over the altar. At the Pazzi chapel we shall find similar architecture; but there extraneous colour was allowed to come in. Here such reliefs as were admitted are white too.
The tomb under the great marble and porphyry table in the centre is that of Giovanni di Bicci, the father, and Piccarda, the mother, of Cosimo Pater, and is usually attributed to Buggiano, the adopted son of Brunelleschi, but other authorities give it either to Donatello alone or to Donatello with Michelozzo: both from the evidence of the design and because it is unlikely that Cosimo would ask any one else than one of these two friends of his to carry out a commission so near his heart. The table is part of the scheme and not a chance covering. I think the porphyry centre ought to be movable, so that the beautiful flying figures on the sarcophagus could be seen. But Donatello's most striking achievement here is the bronze doors, which are at once so simple and so strong and so surprising by the activity of the virile and spirited holy men, all converting each other, thereon depicted. These doors could not well be more different from Ghiberti's, in the casting of which Donatello assisted; those in such high relief, these so low; those so fluid and placid, and these so vigorous.
Donatello presides over this room (under Brunelleschi). The vivacious, speaking terra-cotta bust of the young S. Lorenzo on the altar is his; the altar railing is probably his; the frieze of terra-cotta cherubs may be his; the four low reliefs in the spandrels, which it is so difficult to discern but which photographs prove to be wonderful scenes in the life of S. John the Evangelist—so like, as one peers up at them, plastic Piranesis, with their fine masonry—are his. The other reliefs are Donatello's too; but the lavabo in the inner sacristy is Verrocchio's, and Verrocchio's tomb of Piero can never be overlooked even amid such a wealth of the greater master's work.
From this fascinating room—fascinating both in itself and in its possessions—we pass, after distributing the necessary largesse to the sacristan, to a turnstile which admits, on payment of a lira, to the Chapel of the Princes and to Michelangelo's sacristy. Here is contrast, indeed: the sacristy, austere and classic, and the chapel a very exhibition building of floridity and coloured ornateness, dating from the seventeenth century and not finished yet. In paying the necessary fee to see these buildings one thinks again what the feelings of Giovanni and Cosimo and Lorenzo the Magnificent, and even of Cosimo I, all such generous patrons of Florence, would be, if they could see the present feverish collection of lire in their beautiful city.
Of the Chapel of the Princes I have little to say. To pass from Michelangelo's sacristy to this is an error; see it, if see it you must, first. While the façade of S. Lorenzo is still neglected and the cornice of Brunelleschi's dome is still unfinished, this lapidary's show-room is being completed at a cost of millions of lire. Ever since 1888 has the floor been in progress, and there are many years' work yet. An enthusiastic custodian gave me a list of the stones which were used in the designs of the coats of arms of Tuscan cities, of which that of Fiesole is the most attractive:—Sicily jasper, French jasper, Tuscany jasper, petrified wood, white and yellow, Corsican granite, Corsican jasper, Oriental alabaster, French marble, lapis lazuli, verde antico, African marble, Siena marble, Carrara marble, rose agate, mother of pearl, and coral. The names of the Medici are in porphyry and ivory. It is all very marvellous and occasionally beautiful; but …
This pretentious building was designed by a natural son of Cosimo I in 1604, and was begun as the state mausoleum of the Grand Dukes; and all lie here. All the Grand Duchesses too, save Bianca Capella, wife of Francis I, who was buried none knows where. It is strange to realize as one stands here that this pavement covers all those ladies, buried in their wonderful clothes. We shall see Eleanor of Toledo, wife of Cosimo I, in Bronzino's famous picture at the Uffizi, in an amazing brocaded dress: it is that dress in which she reposes beneath us! They had their jewels too, and each Grand Duke his crown and sceptre; but these, with one or two exceptions, were stolen during the French occupation of Tuscany, 1801–1814. Only two of the Grand Dukes have their statues—Ferdinand I and Cosimo II—and the Medici no longer exist in the Florentine memory; and yet the quiet brick floor is having all this money squandered on it to superimpose costly marbles which cannot matter to anybody.
Michelangelo's chapel, called the New Sacristy, was begun for Leo X and finished for Giulio de' Medici, illegitimate son of the murdered Giuliano and afterwards Pope Clement VII. Brunelleschi's design for the Old Sacristy was followed but made more severe. This, one would feel to be the very home of dead princes even if there were no statues. The only colours are the white of the walls and the brown of the pillars and windows; the dome was to have been painted, but it fortunately escaped.
The contrast between Michelangelo's dome and Brunelleschi's is complete—Brunelleschi's so suave and gentle in its rise, with its grey lines to help the eye, and this soaring so boldly to its lantern, with its rigid device of dwindling squares. The odd thing is that with these two domes to teach him better the designer of the Chapel of the Princes should have indulged in such floridity.
Such is the force of the architecture in the sacristy that one is profoundly conscious of being in melancholy's most perfect home; and the building is so much a part of Michelangelo's life and it contains such marvels from his hand that I choose it as a place to tell his story. Michelangelo Buonarroti was born on March 6th, 1475, at Caprese, of which town his father was Podestà. At that time Brunelleschi had been dead twenty-nine years, Fra Angelico twenty years, Donatello nine years, Leonardo da Vinci was twenty-three years old, and Raphael was not yet born. Lorenzo the Magnificent had been on what was virtually the throne of Florence since 1469 and was a young man of twenty-six. For foster-mother the child had the wife of a stone-mason at Settignano, whither the family soon moved, and Michelangelo used to say that it was with her milk that he imbibed the stone-cutting art. It was from the air too, for Settignano's principal industry was sculpture. The village being only three miles from Florence, from it the boy could see the city very much as we see it now—its Duomo, its campanile, with the same attendant spires. He was sent to Florence to school and intended for either the wool or silk trade, as so many Florentines were; but displaying artistic ability, he induced his father to apprentice him, at the age of thirteen, to a famous goldsmith and painter of Florence who had a busy atelier—no other than Domenico Ghirlandaio, who was then a man of thirty-nine.
Michelangelo remained with him for three years, and although his power and imagination were already greater than his master's, he learned much, and would never have made his Sixtine Chapel frescoes with the ease he did but for this early grounding. For Ghirlandaio, although not of the first rank of painters in genius, was pre-eminently there in thoroughness, while he was good for the boy too in spirit, having a large way with him. The first work of Ghirlandaio which the boy saw in the making was the beautiful "Adoration of the Magi," in the Church of the Spedale degli Innocenti, completed in 1488, and the S. Maria Novella frescoes, and it is reasonable to suppose that he helped with the frescoes in colour grinding, even if he did not, as some have said, paint with his own hand the beggar sitting on the steps in the scene representing the "Presentation of the Virgin". That he was already clever with his pencil, we know, for he had made some caricatures and corrected a drawing or two.
The three years with Ghirlandaio were reduced eventually to one, the boy having the good fortune to be chosen as one of enough promise to be worth instruction, both by precept and example, in the famous Medici garden. Here he was more at home than in a painting room, for plastic art was his passion, and not only had Lorenzo the Magnificent gathered together there many of those masterpieces of ancient sculpture which we shall see at the Uffizi, but Bertoldo, the aged head of this informal school, was the possessor of a private collection of Donatellos and other Renaissance work of extraordinary beauty and worth. Donatello's influence on the boy held long enough for him to make the low relief of the Madonna, much in his style, which is now preserved in the Casa Buonarroti, while the plaque of the battle of the Centaurs and Lapithae which is also there shows Bertoldo's influence.
The boy's first encounter with Lorenzo occurred while he was modelling the head of an aged faun. His magnificent patron stopped to watch him, pointing out that so old a creature would probably not have such a fine set of teeth, and Michelangelo, taking the hint, in a moment had not only knocked out a tooth or two but—and here his observation told—hollowed the gums and cheeks a little in sympathy. Lorenzo was so pleased with his quickness and skill that he received him into his house as the companion