DOI Page / Citation link:
https://doi.org/10.11588/diglit.48088#0535
MICHELANGELO. 111 !
the completion of his chef ctceuvre* was nearly double his age. Yet we undoubtedly find the bold
spirit, and the power which seemed equal to support the entire weight of the century, with
the youngest master.
Thus he approached his native town; and, in the year 1500, returned to Florence. We
must now abandon all notice, of his lesser works, and confine ourselves to his principal creations,
which, in themselves, furnish superabundent material for this short notice. The storm of political
and religious excitement had dispersed, and, similarly, the dark veil of clouds which had obscured
the soul of Michelangelo, was rent asunder. Thus the dark grouping of the Pieta was replaced
by brilliant light in the charming half-sized Madonna with the child in marble, on an altar in
the church of Notre Dame, at Bruges. It was bought for a hundred ducats by the Moscheroni,
the Dutch family of Moscrons, one of whom was buried under the altar, and sent by them to
their native place. The boy is standing between his mother’s knees, whilst she embraces him
with her left arm,—the right holding a book, and resting on her bosom. This exquisite work
is one of the most touching ever composed by the master.
At the same time he painted the ‘Holy family’ in the Tribune of the Uffici at Florence,
for Agnolo Dossi, the Florentine art-lover, whose portrait was afterwards painted by Raphael.
There are many antagonistic elements in this picture; superabundant power of genius manifests
itself at the expense of the beauty of the subject. There is something unnatural even in the
principal group. Mary, kneeling in an uneasy attitude on the ground, is endeavouring to embrace
the child, which is presented to her by Joseph over her left shoulder. The background is enlivened
by a number of small naked human figures, having no connection with the subject; only the
uncontrolled creative impulse of the master, and his enjoyment in the representation of the
beauties of the human body can have instigated the accessories in this composition. The picture
is painted in soft tones with unusual care.
Yet painting was not his chosen work, he neglected it, as soon as he obtained employment as
a sculptor. He now found an opportunity for displaying his skill in the most attractive manner.
In one of the workshops surrounding the cathedral, a block of marble, eighteen feet in height, had
lain for several years; it had been originally intended for a prophet’s figure, on the cupola of
Santa Maria del Fiore, but since this intention had been abandoned, the rough, unshapen mass
appeared to be quite worthless. Donatello, to whom the stone had been offered, could find no use
for it. Andrea Contucci del Monte Sansovino, (f 1529) at that time the renowned master of Jacopo
Sai sovino, had expressed himself willing to undertake the carving of the block, but only on the
condition of being permitted to introduce a few reliefs of marble. Michelangelo saw the stone
and offered to carve it without the introduction of reliefs. His offer was accepted. On the
16th of August, 1501, the contract was signed: the work was to be executed in two years
from the first of September, and Michelangelo was to receive six golden gulden monthly, during |
its execution. The amount of the remaining payment was to depend on the satisfaction felt with
the work. Without further preparation than a small wax model, which still exists in the Uffici,
he commenced working on the stone on the 13th of September, and with the aid of his correct
eye and his certain hand he carried on his work with such diligence, that he was able to '
announce its completion at the end of February, 1503. The price was then named of four |
hundred golden gulden. I
Thus he created the colossal shepherd-youth, David, with the sling, which still keeps watch j
at the door of the Palazza Vecchio at Florence. He stands erect, his gaze turned towards the
28*
the completion of his chef ctceuvre* was nearly double his age. Yet we undoubtedly find the bold
spirit, and the power which seemed equal to support the entire weight of the century, with
the youngest master.
Thus he approached his native town; and, in the year 1500, returned to Florence. We
must now abandon all notice, of his lesser works, and confine ourselves to his principal creations,
which, in themselves, furnish superabundent material for this short notice. The storm of political
and religious excitement had dispersed, and, similarly, the dark veil of clouds which had obscured
the soul of Michelangelo, was rent asunder. Thus the dark grouping of the Pieta was replaced
by brilliant light in the charming half-sized Madonna with the child in marble, on an altar in
the church of Notre Dame, at Bruges. It was bought for a hundred ducats by the Moscheroni,
the Dutch family of Moscrons, one of whom was buried under the altar, and sent by them to
their native place. The boy is standing between his mother’s knees, whilst she embraces him
with her left arm,—the right holding a book, and resting on her bosom. This exquisite work
is one of the most touching ever composed by the master.
At the same time he painted the ‘Holy family’ in the Tribune of the Uffici at Florence,
for Agnolo Dossi, the Florentine art-lover, whose portrait was afterwards painted by Raphael.
There are many antagonistic elements in this picture; superabundant power of genius manifests
itself at the expense of the beauty of the subject. There is something unnatural even in the
principal group. Mary, kneeling in an uneasy attitude on the ground, is endeavouring to embrace
the child, which is presented to her by Joseph over her left shoulder. The background is enlivened
by a number of small naked human figures, having no connection with the subject; only the
uncontrolled creative impulse of the master, and his enjoyment in the representation of the
beauties of the human body can have instigated the accessories in this composition. The picture
is painted in soft tones with unusual care.
Yet painting was not his chosen work, he neglected it, as soon as he obtained employment as
a sculptor. He now found an opportunity for displaying his skill in the most attractive manner.
In one of the workshops surrounding the cathedral, a block of marble, eighteen feet in height, had
lain for several years; it had been originally intended for a prophet’s figure, on the cupola of
Santa Maria del Fiore, but since this intention had been abandoned, the rough, unshapen mass
appeared to be quite worthless. Donatello, to whom the stone had been offered, could find no use
for it. Andrea Contucci del Monte Sansovino, (f 1529) at that time the renowned master of Jacopo
Sai sovino, had expressed himself willing to undertake the carving of the block, but only on the
condition of being permitted to introduce a few reliefs of marble. Michelangelo saw the stone
and offered to carve it without the introduction of reliefs. His offer was accepted. On the
16th of August, 1501, the contract was signed: the work was to be executed in two years
from the first of September, and Michelangelo was to receive six golden gulden monthly, during |
its execution. The amount of the remaining payment was to depend on the satisfaction felt with
the work. Without further preparation than a small wax model, which still exists in the Uffici,
he commenced working on the stone on the 13th of September, and with the aid of his correct
eye and his certain hand he carried on his work with such diligence, that he was able to '
announce its completion at the end of February, 1503. The price was then named of four |
hundred golden gulden. I
Thus he created the colossal shepherd-youth, David, with the sling, which still keeps watch j
at the door of the Palazza Vecchio at Florence. He stands erect, his gaze turned towards the
28*