The Century of Columbus Part 3

So far from being merely an artistic mind Leonardo da Vinci had typically the scientific and inquiring mind. Whenever a scientific problem came up to him, no matter how others had solved it before him and above all no matter how his contemporaries were solving it, he solved it for himself and almost inevitably in the true light of science. For instance while he was engineer, in charge, to use our modern term, of the ca.n.a.ls of central Italy, the cuttings necessary for them brought to light a series of fossils. These were mainly sh.e.l.ls resembling the seash.e.l.ls of his time, though not exactly like them. Before this a number of such finds had been made and man had found it very hard to explain them. They were usually {23} uncovered beneath a rather thick layer of earth. They looked like sh.e.l.ls that belonged to creatures that had lived on a seash.o.r.e. How could their presence be explained far from the sea and completely covered up?

Occasionally, when found near the surface on the tops of rather high mountains a distance from the sea, the explanation had been offered and generally accepted that they had been deposited there by the Deluge. The buried sh.e.l.ls and especially those deeply buried could not be thus explained. Scientists, and let us not forget that it was scientists in the true sense of the term who were especially concerned with such objects, men who knew their mathematics and principles of science very well and who had made valuable observations in other departments of science, evolved a learned theory of their presence.

These were incomplete beings occurring in the earth because of a surplusage of creative power that had not quite finished its work.

Their development had been arrested as it were before they actually became living creatures. When Leonardo da Vinci ran across the sh.e.l.ls in the cuttings for his ca.n.a.ls, he suggested another and a simpler explanation as it seemed to him. These were actually marine sh.e.l.lfish, which had been deposited where they now were at a time when this portion of land was submerged by the sea. They had become covered during the process of sedimentation and transformation of the land which had gradually pushed the sea far away. It always requires a genius to offer so simple an explanation as that, and as a rule it seems quite out of the question to most of his contemporaries, because of its very simplicity. They usually express their disdain for such simple-mindedness or wrong-headedness rather forcibly, though after a time they come to accept the explanation of it, but usually refuse to give the inventor any credit for his idea, because it now seems so obvious that they cannot think of it as so very new, after all.

We know that Leonardo had made a series of studies of the sh.e.l.ls of the seash.o.r.e, though ordinarily it was presumed that his studies had been directed rather to their artistic beauty than to scientific knowledge with regard to them. Apparently his very familiarity with them, however, led him to lay the foundation stone of the science of palaeontology. There are {24} sketches of a number of the spiral sh.e.l.ls to be found in his notebooks. These are all charming in their pretty curves, and they caught his artistic eye. Nature never makes anything merely useful. This strong outwardly rude cover of sh.e.l.l for the amorphous ugly sh.e.l.lfish--that is, ugly according to most human standards--is very pretty in its forms and its color. The fine use that Leonardo made of his study in seash.e.l.ls was pointed out by someone who studied some of the spiral staircases for the corners of palaces in Northern Italy which Leonardo is said to have planned.

These were only private stairways leading usually from the ladies'

apartments to the gardens of the castles and were probably designed to be useful as fire escapes. They projected sometimes from the angles of the building. We know what hideous things fire escapes can be. These were very pretty and effectively decorative. They were planned in imitation of the spirals of some of the whorl seash.e.l.ls that Leonardo had been studying.

Everywhere we find that mixture of the devotion to the useful and the practical as well as the aesthetic, to the scientific as well as the artistic. He made a series of dissections. These dissections were made at a time when, if we would believe certain of our modern historians of science in its relation to religion, the Church had absolutely forbidden dissection. Such declarations are all the more incomprehensible because not only did all the anatomists and surgeons of this century do dissection quite freely, and the greatest dissections were done in Rome by the Papal Physicians in the Papal Medical School, but every artist of the time studied anatomy for art purposes through dissections. We have dissections from Raphael and from Michelangelo and from many others as well as from Leonardo da Vinci.

Leonardo proposed after making a large number of dissections to write a text-book of anatomy. Ordinarily it might seem that such a text-book from an artist's hands would be eminently superficial and not at all likely to further the science of anatomy, though it might be helpful for students of art, especially in their dissection work. During the past twenty years, however, a series of Leonardo's sketches made from his dissections have been republished from a number of {25} collections of the originals in important libraries in Europe. The collection at Windsor Castle in England is particularly valuable and the sketches are very complete. Anyone who looks over these republications will realize at once that had Leonardo written his text-book of anatomy and ill.u.s.trated it with his own drawings, it would have been an epoch-making landmark in the history of anatomy and of medicine.

It was not until a quarter of a century after the artist's death that Vesalius, but five years old when Leonardo died, published his great anatomical text-book. At the time Vesalius was only twenty-seven years of age, but his work revolutionized anatomy and he is rightly greeted as the father of modern anatomy. Had Vesalius had the opportunity to consult Leonardo's work, his own would have been greatly facilitated.

It was not merely anatomy for art purposes but for all purposes, scientific as well as artistic, that Leonardo with characteristic thoroughness had studied.

There are studies of his in zoology, made evidently for the sake of his work in sculpture, that represent important additions to this scientific department. The same thing is true with regard to botany.

Flowers caught his artistic eye, but they appealed quite as much to the scientific sense and so we find sketches of many varieties of them that are very interesting but also very startling from a scientific standpoint because they show a knowledge of the parts of the flowers in detail not usually supposed to exist at that time. One is not surprised to hear that he did distinguished work in mathematics.

Somehow the exact scientific bent of his mind and its literalness in all matters pertaining to science would lead us to expect that. There probably never has been a mind so thoroughly rounded out as his.

Aristotle had greater scientific precision and wider knowledge, but lacked something at least of Leonardo's power to execute his artistic ideas, or we would surely have some great art from him or traditions of it. It is even not startling, with this knowledge of the scientific side of Leonardo's mind, to find that he advanced a theory of evolution. That generalization far from being new, as is often imagined, has appealed to many great investigating minds down the centuries, according to the t.i.tle of a modern {26} scientist's history of the theory all the way "From the Greeks to Darwin."

One of the most interesting antic.i.p.ations of a set of ideas that are definitely considered quite modern, and indeed have developed so recently that we are not quite sure of all their significance as yet, is Leonardo da Vinci's occupation with muscular movements and the saving of time and labor by carefully regulating these movements. He suggested that each different kind of work done by human muscular labor should be carefully studied, with the idea of simplifying and reducing the number of movements necessary for its accomplishment in order to save both time and effort. In a word he antic.i.p.ated practically the modern ideas of the efficiency engineer of the present time though, as I have said, we are rather p.r.o.ne to think these ideas quite new and recent.

The personality of this universal genius is one of the most interesting that mankind has to study. Every detail is of special import. Leonardo da Vinci was born of the n.o.ble Florentine house of Vinci in the Val d'Arno. He was a precocious child, attracting attention by his beauty of feature and by his winning ways. There are stories of his improvising music and songs even when he was very young. A little later we hear of him pitying the caged songbirds and buying them and setting them free. As a growing boy he liked colors; indeed, they may almost be said to have had a fascination for him, and the bright dresses of the Florentine girls and of the peasants from the vicinity caught his eye. Tradition also connects him with a fancy for spirited horses. As if these were not enough to show an artistic temperament, while still scarcely more than a boy he began to design and sketch and even mould objects that he was interested in. Vasari's stories of him show that even at this early date, when he was only a boy, his sketches and plastic work had for subjects smiling women.

His vocation seemed clear and his father took him for education to the workshop of Andrea del Verrocchio, then the greatest artist in Florence and one whose work has always maintained an influence over succeeding generations. Those of us who have seen his "Colleoni" in Venice are likely to think {27} of him as a great sculptor.

Undoubtedly he was one of the great sculptors of the world, but he had the broad artistic spirit of the men of the Renaissance, and there was no form of art in which he was not interested and in which he did not accomplish things worthy of his great time to be the admiration of succeeding generations. Verrocchio was a great painter as well as a sculptor, but he was also a worker in metals and, as so many of these artists of the Renaissance, quite ready to design household objects for even ordinary use, provided only he was allowed to put beauty in them. Drinking vessels, instruments of music, gates, wooden doors and above all any objects that were meant for sacred uses he was glad to take commissions for.

It was just the place to train such a many-sided genius as Leonardo, though rather let us say it was just the place for such a many-sided genius to find and train himself. Certainly the young Leonardo must have owed very little except suggestion and some minor directions in technics to anyone else. He very soon came to surpa.s.s his master in painting at least, and the master recognized that fact apparently without any jealousy. According to the story as we have it, Verrocchio was employed by the Brethren of Vallombrosa to paint the "Baptism of Christ." Leonardo was given by the master permission to paint an angel in the left-hand corner. There was such a striking contrast between the fresh youthful work of the pupil and the labored work of the master that Verrocchio is said to have painted no more, or at least made no more ambitious attempts at great pictures. Sculpture was always the favorite of the old master, however, so that it was not so much of a tragedy.

It was after this, in his early manhood, that Leonardo became interested in the things of nature around him and made many investigations into their meaning. He took up astronomy for a time and antic.i.p.ated some of the thoughts that Copernicus was to put in order in his great theory. Such ideas in astronomy were in the air at that time. Cardinal Nicholas of Cusa had more than hinted at them when, about the middle of the fifteenth century, he declared that the earth moved in the heavens like the other stars. Astronomical subjects were {28} favorite speculations for intellectual genius. Regiomonta.n.u.s, who died before he was forty, was alive in Leonardo's boyhood, and after having begun that series of astronomical leaflets which later were to influence so deeply Columbus and the Portuguese navigators, was invited down to Rome to reform the calendar. Toscanelli made the observations on comets, out of which later their orbits were confirmed. Every form of natural observation caught the inquiring Leonardo's eye, and he studied the plants around him and meditated on crystal formation and occupied himself with all the forms of living things. Somehow his feeling seemed to be that such broadening of his intelligence would help him to breadth of expression in art, though probably it was only his native curiosity occupying itself in the insatiable youthful years with everything that came to hand. His achievements in science are sketched hurriedly in the chapter on Physical Science.

Leonardo seems to have occupied himself much with mechanical toys. He made mechanical birds that flew, mechanical lions that walked and a lizard which crawled and whose horns and eyes moved while the oscillating wings were constantly in motion. Every one of these contrivances, however, was the result of serious study. He took up with great a.s.siduity the problem of flying and was quite sure that he would be able to make a machine by which men would accomplish locomotion through the air. He studied the wings of birds very carefully, and antic.i.p.ated the knowledge of most of the principles of flight as they developed in later years. He used his mechanical lion as a bait to catch the attention of Francis I. The beast is said to have walked across the audience chamber towards the monarch until, when close to him, it stood up and disclosed the fact that the "Lily of France" was stamped upon its heart. Leonardo's own name is derived from lion and this was supposed to be his declaration of patriotic affection and loyalty to the French King.

Something of the _busyness_ of his mind can be understood from the gossip that one hears about him in the letters of the time or even from what may be concluded from his own diary. It is said, for instance, that in the midst of the painting of the "Last Supper" there was quite an interruption in the work {29} because Leonardo became very much interested in the invention of a new machine for mincing meat and making sausages. The head of one of the Apostles was left unfinished for a time because Leonardo could not get the blades of the new machine fixed so as to make them more to his satisfaction.

Unfriendly critics said that he would do anything so as to get away from his painting. Those who least understood declared that this was because he was trivial of mind and incapable of concentrating his attention. Anyone who has done artistic work of any kind, or indeed has devoted himself to literary work of any description, is likely to understand Leonardo's ways in such matters. The time comes when the particular vein of thought is exhausted for the moment and new ideas come slowly and with difficulty. The serious self-critical writer or artist recognizes that what he does at such times has not the significance he would like it to have and that he is likely to have to erase or greatly modify most of it afterwards or to regret it if he does not. If he is wise, then, he turns aside and gives his mind a complete rest by devoting it to something quite different from that in which he has been engaged before. If he insists on continuing his work after inspiration ceases or his particular vein of thought runs out, it becomes more and more difficult and more and more of a drudgery.

Finally, unless he is almost entirely without proper self-appreciation, he literally has to give up the work that has become so difficult.

Leonardo did not wait for this, but after a certain set of ideas had run out devoted himself to other and quite different things. He had had trouble with cleaning his brushes, and had found that a rather strong lye could be extracted from fowls' droppings. He at once devoted considerable time to finding out whether the material thus obtained could not also be used for the washing of linen. Indeed, his attention to inventions for the relief of domestic difficulties stamps him as quite modern in his notions. Besides his sausage-making machine he invented a spit for the roasting of pigs and designed various forms of utensils that would be handier than those commonly in use at that time.

Some of Leonardo's expressions are well worth chronicling {30} because they show us so well the character of the man. He did not write any moral essays, but a number of expressions of his that have been preserved show that he had decided and very definite opinions with regard to many important human interests. His greatest picture was probably the "Battle of the Standards," in which, according to the descriptions preserved for us, he pictured all the horrors of war. He depicted the frenzy of contest at its fiercest. In one of his famous expressions he disposes of war in two words as _pazzia b.e.s.t.i.a.lissima_.

I find it a little hard to translate that in the force of the original, but I suppose it would be something like "the climax of animal frenzy." Even that is not as strong as that superlative _b.e.s.t.i.a.lissima_ in Italian.

The ease with which he transferred his services from one distinguished n.o.ble master to another has led some to suggest that he was lacking in loyalty, or at least was quite satisfied with life so long as he found someone to pay him for his work. As a matter of fact he often spent much more in experiments of various kinds than he was paid for the results of his labors, and money seems to have meant very little to him. He was known to be generous to his friends, and he once said "the poor are those who have many wants." He realized very well that poverty is entirely relative, and if a man is dissatisfied with what he has he is poor, no matter how much he has. As might be expected, above all Leonardo realized the preciousness of work. For him indeed blessed was the man who had found his work. His expression was "as a day well spent gives joyful sleep, so does a life well spent give joyful death."

With the disturbed conditions in Italy in his time he probably had to suffer many injustices, frequently had his labors interrupted, his work often undone, and it is easy to understand how much the jealousy of smaller men around him must have irritated him. He realized, however, that happiness depends on not permitting one's self to be bothered by such trifles. The only satisfaction is to go on with one's works. As he said, "The best shield against injustice is to double the cloak of longsuffering." His philosophy of life was in many ways ideal, then. Something of a stoic one needs must be to follow {31} it, but why should the petty trivialities of foolish human squabbling disturb a man who has all of art and science spread out before him and who knows so much more than others of his generation, but whose knowledge surely must have made it very clear to him how little after all he knew of all that was to be known?

Like his Italian contemporaries, generally, Leonardo remained faithful in his adhesion to the old Church. His charming "Madonna" and his "Last Supper" could scarcely have come from one who was not a believer. If these things were mere matters of imagination for the artists of the Renaissance, they would not have been expressed with such marvellous reality. We do not know much about his life, though we know so much about his work and thought. When he came to die, however, he left a legacy for ma.s.ses for his soul. This was the custom of the time and might very well be considered only a conventional acknowledgment of his adhesion to the customs of his contemporaries.

Besides, however, he left a sum of money for candles to be burnt at the shrine of the Blessed Virgin in the little village where he had been raised as a boy and where he had often prayed. This would seem to indicate that the faith of his childhood was still precious to him or had come back in its boyish tenderness at the end of his life. His whole career is that of a wonderfully-rounded man who could scarcely fail to recognize the place of the spiritual in life and its significance for man's understanding of the universe.

Burckhardt concludes one of the chapters of his work on "The Renaissance in Italy" with words that probably sum up better than any others Leonardo's character. No one was better fitted to know whereof he spoke than the great German historian of the Renaissance. "The colossal outlines of Leonardo's nature can never be more than dimly and distantly conceived."

{32}

CHAPTER III

MICHELANGELO

Probably the greatest artistic genius that the world has ever known, certainly the man who was best able to express his thoughts most perfectly in every mode of art, with chisel, pencil, brush and pen, was the son of Lodovico de Leonardo Buonarroti-Simoni, whom succeeding generations have known as Michelangelo. He was a member of a n.o.ble Italian family much reduced in the world. They claimed to be related to the celebrated Counts of Canossa in Northern Italy, and when Angelo became famous there was a recognition of the relationship by the head of the Canossa family of that day. n.o.bility is usually willing to be related to great genius, but genealogists have not been able to trace the relationship. When Michelangelo was born (March 6, 1475), his father was the governor of the Castle of Caprese, which stood on the crest of a bold and rocky ridge of the Catenaian Alps, overlooking the wild and rugged hills in which the Tiber and Arno rise. He died two months before Shakespeare's birth in 1564, when another month of life would have brought him to his ninetieth year. He is another typical example of the fact that genius usually inhabits long-lived bodies.

Great men may be short-lived by accident, but as a rule the over-abounding vitality, which enables a great mind to express itself greatly, also enables the personality with which it is a.s.sociated to reach longevity.

It is fortunate for us, seeing that Angelo was such a great genius, that as Lilly said: [Footnote 2] "There are few great men of whom we possess so many and such authentic doc.u.ments." His works are the living monuments of his genius, but we have, besides even minute details of all his long life, his struggles, {33} his triumphs, his friendships, his patrons and above all the fire of trial through which his genius pa.s.sed in order to secure its expression of itself.

[Footnote 2: W. S. Lilly: "Renaissance Types." Macmillan, 1904.]

Michelangelo's mother died when he was very young, her only place in his life being that she gave him his name because she saw something divine in him, though perhaps that is not rare. When his father's term of office expired he returned to Florence, but left his infant son at Caprese in the care of a wet nurse, the daughter of a stone mason and the wife of another stone mason. Michelangelo often said that he imbibed a love for marble and stone-cutting with his first nourishment. The chisel and mallet were his early play-toys, and though he was but six when taken to Florence, there is a tradition of rude charcoal sketches made on the walls by him in his country home.

In Florence he was sent to the school of the famous grammarian, Francesco Venturino of Urbino, the teacher of the New Learning, who was also some years later a teacher of Raphael. Michelangelo, according to tradition, paid little attention to his books, however, but was constantly to be found with a pencil in his hand, making sketches of all kinds. He became a.s.sociated with some art pupils and artists, and before long most of his time was given up to drawing and sketching.

While Michelangelo lived in the Renaissance time, and was undoubtedly influenced very deeply by the humanistic movement, this influence was exerted in very different fashion from what is usually supposed by those who think of the Renaissance as the time when the re-discovery of the Greek cla.s.sics made for book-knowledge and a consequent deepening and sharpening of the intellectuality of man. Michelangelo had very little interest in books at any time, probably despised scholarship, had little Latin, though it would have been so easy for him to have learned it, seeing that his native tongue was Italian, and had probably no Greek. He died, as I have said, the year that Shakespeare was born, and much has been made of the supposed impossibility of Shakespeare's wonderful conception of the universe of man without more knowledge in the sense of scholarship. Shakespeare had little Latin and less Greek, but undoubtedly the man who best deserves place beside him is Michelangelo, who was similarly situated.

{34} Condivi tells us that books were to Michelangelo "a dull and endless strife." He was very often dreadfully beaten--as the artist tells it himself, _bene spesso stranamente battuto_--for wandering in the workshops of artists instead of going to school, or sketching for himself instead of studying his books.

His father had intended that his son should go into the silk and woollen business. When he discovered his artistic proclivities, of course he forbade such foolish waste of time and punished the lad severely. It seemed a disgrace that a member of the respectable Buonarroti family should take up so non-lucrative and little-considered occupation as that of a painter on canvas and worker in marble. There was the usual result. Michelangelo could not overcome his native genius, and after some trying scenes his father finally consented to permit him to enter the studio of Domenico Ghirlandajo, who was at the moment the most distinguished painter in Italy. It was not long, moreover, before Angelo was correcting his master's drawing.

At first Ghirlandajo was disturbed by this, but he was won inevitably by the distinction of Angelo's work until one day he declared, though altogether Angelo was only a year in his studio, "this young man knows more of art than I do myself." Then he was given a place in the Academy of Lorenzo de' Medici, Ghirlandajo having been asked to nominate two of his best pupils for the Academy and selecting as one Angelo. Surely this selection proved that the teacher was not, as some have said, jealous of the pupil.

At Lorenzo's academy Michelangelo came in contact with some of the most distinguished men of Italy of that day. There were Lorenzo's two sons, Giovanni and Giulio, who afterwards became Popes Leo X and Clement VII; Pico della Mirandola, the poet and scholar; Politian, the poet, cla.s.sicist and philosopher; Ficino, the head of the Platonic academy at Florence of that day, and Bibbiena and Castiglione, the latter subsequently the author of the famous book _"Il Cortigiano."_ The two last-named were Raphael's great friends when a few years later he was studying in Florence. It is not surprising that under these circ.u.mstances Angelo became very much interested in antique sculpture, nor that his first independent work was a bas-relief, representing a battle between Hercules {35} and the Centaurs. This is still preserved in the Casa Buonarroti, and with its crowded figures reveals the genius and the a.s.sured artistic grasp of the future great sculptor who executed it.

Angelo, however, soon realized that if he was to do sculpture successfully he must study not only the outside of the human body and the antique sculptures, but he must know all the structures of the body. Accordingly he had dead bodies conveyed from the hospital to a special room provided for him in the convent of Santo Spirito, and dissected them carefully. It has often been said in the modern time that at this period dissection was forbidden by the Church, but there is absolutely no trace of any such legislation, and every artist of the latter part of the fifteenth century did dissection. Michelangelo rewarded the prior of the monastery for his help in these studies by carving for him a crucifix out of wood, which revealed the benefit derived from his dissections. With such zeal for art it is not surprising that the young man soon found himself capable of doing sculpture of great artistic significance. We have traditions of a statue of "Hercules," a high relief of the "Madonna" and a "Sleeping Cupid," which had an eventful history. A dealer buried it in the earth for a time and then sold it as an antique. Cardinal Riario, who purchased it, finding out the trick, invited the sculptor, who knew nothing of the deception, to Rome, and some of his first important work was done there.

His earliest Roman work was of antique subjects, a "Cupid," which has been lost, and a "Bacchus," now in the Bargello. His first great commission, however, came from the Cardinal de St. Denis, the French Amba.s.sador at Rome. This was of a "Madonna" with the dead Saviour on her knees, just after His taking down from the Cross. The group is now in St. Peter's at Rome, and though executed when Michelangelo was less than twenty-five years of age, has come to be looked upon as one of the great sculptures of the world. Copies of it are now to be seen in most of the important museums, so that a good idea of his youthful genius can be readily obtained by anyone desirous of knowing it.

Some critics have objected that the "Madonna" in the {36} group is entirely too young to be the mother of the dead son, who lies across her knees. Michelangelo's own answer to that objection is, of course, the only one that will interest those who love the group and would like to know just his meaning. We have it from Condivi, to whom Michelangelo confided it:

"Don't you know," he said, "that chaste women keep their youthful looks much longer than others? Isn't this much more true in the case of a Virgin who had never known a wanton desire to leave its shade upon her beauty! ... It is quite the contrary with the form of the 'Son of G.o.d,' because I wanted to show that He really took upon Him human flesh, and that He bore all the miseries of man, yet without sin."

The "Pieta" is probably one of the supreme sculptures of all time, but Michelangelo's next important work was to place him beyond all doubt in the rank of world sculptors. This was his "David." It is all the more interesting because of the difficulties under which he executed it. A huge block of marble of the finest vein lay in the works at Santa Maria del Fiore, Florence, which several sculptors had designed to make use of and at least two or three had begun work on, but then had given up. Michelangelo saw it and saw in it the possibilities of a heroic statue. He offered his design, it was accepted by the authorities, and he set to work. He built a workshop on the spot and shut himself up for eighteen months, absolutely refusing to let anyone see his work. The result was the "David" so well known. A copy of it was afterwards made in bronze and may be seen on the hill above Florence. It has often been said that the difference in impressiveness between the bronze and marble statues shows how much better adapted marble is for the expression of the human figure. The triumph of the artist, not only in the execution of this triumphant expression of youth, but also over the strict limitations of his materials, shows the eminently practical genius of the man who, at the age of thirty, was able to accomplish such a work.

[Ill.u.s.tration: RAPHAEL, POPE JULIUS II]

After these great sculptures, Michelangelo entered into a compet.i.tion in painting and was chosen as a rival of Leonardo to decorate one side of the Council Hall of the Signory. Leonardo was already at work when Michelangelo received his {37} commission. Unfortunately neither of the paintings was ever completed. Only a portion of Leonardo's cartoon remains for us, though Michelangelo's, representing some Pisan soldiers surprised by Florentines while bathing in the Arno, is now at Holkham Hall in England and has been well engraved by Schiavonetti.

This cartoon was the subject of much study by contemporaries, and Raphael particularly was greatly influenced by it.

After this work Michelangelo was summoned to Rome by Pope Julius II and commissioned to make that great tomb which occupied so much of Angelo's attention for the next quarter of a century, caused him so many difficulties and disturbances of mind and was destined eventually to remain unfinished or at least to be of nothing like the significance that was originally planned. If one looks a little into Michelangelo's life at this time, surrounded as he was by the jealousies of his colleagues, disturbed at his work by political animosities of various kinds, by the slights of those who failed to appreciate and the open envy of those who favored his rivals, some idea of the difficulties of his artistic soul will be understood.

In the midst of his preparations for the making of the great tomb of Pope Julius, for which he spent nearly a year in the quarries up at Carrara obtaining the proper kind of marble and working out three or four statues while the men of the quarries were getting out the other marble that he wished, the execution of the tomb was put off.

Fortunately the work done at this time was not entirely lost. The two galley slaves at the Louvre, which are among the greatest sculptures of their kind ever made, attest Michelangelo's industry, as well as genius, and they have been favorite studies of artists of all kinds ever since.