1868.] Life and Times of Michael Angelo. 215 Ghirlandajo, who furnished models for his studio, and imparted to him the in- structions he had received. Ghirlandajo, charmed with the spirit of the youth, pleaded his cause with his father ; and so far succeeded in softening the old man's heart that Micbael Angelo was enrolled among his pupils. But the future king of sculpture was not considered as a dependent. The son of Lorenzo, that magnificent patron of art, Politiano Ghirlandajo and all the most eminent men of Italy, who then flocked to the table of the future ruler of Florence, vied in paying attention to the young sculptor. Lorenzo, one day walking in the gar- den, saw the young man, polishing the head of a fawn : " You have done well !" said he, " But who ever saw an old fawn with his mouth full of beautiful teeth?" The criticism was just. Two of the offending members were knocked out ; and holes made in the jaw, as if lost by age. From that time, Michael Angelo pur- sued nature as his model, traced every bone, nerve, muscle and sinew ; investi- gated the play of the fibres ; and then transferred them to marble. In these engrossing occupations, days — nights — were passed ; — nor did the zealous worker desist, till out-tasked nature demanded her rights, and the great artist has been known to drop from fatigue. " Grim-visaged war," exhibited her wrinkled front in fair Florence ; the people, who were exceedingly jealous, when their liberties were called in ques- tion, thought that some of their ancient prerogatives were invaded, and flew to arms to maintain them. The Medici were temporarily expelled from Florence, and Michael Angelo was compelled to retire to his father's house. About this time, he produced the car- toon of the battle of Pisa. This has since perished ; but those who saw it, pronounced this sketch, a master-piece. The artist chose the moment of the at- tack upon the van, while the men were bathing in the Arno ; and seized the op- portunity of representing many naked figures, rising from the water in the most energetic attitudes. Michael Angelo was a great admirer of the ancients ; and copied them very closety. His statue of Cupid was greatly admired, and reckoned as a veritable antique. As such it found its way to the cabinet of the Duchess of Mantua. The Cardinal di San Giorgio, hearing of his merit, invited him to Rome; and lodged the young artist in his palace. Julius II., who then wore the Pa- pal tiara, was of a fiery and impetu- ous disposition ; but had a keen insight into character, and was a great patron of talent. He pressed the young sculptor to re- main, and finish his tomb, which he de- sired built in his lifetime. A quarrel, however, ensued, and Michael Angelo withdrew to Florence. But the Pope, not wishing to lose the services of the great artist, despatched a messenger to the Gonfaloniere Soderini, praying that he would entreat the Florentine, again to visit his capital. Michael Angelo acceded to the Pope's wishes ; but told him at the same time, that he could not remain to receive so many insults. The old pontiff gave him his blessing ; and a friendship commenced, which ended only with the life of Julius. Michael Angelo then undertook his first great work, the decoration of the vaulted ceiling of the Sistine Chapel. With the mechanical part of fresco, he was but little acquainted ; and wished the execution of it transferred to Ra- phael. The Pope insisted that he alone should complete the work ; and assigned him several artists of eminence as his assistants. These men could not com- prehend the grandeur of their master's conceptions ; and in a fit of anger they were all dismissed. He now resolved to work alone ; and
