arpi
that the divisions of architecture were the same as those of the human
frame, and no one who was not "un buon maestro di figure" and did not
understand anatomy could be an architect.

[50] He sent a model in 1559. It is from this model that Vasari executed
the much-criticised staircase of the Laurentian. In spite of faults it
shows the rugged genius of Michelangelo, who seemed to enjoy making
difficulties for himself. That breakneck staircase, conceived in such a
dry, hard and complicated way, but strong and violent, and which ever
seeks to accentuate the ascending lines, is certainly a product of the
same spirit which created the Medici tombs. Besides it is well to note
that the faults were emphasised by the manner in which Vasari carried it
out. Michelangelo had recommended that the staircase be made of wood,
but Cosmo held to the idea of building it in stone.

[51] See in the edition of Michelangelo's poems by Carl Frey, "Die
Dichtungen des Michelangelo Buonarroti," Berlin, 1897, the sonnets, CIX,
LXXVI, XLV, etc.

Vasari tells us that Michelangelo made a life-size drawing of Cavalieri,
the only portrait which he ever made, for he had a horror of copying a
living person unless they were of incomparable beauty.

He adds that he made him beautiful presents, "many astonishing drawings,
a Ganymede carried to Heaven by the eagle of Zeus, a Tityos with the
vulture feeding on his heart, the fall of Phaeton and the chariot of the
Sun into the Po, and a Bacchanale of children--all works of the rarest
beauty and of such perfection that their like has never been seen."

[52] From the monastery at Viterbo, July 20, 1542 or 1543. The letter
bears this address: "Al mio piu che magnifico et piu che carissimo M.
Michel Agnolo Buonarroti." (Carteggio de Vittoria Colonna. Published by
Ermanno Ferrero and Giuseppe Mueller, Turin, 1892, pp. 268, 269.)

[53] Donate Giannotti, "De' giorni che Dante consumo nel cercare
l'Inferno e 'l Purgatorio. Dialoghi."

[54]

Were I but he, born for like lingering pains
Against his exile coupled with his good,
I'd gladly change the world's best heritage.
(Translation of J. A. Symonds.)

[55] Capitolo di Francesco Berni a fra Sebastiano del Piombo. (Rime. Ed.
Frey, p. 263.)

[56] Canzone in lode di Michelagnolo Bonarroto. (See Frey, p. 7.)

[57] A Frenchman who saw him at that time.

[58] Letters of Michelangelo to Fattucci, March 7, 1551.

[59] Rime. Ed. Frey, LX