Michelangelo. Romain RollandЧитать онлайн книгу.
work, the decoration of the Council Hall in the Palace of the Signory, the rivalry was intense. In May, 1504, Lionardo began the cartoon of the Battle of Anghiari. In August, 1504, Michelangelo received the order for the cartoon for the Battle of Cascine. Florence was divided into two camps keenly enthusiastic for one or the other of the rivals. Time has made them equal, for both pictures have disappeared. Michelangelo's cartoon, finished in March, 1505, was apparently destroyed about 1512, during the disturbances in Florence which resulted from the return of the Medici, and even the fragments which in 1575 were still preserved by the Strozzi in Mantua have been lost.[18]
As for Lionardo's fresco, he succeeded in destroying it himself. He took it into his head to try to perfect the technique of fresco and he gave himself up once more to his evil spirit of invention and once more everything was lost. He tried a glaze of oil which did not hold, and the painting which he abandoned in 1506 in discouragement by 1550 no longer existed.
The two cartoons of Lionardo and Michelangelo had time, nevertheless, to exert a blinding fascination over all Italian painting. They formed the style and influenced the thought of artists from 1506 on but without being able to transmit their own grandeur. Lionardo, who had a cavalry combat to represent, reasoned out coldly, as nearly as we can tell,[19] all the circumstances of a battle and then reproduced them with his marvellous lucidity which was perhaps a little too analytic to interpret the excitement of passion.
Michelangelo, who was given an episode of the war of 1364 against the Pisans under the leadership of the condottiere John Hawkwood (Giovanni Acuto) had intentionally turned his back on history and the real subject and painted naked men bathing, noble in form and free in movement, in the classic manner.[20]
The two masterpieces contained each of them the germ of a different danger; in Lionardo's the excess of analysis, in Michelangelo's the excess of abstraction. This last was the most dangerous of the two but both were of the intellect and agreed in substituting for the charm of life and of real and spontaneous movement the formula of types and of logical action.
The influence of this work became at once universal and tyrannical. Benvenuto Cellini says in 1559: "The cartoon of Michelangelo was placed in the palace of the Medici, that of Lionardo in the Hall of the Pope. As long as they remained there they were the school of the world." Raphael copied them many times from October, 1504, until July, 1505. Fra Bartolommeo was inspired by them and Andrea del Sarto, when he was very young, spent whole days in studying them. Among the artists who taught themselves in that school are Perino del Vaga, Rosso, Battista Franco, Salviati, Vasari, Bronzino, Ridolfo Ghirlandajo, Cellini, Pontormo, Jacopo Sansovino, Franciabigio, Aristotele da San Gallo, F. Granacci, Bandinelli, Morto da Feltro, Lorenzetto—almost all the famous men of the period. This influence was certainly more dangerous than useful. The first fruits of it were the sudden unpopularity—almost like a decree of exile of all the charming primitive painters, like Pinturicchio[21] and Signorelli[22] at Rome (1508) just after their masterpieces at Sienna and Orvieto and Perugino at Florence (1504) four years after the exquisite decoration of the Cambio of Perugia—and the loss of so much grace, elegance and vigour sacrificed to a form of beauty undoubtedly superior, but to which everyone can not attain. Instead of giving them a broader point of view, the admiration for Lionardo and Michelangelo narrowed and limited their followers. During 1508-1509 Pope Julius II had the frescoes of Sodoma, Perugino, Signorelli and Piero della Francesca put aside to leave space for Raphael. Thenceforth everyone was governed by the same ideal, and whoever felt in himself fancy, imagination and youth gave them up in favour of an attempt at breadth and power which were not for him. Filippino Lippi renounced his serious simplicity for pedantic dilettanteism and affected gestures. Instead of being the first in the second rank Lorenzo di Credi, Ridolfo Ghirlandajo, Raffaellino del Garbo and Piero di Cosimo preferred to be the last of the first rank.
The same rivalry which had brought about the competition between Michelangelo and Lionardo in the Council Hall appears again in a series of works which belong to this Florentine period (1501-1505). These are representations of the "Holy Family" in which Michelangelo attempts to solve the same problem of composition as Lionardo and Fra Bartolommeo in placing the figures in a circle. Such are the two circular bas-reliefs, the Madonna and Child of the Museo Nazionale made for Taddeo Taddei and the Holy Family of the Academy of Fine Arts in London made for Bartolommeo Pitti. Chief of them all is the great picture in distemper of the Holy Family of the Uffizi painted for Agnolo Doni—a heroic work filled with the lofty serene life of Olympus and the Parthenon. The painting is the most carefully executed of all Michelangelo's. The colouring, blue, rose, orange and golden brown, has an effect that is rather inharmonious, but young and fresh. The aerial perspective is mediocre and the composition shows as usual Michelangelo's supreme contempt for the sentiment of the subject. He has filled the background with graceful nude figures simply because he considered them to be beautiful—"per mostrare maggiormente l'arte sua essere grandissima," says Vasari, and except for the type of face used for St. Joseph there is nothing religious about the group of the Holy Family. The impression is religious, nevertheless, through its grace, sweetness and proud strength. We feel that Michelangelo desired to contrast the puritan and virile sobriety of this work with the voluptuous languor of the art of Lionardo.
The calm Madonna of Bruges belongs also to this period. This was bought in 1506 by two Flemish merchants, John and Alexander Mouscron, who placed it in their chapel where Dürer had already seen it during his travels in Belgium in 1521.
CHAPTER II
MICHELANGELO AND JULIUS II
(1505-1513)
In March, 1505, Michelangelo was called to Rome by Pope Julius II. Then began the heroic period of his life and the "tragedy" of the monument of Julius II which was not to end until forty years later. The pope and the artist, both of them proud and violent, were well fitted to work together—so long as their ideas did not conflict. Their brains seethed with tremendous ideas. The first years of their friendship were a feverish delirium of plans. Julius II was on fire with enthusiasm for the plan for his tomb which Michelangelo submitted to him. It was to be a mountain of architecture with more than forty statues, some of them of colossal size, and with many bronze reliefs. "Michelangelo's design pleased the pope so much," says Condivi, "that he sent him at once to Carrara (April, 1505) with an order to cut as much marble as he needed.... Michelangelo stayed more than eight months in the mountains with two servants and a horse." He was the victim of superhuman exaltation and in his enthusiasm dreamt of carving a whole mountain. In December, 1505, he returned to Rome, where the blocks of marble which he had chosen had already begun to arrive from Carrara. They were unloaded at La Ripa and then transported to the Piazza di San Pietro behind S. Caterina, where Michelangelo lived. "The mass of the stones was so great that they aroused the wonder and joy of the pope." Michelangelo set to work. "The pope in his impatience came constantly to see him and conferred with him over the monument and other works, with as much familiarity as if he had been his brother. In order that he might visit him the more easily he had a drawbridge thrown across from the gallery of the Vatican to Michelangelo's house which gave him a secret passage."
But this favour did not last. The character of Julius II was as passionate and as changeable as that of Michelangelo. His mind, always in a ferment, took up in rapid succession and ever with the same eagerness the most varied projects. Another idea drove the plan for the tomb from his mind. In order that he might gain immortal glory by one gigantic work he decided to reconstruct St. Peter's. He was encouraged in this by enemies of Michelangelo, who himself writes in 1542:[23]
"All the difficulties which arose between the pope and myself were the work of Bramante and of Raphael. It was their jealousy that kept him from having his tomb made while he was still alive. They tried to ruin me. Raphael had good reason for doing this, since all that he knew of art