they are men who will maintain me in my right to
them. In what concerns you, I have done all I could to promote your
interests and honour, not having earlier perceived that you never
conferred a benefit on any one, and that, beginning with myself, to
expect kindness from you, would be the same as wanting water not to
wet. I have reason for what I say, since we have often met together in
familiar converse, and may the day be cursed on which you ever said
any good about anybody on earth." How Michelangelo answered this
intemperate and unjust invective is not known to us. In some way or
other the quarrel between the two sculptors must have been made
up--probably through a frank apology on Sansovino's part. When
Michelangelo, in 1524, supplied the Duke of Sessa with a sketch for
the sepulchral monument to be erected for himself and his wife, he
suggested that Sansovino should execute the work, proving thus by acts
how undeserved the latter's hasty words had been.

The Church of S. Lorenzo exists now just as it was before the scheme
for its facade occurred to Leo. Not the smallest part of that scheme
was carried into effect, and large masses of the marbles quarried for
the edifice lay wasted on the Tyrrhene sea-shore. We do not even know
what design Michelangelo adopted. A model may be seen in the Accademia
at Florence ascribed to Baccio d'Agnolo, and there is a drawing of a
facade in the Uffizi attributed, to Michelangelo, both of which have
been supposed to have some connection with S. Lorenzo. It is hardly
possible, however, that Buonarroti's competitors could have been
beaten from the field by things so spiritless and ugly. A pen-and-ink
drawing at the Museo Buonarroti possesses greater merit, find may
perhaps have been a first rough sketch for the facade. It is not drawn
to scale or worked out in the manner of practical architects; but the
sketch exhibits features which we know to have existed in Buonarroti's
plan--masses of sculpture, with extensive bas-reliefs in bronze. In
form the facade would not have corresponded to Brunelleschi's
building. That, however, signified nothing to Italian architects, who
were satisfied when the frontispiece to a church or palace agreeably
masked what lay behind it. As a frame for sculpture, the design might
have served its purpose, though there are large spaces difficult to
account for; and spiteful folk were surely justified in remarking to
the Pope that no one life sufficed for the