Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/282

(1882); Happy Mother (1883); Piano in the Country (1884).—Bellier, ii. 87.

MICHEL, FRANÇOIS ÉMILE, born at Metz; contemporary. Landscape painter, pupil of Maréchal and Migette. Medal, 1868. Works: Banks of the Orne (1853), Nantes Museum; Olive Harvest (1861), Hunt on the Cliff (1868), Metz Museum; Summer Night (1872), Nancy Museum; Autumn Sowing (1873), formerly in Luxembourg Museum; First Shoots, December (1881); Bois de Meudon in November, View in the Vosges (1883); Pool of Breuil-Lorraine, Summer Night (1884); Downs near Haarlem, Environs of Brederode (1885).—Bellier, ii. 87.

MICHEL-LÉVY, HENRI, contemporary. Genre and portrait painter, pupil of Barrias and Vollon. Medal, 3d class, 1881. Works: Regatta, Reverie (1879); Flower Girl (1880); Nurse (1881); Ceres (1882); Violoncello Player, Public Sale (1884); Train of Versailles (1885).

MICHELANGELO DELLE BAMBOCCIATE. See Cerquozzi.

MICHELANGELO DELLE BATTAGLIE. See Cerquozzi.

MICHELANGELO DI LODOVICO BUONARROTI SIMONE, born at the Castle of Caprese in Casentino, March 6, 1475, died in Rome, Feb. 18, 1564. Florentine school; became the pupil of Domenico Ghirlandajo, April 1, 1488, and also studied at the Academy in the Gardens of St. Mark, where he attracted the notice of its founder, Lorenzo de' Medici, who gave him a home at the Medici Palace until his death (April 8, 1492). By the advice of Politian he selected the Battle between Hercules and the Centaurs as the subject of his first bas relief, preserved in the Casa Buonarroti. After the death of his patron, he for a time returned to his father's house and devoted himself to anatomical studies, but feeling bound by ties of gratitude to the Medici, he accepted the invitation of Piero de' Medici, and resided in his palace until 1494. His departure for Venice, shortly before Piero's expulsion, closes the first period in his life, during which he probably painted a Deposition from the Cross, which has been attributed to Luca Signorelli and to Baccio Bandinelli, and a very fine unfinished Madonna with Angels, National Gallery, London. In the autumn of 1494 Michelangelo came from Venice to Bologna, where he spent a year in the house of Gian Francesco Aldrovandi, working little, and impatient to return to Florence. Having sculptured an angel for the altar shrine of St. Dominick, he returned to his native city before July 15, 1495. As this notice of Michelangelo relates only to his work as a painter, his sculpture is only casually referred to. Early in 1496 he went to Rome and remained there four years, during which time he sculptured the famous Pietà at St. Peter's. At Florence, before 1504, he painted for Angelo Doni a Holy Family, now in the Tribune of the Uffizi, one of the least interesting of all celebrated pictures. In October of the same year he began a cartoon of Soldiers summoned to Battle while bathing in the Arno near Pisa, intended for a fresco which was to have been painted in the Great Hall of the Palazzo Vecchio. It was finished in Aug., 1505 or 1506, and hung in the hall side by side with the rival work of Leonardo da Vinci, admired by all and studied by young artists until its intentional or accidental destruction during a popular tumult about 1512, though there are reasons for thinking that it survived a few years longer. In 1505 Michelangelo entered the service of Pope Julius II., and from early in that year until May, 1506, when he spent three months at Florence, he was either employed at Rome in designing the Pope's monument or at Carrara in superintending the extraction and shipment of marbles to be used in its