Michael Angelo Buonarroti Part 18

Brother Ambrosio of Siena (one of the appointed preachers to the Pope), who had not yet gone, said: "I do not believe that if Michael knows the Spaniard to be a painter, he will talk about painting at all, therefore let him hide himself that he may hear him."

"It is perhaps not so easy to hide this Portuguese," I replied with emphasis to the Friar, "from the eyes of Master Michael Angelo; he will know me better hidden than your reverence does here where I am, even if you put on spectacles; and you will see that, being here, he will see me very plainly if he comes."

Then the Marchioness and Lactancio laughed, but not I nor yet the Friar, who however heard the Marchioness say that he would find me to be something more than a painter.

After remaining but a short time silent, we heard a knocking at the door, and all began to fear that Michael would not come, as the messenger had returned so quickly. But Michael, who resides at the foot of Monte Cavallo, happened by good luck to be walking towards St. Silvester, on his way to the Thermae by the Esquiline road with his...o...b..no, philosophising by the way; being informed of the message, he could not run away from us, nor did he fail to be the person knocking at the door. The Marchioness rose to receive him, and remained standing awhile before causing him to take a seat between her and M. Lactancio. I sat a little way off, but the Marchioness, remaining awhile without speaking, not wis.h.i.+ng to delay her practice of honouring those who conversed with her, and the place where she was, commenced, with an art that I could not describe, to say many things very well expressed, and with thoughts most graciously stated, without ever touching on painting, in order to ensure the great painter to us; and I saw her as one wis.h.i.+ng to reduce a well armed city by discretion and guile; and we saw the painter, too, standing watchful and vigilant, as if he were besieged, placing sentries in one place and ordering bridges to be raised in another, making mines and defending all the walls and towers; but finally the Marchioness had to conquer, nor do I know who could defend himself against her.

She said: "It is known that whoever comes into conflict with M. Angelo in his own speciality, which is discretion, cannot but be vanquished. It is necessary, M. Lactancio, that we should talk with him about actions or briefs or painting to put him to silence and to obtain any advantage over him."

"Nay," I then said, "I know of no better way of wearying M. Angelo than by informing him that I am here, as he has not seen me hitherto. But I already know that the way not to see a person is to have him before one's eyes."

You should then have seen Michael turn himself towards me with astonishment, and say:

"Forgive me, M. Francisco, for not having seen you for had I not the Marchioness before my eyes, but as G.o.d has sent you here, a.s.sist and help me as a comrade."

"For that reason only will I forgive you; but it seems to me that the Marchioness causes with one light contrary effects, as the sun does, which with the same rays melts and hardens, because you were blinded by seeing her and I both hear and see you, because I see her; and also because I know how much a wise person will occupy himself with her Excellency, and how little time she leaves for others; and therefore at times I do not take the advice of some friars."

Here the Marchioness laughed again.

Then Friar Ambrosio rose and took leave of the Marchioness and of us, remaining thenceforward a great friend of mine, and he went away.

And now the Marchioness began to speak thus:

"His Holiness has done me the favour of allowing me to build a nunnery for ladies here at the foot of Monte Cavallo, by the broken portico, where it is said that Nero saw Rome burning, so that the wicked footprints of such a man may be trodden out by others more honest of holy women. I do not know, M. Angelo, what shape and proportions to give to the house, where the door should be placed, and whether some of the old work may be adapted to the new?"

"Yes, madam," said Michael, "the broken portico might be used as a campanile."

And this was so pleasant, and Michael said it so seriously and in such a manner that M. Lactancio could not help calling attention to it; and the great painter added these words:

"I quite think your Excellency may build the nunnery; and when we leave here, with your permission, we may very well go and look at the site, so as to give you some drawing for it."

"I did not dare to ask you for so much," she said, "but I already knew that in everything you follow the doctrine of the Lord: _deposuit potentes, exaltavit humiles_; and in that also you are excellent, for you acknowledge yourself at last as discreetly generous and not as an ignorant prodigal. And therefore in Rome those who know you esteem you even more than your works; and those who do not know you esteem only the least of you, which are the works of your hands. And certainly I do not give any less praise to your knowledge of how to retire within yourself and fly from our useless conversations, and to your wisdom in not painting for all the princes who ask you to do so, but confining yourself to the painting of a single work during all your life as you have done,"

"Madam," said Michael, "perchance you attribute to me more than I deserve; but in doing so you remind me that I wish to make a complaint against many persons, on my own behalf and on behalf of painters of my temperament, and also on behalf of M. Francisco here.

"There are many persons who maintain a thousand lies, and one is that eminent painters are eccentric and that their conversation is intolerable and harsh, they are only human all the while, and thus fools and unreasonable persons consider them fantastic and fanciful, allowing them with much difficulty the conditions necessary to a painter. It is quite true that such conditions are only necessary where there is a real painter, which is in very few places, as in Italy, where there is the perfection of all things; but foolish, idle persons are unreasonable in expecting so many compliments from a busy man: few mortals fulfil their duty well, one who does will not accuse another who is fulfilling his; painters are not in any way unsociable through pride, but either because they find few pursuits equal to painting, or in order not to corrupt themselves with the useless conversation of idle people, and debase the intellect from the lofty imaginations in which they are always absorbed.

And I affirm to your Excellency that even his Holiness annoys and wearies me when at times he talks to me and asks me somewhat roughly why do I not come to see him, for I believe that I serve him better in not going when he asks me, little needing me, when I wish to work for him in my house; and I tell him that, as M. Angelo, I serve him more thus than by standing before him all day, as others do,"

"Oh, happy M. Angelo," said I at this stage, "my prince is not a Pope, can he forgive me such a sin?"

"Such sins, M. Francisco, are just those which kings pardon," said he, and added: "Sometimes, I may tell you, my important duties have given me so much licence that when, as I am talking to the Pope, I put this old felt hat non-chalantly on my head, and talk to him very frankly, but even for that he does not kill me; on the contrary, he has given me a livelihood.(187) And as I say, I have paid him more compliments in his service than unnecessary ones to his person. If perchance a man were so blind as to invent such an unprofitable exchange, as it is for a man to separate himself and content himself with himself whilst he loses his friends and makes enemies of all, would it not be very wrong if they bore him ill-will for that? But whoever has such a complexion both because the force of his duty demands it, and because of his having been born with a dislike of ceremony and dissimulation, it seems very foolish not to allow him to live. And if such a man is so moderate that he does not want anything of you, what do you want with him? And why should you wish to use him in those vanities for which his quietness is not fitted? Do you not know that there are sciences that require the whole man without ever leaving him free for your idle trivialities? When he has as little to do as you have, let him be killed if he does not observe your rules of etiquette and compliment even better than you. You only seek his company and praise him in order to obtain honour through him for yourselves, nor do you really mind what sort of man he is, so long as a pope or an emperor converse with him. And I dare affirm that he cannot be a great man who tries to satisfy idle persons rather than the men of his own craft, nor can one who is in nowise singular and reserved or whatever you may be pleased to call it, be better than the ordinary and vulgar talents which are to be found without a lantern in the market-places of the world...."

Here Michael ceased speaking, and a little while afterwards the Marchioness said:

"If those friends of whom you are speaking had the discretion of the friends of old, the evil would be smaller; when Arcesilaus went one day to see Apelles, who was ill and in need, this good friend raised his artist's head so as to arrange the pillow and put underneath a sum of money for his cure, which sum, having been found by the old woman attending him, who was frightened at the amount, Apelles, smiling, said: 'This money was stolen from Arcesilaus; do not be astonished.'"

Then Lactancio added, in this manner, his opinion: "Skilful artists would not exchange places with any other kind of men however great they may be, so satisfied are they with some special joyousness which they get from their art; but I would counsel them to exchange at least with the happy ones, if it seemed to me that they wished to do so, and were it not that they consider themselves the most happy of mortals. The mind which is capable of the very highest painting knows where the lives and pleasures of the pre-sumptuous lead them and what they are, and how they die nameless and without knowledge of the things which in the world are most worthy of being known and esteemed, and how we cannot even remember that such a man was born however much money he may have kept in his coffers.

And thus he understands that good work and the good name of immortal virtue is the felicity of this life and all or almost all that is to be desired; and therefore he esteems himself more because he is on the road to attain that glory than one who does not know this and never even knew how to desire it. Many are content with much less power than that of imitating a work of G.o.d as in painting; and if one never attained to the distinction of governing a great province, it is but human to be satisfied with things which are more difficult and more uncertain than governing a country which stretched from the Columns of Hercules to the Indian River Ganges. Such an one never killed an enemy more difficult to conquer than is the conforming the work to the desire or idea of the great painter, and the one was never so satisfied drinking out of a golden cup as the other drinking out of an earthen pot. Nor was the Emperor Maximilian wrong in saying that he could indeed make a duke or a count, but as for an excellent painter G.o.d alone could make him when He so pleased, for which reason he abstained from putting to death a painter who deserved to die."

"What do you advise me to do, Master Lactancio," the Marchioness then said; "shall I put a question to M. Angelo about painting, as he now, in order to prove to me that great men are justified in their ways and not eccentric, may take measures like those he is accustomed to take?"

And Lactancio: "For your Excellency, Madam, M. Michael cannot help constraining himself and giving out here that which it is well that he keeps close elsewhere."

M. Angelo said: "I beg of your Excellency to tell me what I can give to her and it shall be given."

And she, smiling: "I very much wish to know, as we are dealing with this subject, what you think of the painting of Flanders and whom it will satisfy, because it appears to me more devout than the Italian style."

"The painting of Flanders, Madam," answered the artist slowly, "will generally satisfy any devout person more than the painting of Italy, which will never cause him to drop a single tear, but that of Flanders will cause him to shed many; this is not owing to the vigour and goodness of that painting, but to the goodness of such devout person; women will like it, especially very old ones, or very young ones. It will please likewise friars and nuns, and also some n.o.ble persons who have no ear for true harmony. They paint in Flanders, only to deceive the external eye, things that gladden you and of which you cannot speak ill, and saints and prophets. Their painting is of stuffs, bricks and mortar, the gra.s.s of the fields, the shadows of trees, and bridges and rivers, which they call landscapes, and little figures here and there; and all this, although it may appear good to some eyes, is in truth done without reasonableness or art, without symmetry or proportion, without care in selecting or rejecting, and finally without any substance or verve, and in spite of all this, painting in some other parts is worse than it is in Flanders.

Neither do I speak so badly of Flemish painting because it is all bad, but because it tries to do so many things at once (each of which alone would suffice for a great work) so that it does not do anything really well.

"Only works which are done in Italy can be called true painting, and therefore we call good painting Italian, for if it were done so well in another country, we should give it the name of that country or province.

As for the good painting of this country, there is nothing more n.o.ble or devout, for with wise persons nothing causes devotion to be remembered, or to arise, more than the difficulty of the perfection which unites itself with and joins G.o.d; because good painting is nothing else but a copy of the perfections of G.o.d and a reminder of His painting. Finally, good painting is a music and a melody which intellect only can appreciate, and with great difficulty. This painting is so rare that few are capable of doing or attaining to it. And I further say (which whoever notes it will consider important) that of all the climates or countries lighted by the sun and the moon, in no other can one paint well but in the kingdom of Italy; and it is a thing which is nearly impossible to do well except here, even though there were more talented men in the other provinces, if there could be such, and this for reasons which we will give you. Take a great man from another kingdom, and tell him to paint whatever he likes and can do best, and let him do it; and take a bad Italian apprentice and order him to make a drawing, or to paint whatever you like, and let him do it; you will find, if you understand it well, that the drawing of that apprentice, as regards art, has more substance than that of the other master, and what he attempted to do is worth more than everything that the other ever did. Order a great master, who is not an Italian, even though it be Alberto,(188) a man delicate in his manner, in order to deceive me, or Francisco d'Ollanda there, to counterfeit a work which shall be like an Italian work, and if it cannot be a very good one let it be an ordinary or a bad painting, and I a.s.sure you that it will be immediately recognised that the work was not done in Italy, nor by the hand of an Italian. I likewise affirm that no nation or people (I except one or two Spaniards) can perfectly satisfy or imitate the Italian manner of painting (which is the old Greek manner) without his being immediately recognised as a foreigner, whatever efforts he may make, and however hard he may work to do so. And if by some great miracle such a foreigner should succeed in painting well, then, although he may not have done it in order to imitate Italian work, it will be said that he painted like an Italian. Thus it is that all painting done in Italy is not called Italian painting, but all that is good and direct is, for in this country works of ill.u.s.trious painting are done in a more masterly and more serious manner than in any other place. We call good painting _Italian_, which painting, even though it be done in Flanders or in Spain (which approaches us most) if it be good, will be Italian painting, for this most n.o.ble science does not belong to any country, _as it came from heaven_; but even from ancient times it remained in our Italy more than in any other kingdom in the world, and I think that it will end in it."

So he spoke. Seeing that Michael was now silent, I urged him on in this manner. "So, Master Michael Angelo, you a.s.sert that out of all the nations of the world it is only Italians who can paint? (Ollanda continues.)

"But what wonder in that? You must know that in Italy painting is done well for many reasons, and outside Italy painting is done badly for many reasons. Firstly, the nature of the Italians is studious in the extreme, and the talented already bring with them, when they are born, power of work, taste and love of that to which they are inclined, and of that which demands their genius; and if any one determines to make a profession, and to pursue some art or liberal science, he does not content himself with what is sufficient for him to become rich thereby, and one of the number of the craftsmen, but in order to be unique and distinguished he watches and works continuously, and keeps before his eyes the great hope of being a paragon of perfection (I speak where I know I am believed) and not a mere mediocrity in that art or science. This is because Italy does not esteem mediocrity, deeming it an exceedingly poor thing; and speaks only of those, and even praises them to the skies, who, like _eagles_, surpa.s.s all others, and penetrating the clouds approach the light of the sun.

Then, again, you are born in a province (is not this an advantage?) which is the mother and protectress of all sciences and disciplines, amongst so many relics of your ancestors, which do not exist anywhere else, that already as children you find before your eyes in the streets a great part of whatever your inclination or genius may be inclined to; and from youth upwards you are accustomed to see those things which old men never saw in other kingdoms. Then, growing up, although you may have been rude and rough, by nature you are already so accustomed to have your eyes full of the forms of the many old things of renown, that you cannot fail to imitate them; and to all this are joined (as I say) distinguished talent and indefatigable study and taste. You have remarkable masters to imitate, and their works, and as regards new works the cities are full of the curious things and novelties which are discovered and found every day. And if all these things do not suffice, although I should consider them quite sufficient for the perfection of any science, at least this is quite enough; namely, that we, Portuguese, although some of us may be born with nice talent and minds-as many are born-have a contempt for and consider it fine to take little account of the arts, and we almost feel it a disgrace to know much about them, wherefore we always leave them imperfect and unfinished. You Italians alone, (I cannot even say Germans or Frenchmen), give the greatest honour, the greatest n.o.bility and the power to be more, to a man who is a splendid painter or splendid in some faculty; and of all your n.o.blemen, captains, wise men, satirists, cardinals and Popes, that man only who may attain the reputation of being perfect and rare in his profession is ever exalted or thought much of by you. And as great princes are not esteemed nor have any name in Italy, so it is a painter alone that they call the _divine_-Michael Angelo, as you will find in letters which Aretino, satirist of all Christian gentlemen, wrote you. Now, the payments and prices that in Italy are given for paintings also appear to me to have a great deal to do with the fact that painting cannot be done anywhere but here, because frequently for a head or face from nature one thousand 'cruzados' are paid, and many other works are paid for as you, gentlemen, know better than I, very differently from the way they are paid for in other kingdoms, seeing that mine is among the magnificent and wide. Now, your Excellency, please to judge whether these be hindrances or helps."

"It seems to me," answered the Marchioness, "that before these hindrances you must place talent and knowledge, which are not transalpine but belong to the good Italian; however, everywhere virtue is the same, good is the same, and evil is the same, although they may have a different civilisation from ours."

"If that," I answered, "were heard in my country, well, Madam, they would be astonished both at your Excellency praising me and in that manner, and by your making that difference between Italians and other men whom you call 'transalpine,' or from beyond the mountains:

'Non adeo obtusa gestamos pectora Poeni, Nec tam auersus equos, Lysia, sol iungit ab urbe.'

"We have, Madam, in Portugal, good and ancient cities, and princ.i.p.ally my birthplace, Lisbon; we have good manners, and good courtiers and valiant cavaliers and courageous princes, both in war and in peace, and above all we have a very powerful and splendid king, who with great calmness tempers and governs us, and commands very distant provinces of barbarians, whom he has converted to the Faith; and he is feared by the whole East and by the whole of Mauritania and is a patron of the Fine Arts, so much so that, through making a mistake as to my talent, which in my youth promised some fruit, he sent me to see Italy and its civilisation, and Master Michael Angelo, whom I see here. It is quite true that we have not such buildings and pictures as you have, but they are already being made, and little by little they are losing that barbarian superfluity that the Goths and Moors sowed throughout Spain. I also hope that, on arriving in Portugal after leaving here, I may a.s.sist either in the elegance of building or in the n.o.bility of painting, so that we may be able to compete with you. Our science is almost entirely lost, and without honour or renown in those kingdoms, and not through the fault of others, but through the fault of the place and disusage, to such extent that very few esteem it or understand it unless it be our most serene king, by supporting all virtue and patronising it; and likewise the most serene infante D. Luiz, his brother, a very valorous and wise prince, who has a very nice knowledge and discretion in every liberal art. All the others neither understand nor esteem painting."

"They do well," said M. Angelo.

But Master Lactancio Tolomei, who had not spoken for some time, proceeded in this manner:

"We Italians have this very great advantage over all other nations in this great world, in the knowledge and honour of all the ill.u.s.trious and most worthy arts and sciences. But I would have you to know, M. Francisco d'Ollanda, that whoever does not understand and esteem the most n.o.ble art of painting does so because of his own defects and not because of the art, which is very n.o.ble and clear; and because he is a barbarian and without judgment, and has no honourable part in being a man. And this is proved by the example of the most powerful old and modern emperors and kings, and of the philosophers and wise persons who attained everything, and who so greatly esteemed and appreciated the knowledge of painting, and spoke of it with such high praises and examples, and in making use of it and paying for it so liberally and magnificently and, finally, by the great honour that the Mother Church does it, with the holy Pontiffs, cardinals, and great princes and prelates. And so you will find in all the past centuries, all the past valorous peoples and nations held this art in so much honour, that they admired nothing more nor considered anything as a greater wonder. And then we see Alexander the Great, Demetrius, and Ptolomy, famous kings, together with many other princes, who readily boast of understanding it; and amongst the Caesars, Augustus the divine Caesar, Octavian Augustus, M. Agrippa, Claudius, and Caligula and Nero, in this alone virtuous, likewise Vespasian and t.i.tus, as was shown in the famous retable of the Temple of Peace, which he built after having vanquished the Jews and their Jerusalem. What shall I say of the great Emperor Trajan?

What of Helius Adria.n.u.s, who with his own hand painted singularly well, as the Greek Dion writes in his life, and Spartia.n.u.s? Then the divine Marcus Aurelius Antoninus, Julius Capitolinus, says how he learned to paint, Diognetus being his teacher; and even aelius Lampridius relates that the Emperor Severus Alexander, who was an exceedingly powerful prince, himself painted his genealogy to show that he descended from the lineage of the Metelos. Of the great Pompey, Plutarch says that in the city of Mitylene he drew with a style the plan and shape of the theatre, in order to have it afterwards built in Rome, which he did.

"And although, owing to its great effects and beauties, n.o.ble painting merits all veneration without seeking praise from other virtues, beside those proper to it, I still wished to show here, before one who knows it, by what sort of men it was esteemed. And if by chance, at any time or in any place, there should be found any one who, because of being highly placed and great, refuses to esteem this art, let him know that others still greater appreciated it greatly. Who can compare himself with Alexander the Greek? Who will exceed the prowess of Caesar the Roman? Who is of greater glory than Pompey? Who more a prince than Trajan? For these Alexanders and Caesars not only dearly loved the divine painting, and paid great prices for it, but with their own hands they occupied themselves with it and touched it. Or who, out of bravery and presumption, will despise it and be not rather very humble and very unworthy before painting, before her severe and grave face?"

Thus it seemed that Lactancio was finis.h.i.+ng, when the Marchioness proceeded, saying:

"Or who will be the virtuous and serene man (if he despises it for its sanct.i.ty) who will not show great reverence and adore the spiritual contemplation and devotion of holy painting? I think that time would sooner be lacking than material for the praises of this virtue. It produces joy in the melancholy, it brings both the contented and the angry man to the knowledge of human misery; it moves the obstinate to compunction, the mundane to penitence, the contemplative to contemplation, and the fearful to shame. It shows us death and what we are, more gently than in any other way; the torments and dangers of h.e.l.l; so far as is possible, it represents to us the glory and peace of the blessed, and the incomprehensible image of our Lord G.o.d. It represents to us the modesty of His saints, the constancy of the martyrs, the purity of the virgins, the beauty of the angels, and the love and ardour with which the seraphim burn, better than in any other way, and lifts up our spirit and plunges our mind into the depths beyond the stars, to imagine the empirean that there exists. What shall I say of how it brings before us the worthies who pa.s.sed away so long ago, and whose bones even are not now upon this earth, to enable us to imitate them in their bright deeds? Or how it shows us their councils and battles by examples and delightful histories? Their great deeds, their piety and their manners? To captains it shows the manoeuvres of the old armies, the cohorts and their disposition, their discipline and their military order. It animates and creates daring, by emulation and an honest envy of the famous ones, as Scipio the African confessed.

"It leaves a memorial of the present times for those who come after.

Painting shows us the garb of the pilgrim or of antiquity, the variety of foreign peoples and nations, buildings, animals, and monsters, which in writing it would be prolix to hear about, and even then it would be but badly understood. And not only these things does this n.o.ble art, but it places before our eyes the image of any great man who should be seen and known because of his deeds, and likewise the beauty of a woman who is separated from us by many leagues, a thing on which Pliny reflects much.

To one who dies it gives many years of life, his own face remaining behind painted, and his wife is consoled, seeing daily before her the image of her deceased husband, and the sons who were left little children rejoice when men to know the presence and the aspect of their dear father, and fear to shame him."

As the Marchioness, almost weeping, made a pause here, M. Lactancio, in order to draw her out of her sorrowful imagination and memories, said:

"Besides all these things, which are great, what is there that more enn.o.bles or makes other things more beautiful than painting, whether on arms, in temples, in palaces, or fortresses, or anywhere else where beauty and order may have a place? And so great minds a.s.sert that there is nothing a man can find to fight against his mortality or against the flight of time but painting only. Nor did Pithagoras depart from this view when he said that only in three things were men similar to the immortal G.o.d: in science, in painting, and in music."

Here Master Michael said: