sult 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...." He goes on to say that "he was unfortunate in those who
lived with him, since he chanced upon natures unfit to follow him. For
Pietro Urbano, of Pistoja, his pupil, was a man of talent, but would never
work hard. Antonio Mini had the will but not the brain, and hard wax takes
a bad impression. Ascanio della Ripa Transone (Condivi) worked very hard,
but nothing came of it either in work or in designs." Jacopo l'Indaco and
Mineghella were boon companions of the master. A stone-cutter Domenico
Fancelli nicknamed Topolino, Pilote the goldsmith, Giuliano Bugiardini the
painter, were of this company. The melancholy Michael Angelo is said to
have burst his sides with laughing at Mineghella's stupidity. The very
proper Vasari describes the latter as "a mean and stupid painter of
Valdarno, but a very amusing person; and Michael Angelo, who could with
difficulty be made to work for kings, would leave everything to make
simple drawings for this fellow, San Rocco, San Antonio, or San Francesco,
to be coloured for one of the man's many peasant patrons; among others
Michael Angelo made him a very beautiful model of a Christ on the Cross,
made a mould from it, and Mineghella cast it in _papier-mache_ and went
about selling it all over the country-side." It may be that the familiar
and often-repeated Crucifix in common use is an adaptation or copy, far
removed from this original; it has something of the style of Michael
Angelo's later work, the figure is most