was dead, and Clement VII. elected in his place, the latter proved himself equally desirous of establishing memorials to his fame in the arts of sculpture, painting, and architecture, as had been Leo and his other predecessors. It was at this time, 1525, that Griorgio Vasari, then a boy, was taken to Florence by the Cardinal of Cortona, and there placed to study art with Michelagnolo; but the latter having been summoned to Rome by Pope Clement, who had commenced the Library of San Lorenzo; with the New Sacristy, wherein he proposed to erect the marble tombs of his forefathers, it was determined that Giorgio should go to Andrea del Sarto, before Michelagnolo’s departure; the master himself repairing to the workshop of Andrea, for the purpose of recommending the boy to his care.
Michelagnolo then proceeded to Rome without delay, being much harassed by the repeated remonstrances of Francesco Maria, Duke of Urbino, who complained of the artist greatly; saying that he had received sixteen thousand crowns for the Tomb, yet was loitering for his own pleasure in Florence without completing the same: he added threats, to the effect that if Michelagnolo did not finish his work, he, the Duke, would bring him to an evil end.[1] Arrived in Rome, Pope Clement, who would gladly have had the master’s time at his own command, advised him to require the regulation of his accounts from the agents of the Duke, when it seemed probable that they would be found his debtors, rather than he theirs. Thus then did that matter remain; but the Pope and Michelagnolo taking counsel together of other affairs, it was agreed between them that the Sacristy and New Library of San Lorenzo in Florence should be entirely completed.
The master thereupon, leaving Rome, returned to Florence, and there erected the Cupola which we now see, and which he caused to be constructed in various orders. He then made the Goldsmith Piloto prepare a very beautiful ball of seventy-two facettes. While he was erecting his cupola, certain of his friends remarked to him that he must be care-
- ↑ For details respecting these matters the reader may consult Bottari, Lettere Pittoriche, tomo iii. See also Moreni, in his introduction to the work of Freart before cited, with the annotations of Ciampi to a book published in 1834 from the MS. of a letter by Michael Angelo now in the Biblioteca Magliabecchiana, and entitled Lettera di Michelangelo per giustificarsi contra le' calannie de' nemisi suoi sul proposito del Sepolcro di Papa Giulio II., &c. &c.
