Memoirs of him appear to have been collected in Spain, by Pacheco, who lived in 1635 (Conca, iii. 252), who in his account, at this distance of time, must have been guided by vulgar report; a bad authority for names, particularly those of foreigners, as was noticed in the Preface. That he should further be called Roman instead of Italian, in a foreign country, and that he should there adopt the name of Perez, not having assumed any surname in Rome, can scarcely appear strange to the reader, and the more so as he is described as an adventurer—a species of persons who subsist upon tricks and frauds.
[164] Sebastiano painted it again for the Osservanti of Viterbo; and there is a similar one described in the Carthusian Monastery, at Naples, which is painted in oil, and is supposed to be the work of Bonarruoti.
[165] Limbo, among theologians of the Roman Church, is the place where the souls of just men, who died before the coming of our Saviour, and of unbaptized children, are supposed to reside.
[166] This noble fresco was ruined during the revolutionary tumults at Rome.—Tr.
[167] That Raffaello was at this time well versed in perspective it is unreasonable to doubt, as Bottari has done: he proceeded from the school of Perugino, who was very eminent in that science; and he left a good specimen at Siena, where he remained some time before he came to Florence.
[168] Vol. iii. p. 126.
[169] This is conspicuous in a S. Raffaello with Tobias, which was transferred from the royal gallery of Florence to the imperial gallery of Vienna.—See Rosa Scuola Italiana, p. 141.
