CRUCIS EORUMD. F.
V. ID. MART. EJUSD. A. CONDITUS
TANTO NOMINI
NULLUM PAR ELOGIUM
Michael Angelo formed no school, his love of excellence would not permit
him to leave any inferior work behind him, as Raphael did in certain
portions of the Stanze and Loggia of the Vatican. Michael Angelo's
disposition was not so genial nor were his manners so universally pleasing
as those of the gentle Raphael, so he was unable to keep a body of workmen
together in good temper; the result is, we have no Sala of Constantine, or
Palazzo del Te, to remind us of the passing of the master of a school. At
the same time, to his few assistants and workmen Michael Angelo was as
kind as father to son, when once he became accustomed to them about him.
He gave help to various other artists, and it may be noted that all those
he influenced became men devoted to high finish and the utmost perfection
possible. Decadence in Italian art began long before his death; but the
imitators of Michael Angelo are by far the best and most interesting
figures of that unfortunate period. They, at least, have great intentions,
and strive to attain a style of dignity and distinction, and do not grudge
any labour that may help them to their ideals. Vasari tells us of some of
these men and their works: "He loved his workmen and was on friendly terms
with them. Among them were Jacopo Sansovino, Il Pontormo, Daniele da
Volterra, and Giorgio Vasari Aretino, to whom he showed infinite
kindness.
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