did not consider
himself satisfied.

[69] The "Hypocrite," dedicated to Guidobaldo II, Duke of Urbino. (See
Pierre Gaultier, "L'Aretin," 1895.)

[70] Gherardo Perini and Tommaso dei Cavalieri--thus Aretino in passing
adds to the accusation of impiety an allusion to the evil reports about
the habits of Michelangelo. Two lines lower down he will accuse him of
theft.

[71] _In postscript:_ Now that I have a little discharged my anger
against the cruelty with which you have repaid my devotion, and have
made you see, I believe, that if you are "divino" I am not "d'acqua,"
tear up this letter as I do, and reflect. For I am a man to whom even
Kings and Emperors answer.

[72] Gaye Carteggio, Vol. II, p. 500.

[73] A. Baschet "P. Veronese devant le Saint Office," 1880.

[74] "Missirini: Memorie per servire alla storia della romana Accademia
di S. Luca." (Cited by E. Muentz, "Histoire de l'Art pendant la
Renaissance," Vol. III, p. 126.)

[75] In 1762 Stefano Pozzi was polishing it under Clement VIII. Abbe
Richard, in his "Voyage d'Italie," says that he saw "some very mediocre
artists occupied in covering with draperies the most beautiful nude
figures of the painting and of the ceiling."

[76] The only document which makes it possible for us to give an account
of the original work is a copy by Marcello Venusti in the Museum of
Naples, from which a painter of Orleans, Robert Le Noyer, seems to have
made in 1750 a reduced copy which is now in the Museum of Montpellier.
(See G. Lafenestre et E. Richtenberger, "La Peinture en Europe." Rome.)

[77] The British Museum and the University of Oxford have drawings which
are related to these frescoes. The Cartoon is in the Museum at Naples.

[78] March 6, 1542. (Gaye, Vol. II, p. 289.)

[79] July 20, 1542 (Petition of Michelangelo to Paul III), Michelangelo
added that the two figures were already so far advanced that they could
be easily completed by other artists. (Gaye, Vol. II, p. 297.)

[80] The fourteen hundred crowns had been deposited at the bank of
Silvestro da Montanto & Co. They were to be divided as follows: eight
hundred for the work of Urbino; five hundred and thirty for the statues
of Raffaello da Montelupo, whose Madonna was already finished; and fifty
for the transportation and placing of the statues by Urbino.

[81] October, 1542. Letter to an unknown person whom he calls
Monsignore.

[82] 18 November, 1542. Letter of Michelangelo to Luigi del Riccio.

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