The Life of Michelangelo BuonarrotiSymonds, John Addington
History
The Life of Michelangelo Buonarroti
Symonds, John Addington
Michelangelo Buonarroti, 1475-1564
This eloquent despatch informs us very clearly that the walls of the
sacristy, above the tall Corinthian order which, encloses the part
devoted to sculpture, were intended to be covered with stucco and
fresco paintings, completing the polychromatic decoration begun by
Giovanni da Udine in the cupola. Twelve statues had been designed for
the niches in the marble panelling; and one word used by Vasari,
_facciate_, leaves the impression that the blank walls round and
opposite the altar were also to be adorned with pictures. We remain
uncertain how Michelangelo originally meant to dispose of the colossal
Madonna with SS. Damian and Cosimo.
Unhappily, nothing came of the Duke's project. Michelangelo was either
unable or unwilling--probably unable--to furnish the necessary plans
and drawings. In the eighth chapter of this book I have discussed the
hesitations with regard to the interior of the sacristy which are
revealed by some of his extant designs for it. We also know that he
was not in the habit of preparing accurate working cartoons for the
whole of a large scheme, but that he proceeded from point to point,
trusting to slight sketches and personal supervision of the work.
Thus, when Vasari wrote to him from Rome about the staircase of the
library, he expressed a perfect readiness to help, but could only
remember its construction in a kind of dream. We may safely assume,
then, that he had not sufficient material to communicate; plans
definite enough in general scope and detailed incident to give a true
conception of his whole idea were lacking.
VIII
Passing to aesthetical considerations, I am forced to resume here what
I published many years ago about the Sacristy of S. Lorenzo, as it now
exists. Repeated visits to that shrine have only renewed former
impressions, which will not bear to be reproduced in other language,
and would lose some of their freshness by the stylistic effort. No
other course remains then but to quote from my own writings, indorsing
them with such weight as my signature may have acquired since they
were first given to the world.
Public-domain text, read in full here on John Shaqi.
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