66 this exquisite master form two distinct classes, those which he painted before, and those which he painted after he had caught from the new Prometheus a portion of the ethereal fire-those of the scholar of Perugino, and of the competitor of Michelagnolo. "Happy age," exclaims, with more than common animation, the historian of the painters, "and happy artists, for so I may well denominate you, who have had the opportunity of purifying your eyes at so clear a fountain; who have found your "difficulties removed, your crooked paths made straight 66 by so wonderful an artist; know then, and honour "the man who has enabled you to distinguish between "truth and falshood, and let your gratitude be shewn in "returning your thanks to heaven, and in imitating Mi"chelagnolo in all things." (a) 66 Genius (a) Vasari, vita di Michelagnolo. Gianfrancesco Grazzini, called Il Lasca, also celebrates his countryman in the true Florentine idiom: Giotto fu il primo, ch' alla dipintura, Già lungo tempo morta, desse vita. E Donatello messe la scultura Nel suo dritto sentier, ch' era smarrita: Così l'architettura Storpiata, e guasta, alle man' de' Tedeschi, Anzi quasi basita, Da Pippo Brunelleschi, Solenne Architettor, fu messa in vita; Onde gloria infinita Meritar questi tre spirti divini, Nati in Firenze e nostri cittadini. E di queste tre arti, i Fiorentini Han sempre poi tenuto il vanto e'l pregio. Genius is ever obnoxious to that criticism which mediocrity escapes, nor has this test been wanting to the merits of Michelagnolo. The parasites of a vicious court, and a corrupt age, have not hesitated to charge him with indecency, in introducing naked figures in his celebrated picture of the last judgment. This accusation was made even in his life-time, by one who called himself his friend, and who saw no impropriety in representing it as proceeding from the obscene lips of Pietro Aretino (a). It soon however became so prevalent, that in the pontificate of Paul IV, it was in contemplation to destroy this astonishing picture, which was at last only preserved by the expedient of covering those parts which were supposed to be likely to ex Michelagnolo cite Michelagnol divin, dal cielo eletto, Alle tre nobil' arti ha posto il tetto. Onde meritamente, Chiamato è dalla gente Vero maestro, e padre del disegno. &c. Il Lasca, sop. la dipintura della Cupola. (a) In the dialogue of Lodovico Dolce, on painting, entitled'L' AretinoAretino, who is supposed to speak the sentiments of the author, observes, "Chi ardirà di affermar, che stia bene, che nella chiesa di San Pietro, pren"cipe degli apostoli, in una Roma, ove concurre tutto il mondo, nella cap"pella del Pontefice, il quale, come ben dice il Bembo, in terra ne assembra "Dio, si veggano dipinti tanti ignudi, che dimostrano dishonestamente dritti ❝e reversi; cosa nel vero, (favellando con ogni sommessione) di quel santis"simo luogo indegna." Fabrini, the other colloquialist, justifies Michelagnolo by alledging the example of Raffaello, who is said to have designed the lascivious prints engraved by Marcantonio Raimondi, under which the same Aretino wrote his infamous verses; but it is easy to see that such a justification is an admission of the charge. Dolce, Dialog. p. 236. Ed. Flor. 1735. 66 1 cite in the minds of the depraved spectators ideas unsuitable to the solemnity of the place. The painter who undertook this office was ever afterwards distinguished by the name of Il Braghettone. These inculpations were renewed in the succeeding century, by a man of talents and celebrity, who united, like Michelagnolo, the character of a painter and a poet, without having one idea in common with him (a). But what shall we say of an artist who could (a) Salvator Rosa, in his satire entitled La Pittura, relating instances of the arrogance and pride of his predecessors, introduces the well known story of the critic Biagio, who having censured the famous picture of the last judgment, was, in return, represented by Michelangelo in a group of the damned. According to Salvator, Biagio thus addressed the painter, Michel Agnolo mio, non parlo in gioco, Questo che dipingete è un gran giudizio, Ma del giudicio voi n' avete poco. Io non vi tasso intorno al artifizio, Ma parlo del costume, in cui mi pare Sapevi pur che il figlio di Noè, Perchè scoperse le vergogne al padre, E voi, senza temer Christo e la Madre Fate, che mostrin le vergogne parte, Infin de' Santi quì l' intiere squadre. And that it may not be imagined that Salvator did not himself approve the sentiments of the critic, he adds, In udire il pittor queste proposte, Divenuto di rabbia rosso, e nero, Satir. di Salv. Rosa. Ed. Lond. 1791. could mingle with the contemplation of a subject so inter- The favours of Lorenzo de' Medici were not however exclusively bestowed. Although he well knew how to appreciate and to reward extraordinary excellence, he was not inattentive to the just claims of those who made a proficiency in any branch of the arts. Where the indication of talents appeared, he was solicitous to call them into action, to accelerate their progress, and to repay their success. "It is highly deserving of notice," says Vasari, "that all those who studied in the gardens of the Medici, " and were favoured by Lorenzo, became most excellent "artists, which can only be attributed to the exquisite 66 judgment of this great patron of their studies, who "could not only distinguish men of genius, but had both "the will and the power to reward them (a)." By his kindness the eminent sculptor Rustici was placed under the Other artists favoured by Lo renzo. Gianfrancesco (a) È gran cosa ad ogni modo, che tutti coloro, i quali furono nella scuola del Giardino de' Medici, e favoriti dal Mag. Lorenzo vecchio, furono tutti eccellentissimi; la qual cosa d'altronde non può essere avvenuta, se non dal molto, anzi infinito giudizio di quel nobilissimo signore, vero Mecenate degli uomini virtuosi; il quale come sapeva conoscere gl' ingegni, e spirti elevati, così poteva e sapeva riconoscergli e premiargli. Vasari, vita del Rustici. Francesco Gra nacci. the care of Andrea Verocchio(a), where he formed an intimacy with the celebrated Lionardo da Vinci; but although he availed himself of the friendship and the instructions of this wonderful man, he acknowledged Lorenzo as the parent of his studies (b). Francesco Granacci, the fellow student of Michelagnolo, partook also of the favour of Lorenzo, and was occasionally employed by him in preparing the splendid pageants with which he frequently amused the citizens of Florence; in the decoration of which Granacci displayed uncommon taste(c). The reputation acquired by the pupils of S. Marco, soon extended beyond the limits of Italy. At the request of the king Andrea Contuc- of Portugal, Lorenzo sent into that country Andrea Contucci, where he left various monuments of his talents in sculpture and architecture(d). The encouragement afforded by him to the professors of every branch of the arts, ci. may (a) Portandosi dunque benissimo Giovanfrancesco Rustici, cittadin Fiorentino, nel disegnare, e fare di terra, mentre era giovinetto, fu da esso magnifico Lorenzo, il quale lo conobbe spiritoso, e di bello e buon ingegno, messo a stare, perchè imparasse, con Andrea del Verocchio, &c. Vasari, vita del Rustici. (b) Essendo poi tornata in Fiorenza la Famiglia de' Medici, Il Rustico si fece conoscere al Cardinale Giovanni, per creatura di Lorenzo suo padre, e fu ricevuto con molte carrezze. Ibid. (c) Francesco Granacci - fu uno di quelli, che dal Magnifico Lorenzo de' Medici fu messo a imparare nel suo giardino, &c. E perchè era molto gentile, e valeva assai in certe galanterie, che per feste di carnovale si fecevano nella città, fu sempre in molte cose simili dal Magnifico Lorenzo de' Medici adoperato. Vasari, vita di Fr. Granac. (d) Per queste, e per l'altre opere d' Andrea, divulgatosi il nome suo, fu chiesto al magnifico Lorenzo vecchio de' Medici, nel cui giardino -vea, come |