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« In Which We Get Taylor Swift Alone »
See Red
by ALICE BOLIN
"Do you consider yourself a feminist?" Ramin Setoodeh of The Daily Beast recently asked country-pop girl wonder Taylor Swift, a simple question that Swift predictably dodged. "I don't really think about things as guys versus girls," she responded. "I never have. I was raised by parents who brought me up to think if you work as hard as guys, you can go far in life." Sigh. I read things like that and I wish more than anything that homegirl had been allowed to go to college.
There are obviously troubling things about Swift's prim, old-fashioned, virginal persona—she defines herself by her relationships with men, and she's in danger of arrested development, a permanent girlhood. There is also the fact that her public persona is so resolutely composed that her only recourse to address pain is passive aggression, so that anger leaks out at every corner. This is why the popular image of Swift is a fascinating contradiction: a perfect princess who is also a total mess.
But I think I've gone beyond the point of finding Swift merely fascinating, an interesting public figure. If my iTunes is to be believed, I have listened to the songs on her last album, Speak Now, an average of fifty times. I karaoked the teenage revenge anthem "Picture to Burn" from her self-titled first album two weeks ago. I play her songs on my ukulele, just like hundreds of thirteen-year-olds on YouTube. I am not an interested observer of her constructed celebrity — I am an enthusiastic fan of her music.
Swift's albums have the quality that I love about all pop music: that it is fake, commercial, even cynical, and somehow it still speaks in real ways about what it's like to be human. This is as true about mass-produced music from the days of Phil Spector and Motown, the cubicles of the Brill Building that made it like a literal hit factory, as it is about today's mega-producers like Dr. Luke and Max Martin—a song's sound is engineered to be perniciously memorable, and a song's sentiment is engineered to be universally relatable. Pop music is manipulative in so many ways.
Swift is clearly shrewd about how to construct a perfect pop song. When she was a teenager in Nashville, she was not only scouted as an artist, but Sony/ATV publishing house also hired her as a songwriter. She has always written the bulk of her own music, and with Speak Now she had sole writing credit for the entire album. On her new album, Red, she is working with co-writers again, including Shellback, who wrote some of Britney Spears' best hits, and pop songwriting legend Martin, the man responsible for a baffling amount of top ten singles including Britney Spears' "Baby One More Time," The Backstreet Boys' "I Want It That Way," 'N Sync's "It's Gonna Be Me," and Kelly Clarkson's "Since U Been Gone."
Her collaboration with these pop giants initially appeared as an alarming departure for an artist with country singer-songwriter roots, especially because Martin has such a reputation for writing surefire hits that working with him is often seen as an act of career desperation. But the songs on Red that Swift wrote with Martin and Shellback are brilliant to a one: the album's lead single "We Are Never Ever Getting Back Together" is a pop-punk revenge tune that's as snotty as it is catchy, and the party anthem "22" features a gleeful and glorious chorus, not to mention Swift doing her best Ke$ha impression. The most surprising song on the album, "Trouble," is heavy and synthed-out with a dub-step (!) chorus.
These songs are distinct from Swift's typical output, but the partnership was fruitful because Swift, Martin, and Shellback understand pop's most important quality: it is addictive. In a New Yorker article about Ester Deen and Stargate, the songwriter and producers who are responsible for most of Rihanna's hits, Deen's manager is quoted as saying, "It's not enough to have one hook anymore. You've got to have a hook in the intro, a hook in the pre-chorus, a hook in the chorus, and a hook in the bridge." It's not only the overtly pop songs on Red that follow this prescription — "Treacherous," a sexy acoustic ballad Swift co-wrote with Dan Wilson of nineties music footnote Semisonic, is tightly composed from a soft verse to an almost chant-like chorus, swelling to the bridge where Swift sings intently, "I will get you/Get you alone."
Swift's savvy about how to write a hit feels almost at odds with her reputation for writing autobiographical lyrics — people speak as if her songs are emotional and filter-less, when in reality her songwriting is anything but "raw." With each new album, theories emerge about which of Swift's celebrity ex-boyfriends each song is about. Swift claims to be bemused by this guessing game. "There are a lot of songs that people think is about this dude, but it's really not, it's actually about this guy you have no idea I even dated. Or you'll sit there and go 'that song was inspired by three different situations with three different people,'" she told VH1 recently. "I never really talk about who my songs are about," she insisted.
But Swift plays into this speculation. She has a practice of encoding secret messages in the lyrics portion of her albums' liner notes, which fans use to conjecture about the songs' subjects. Songs on Red bear messages like HIYANNIS PORT, clearly referring to her summer beau Connor Kennedy; FOR ETHEL, a slightly embarrassing ode to Kennedy matriarch Ethel Kennedy; and MAPLE LATTES, a nod to a famous photo op she had with actor Jake Gyllenhaal.
This is the confusing thing — by all appearances Swift's brief relationship with Gyllenhaal was a blatant publicity stunt. Their maple latte outing was documented by the paparazzi and written up in People magazine; as Vulture notes, "'Taylor Swift and Jake Gyllenhaal Share Thanksgiving Maple Lattes' is the third result when you Google 'maple lattes.'" If their relationship was real, why did she use the most famous detail about their time together as a clue, rather than a less public one? Swift has never publicly discussed any of her relationships, other than her teenage romance with Joe Jonas of the Jonas Brothers, but she purposefully capitalizes on the publicity they generate in subtler ways.
"All Too Well," the song with the MAPLE LATTES clue, exploits a media-driven celebrity relationship for the sake of sensation, and it is also probably Red's greatest triumph. It is the only track on Red that Swift wrote with her original songwriting partner Liz Rose, with whom she wrote hits like "Teardrops on my Guitar" and "You Belong with Me," and it is filled with classic Swift details in lyrics like "We're dancing 'round the kitchen in the refrigerator light." "All Too Well" also contains the line "You call me up again just to break me like a promise/So casually cruel in the name of being honest," which, scaling for what could conceivably heard on Top 40 radio, is the best lyric I've ever heard.
I don't know how to rectify this — that the song on Red that feels the most authentic is the one that cashes in the most cravenly on media narratives that Swift herself controls. Clearly, Swift's reputation as a crazy ex-girlfriend skewering her former loves in her lyrics is something that she cultivates — she, Adele, and Alanis Morissette are only a few of the female artists who have learned that this is a gimmick that can take your albums multi-platinum. It also seems that her code of propriety, her desire to be a "classy" celebrity, is what dictates her reticence about her relationships — writing songs that allude to them and then baiting fans to guess who is a way that Swift acts out.
With Swift's constricting good-girl image, she performs the transgressive acts available to her, and she releases her considerable aggression in controlled ways. "Tell all your friends I'm obsessive and crazy./That's fine," Swift sings to an ex on "Picture to Burn." "I'll tell mine you're gay." The height of her vindictiveness might be "Dear John," the nearly seven-minute diss track to her ex-boyfriend John Mayer off Speak Now. The John Mayer-signature blues guitar solo on the song is both witty and stone cold. She talks about her temper in many of her songs, as in "Stay Stay Stay" off Red, where she sings, "I'm pretty sure we almost broke up last night./I threw my phone across the wall/At you." In "Stay Stay Stay" as in her hit "Mine" from Speak Now, she daydreams about a man who will stick by her after the fights, in spite of her anger.
Her aggression isn't only limited to her songs — after Jonas allegedly dumped with eighteen-year-old Swift with a twenty-seven-second phone call, Swift took to YouTube. In the video she posted, she is holding collectible dolls of both her and Jonas. "Oh look," she says, examining the Joe Jonas doll's packaging. "This one even comes with a phone. So it can break up with other dolls." As demure as she may be, this girl is also intense and out for blood — of Red's title, Swift said, "All those emotions — spanning from intense love, intense frustration, jealousy, confusion, all of that — in my mind, all those emotions are red."
Not to put too fine a point on it, but in this she echoes another passionate artist constrained by traditional expectations of femininity: Sylvia Plath. Red was Plath's favorite color, and in her work it often has the same meaning that Swift assigns it on Red. "Their redness talks to my wounds, it corresponds," Plath writes in "Tulips." In "Lady Lazarus" she transfigures herself as a wrathful Fury — "Out of the ash/I rise with my red hair," the poem famously ends, "And I eat men like air." It seems like Swift could relate. (The song "Higher Ground" off of Red contains the lyric "Back when you fit my poems like a perfect rhyme," and I think we as a public must demand to know more about these poems.) There are numerous reasons why Swift will probably be better able to achieve her goals as an artist and a healthy human being than Plath was — but like Plath, Swift's life seems to be about oscillating between acting out and falling in line with what's expected of her. I can't help but think, "Taylor, maybe if you were a feminist, all this would be easier for you."
I cling to evidence that Swift is moving slowly toward more comfort with herself, more freedom. Granting that her schtick is that she is not a girl, not yet a woman, as they say, Red is distinctly more womanly than any of her other releases. She has let go of some of the narratives that she subscribed to in the past, particularly her obsession with fairytale love — tracks from previous albums bear names like "Today Was a Fairytale" and "White Horse," and her hit single "Love Story" describes a Romeo-and-Juliet style pairing, except everything turns out fine in the end.
More than ever before in her work, Swift is acknowledging that love is not a fantasy—on "Treacherous" she makes the stunning acknowledgment that sex and sexual desire can complicate things. "I'll do anything you say," she sings, "if you say it with your hands." She has also turned away from some of the persistent nostalgia for childhood that marks her previous albums. "Fifteen," from Fearless, remembers in sentimental detail what it was like to be a freshman in high school. On the schmaltzy ballad "Never Grow Up" from Speak Now, our female Peter Pan advises a child, "Oh darling, don't you ever grow up/Just stay this little."
In contrast to "Fifteen," "22" refers to the age Swift is now, not an age she longs to be again. The story "22" describes is as far from her fairytale songs as possible, as Swift sings about going out to a club with her friends and trying to pick someone up — "You look like bad news./I've got to have you," she sings. This is such a welcome departure: on Red, Swift is acting her age, and even, for the first time, acknowledging her celebrity. In "The Lucky One," she sings enviously of a young woman who gains success in Hollywood, only to abandon it all for a return to comfortable anonymity. I am relieved by these developments. If Swift were still making high school records at twenty-two, this would be a sadder story than it is.
A number of songs on Red display a chip on Swift's shoulder about her goody-two-shoes image — on "22" she talks about dressing up like a hipster and complains that the club has "too many cool kids." She tells an ex-boyfriend on "We Are Never Ever Getting Back Together," "You would hide away and find your peace of mind/With some indie record that's much cooler than mine." The fact that Swift is not a cool kid is one thing I like about her — she is, after all, a gawky dork who grew up on a Christmas tree farm. I hope she realizes, though, that just because she isn't "alternative," that doesn't mean that she has to be a Disney princess. She should take a lesson from her former nemesis Kanye West, whose persona seamlessly encompasses varying types including "sensitive genius" and "annoying egomaniac."
The Swift-versus-Kanye West meme is a chance binary that is incidentally instructive — they have a lot in common as rigorous artists with volatile personalities. West is able to perform a public self that is stylish, nerdy, vulnerable, powerful, smart, sympathetic, and irritating. I wish Swift could do the same and be viewed as complex, not schizophrenic. For anyone who was wondering, that's what feminism is.
Alice Bolin is a senior contributor to This Recording. She is a writer living in Missoula. She last wrote in these pages about Isaac Mizrahi. She tumbls here and twitters here. You can find an archive of her work on This Recording here.
"Back to December (acoustic)" - Taylor Swift (mp3)
"If This Was A Movie" - Taylor Swift (mp3)


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With our high humidity and generally light insecticide usage, cotton aphids will again, hopefully, be only a minor problem here in 2005.
However, this "minor pest" status is not much consolation for the unlucky producers who must contend with high aphid levels and difficult treatment decisions.
Additionally, the amount of North Carolina's cotton acreage treated for this pest seems to be trending upwards.
A review of few aphid management considerations is in order.
Bio-control success story: Management of most serious cotton insect pests via naturally-occurring predators, parasitoids and diseases often works better in textbooks than in the field.
Bio-control control of cotton aphids, however, has become our producers' main line of defense. Because of the low cotton acreage typically requiring treatment for early tobacco budworms and plant bugs, predators and parasites (particularly two species of mummifying wasp parasites) often hold aphids to sub-economic levels. Once they get a "foothold", the wasp parasites are often able control cotton aphids even during the two to three pyrethroid treatments our producers typically use to control the major mid-July to mid-August bollworm generation(s) on conventional cotton.
Also occurring from about mid-July and throughout the remainder of the season, the fungal pathogen Neogygites fresenii can greatly limit aphid numbers, sometimes over wide areas. Like the wasp parasites, this fungus is particularly effective in eliminating or greatly reducing moderate to large populations of aphids. Additionally, insecticides do not adversely impact fungi.
Cotton aphid buildups: Despite substantial potential assistance from beneficial organisms, cotton aphid populations, though sporadic, are often widespread and persistent, at times resulting in maturity delays and possible yield losses, particularly if this damage occurs when the cotton is under drought stress. (Yield losses resulting from cotton aphid feeding have been hard to document in the Southeast, however).
The high proportion of our state's cotton acreage typically treated with a foliar insecticide for thrips (sometimes twice), may have contributed to these aphid buildups.
Aphid Resistance: Prior to 1989, low numbers of cotton aphids were the rule in North Carolina, and could be routinely controlled by any of a number of organophosphate (OP) insecticides.
As had happened earlier in the Mid-South, by 1990 some aphid populations in North Carolina appeared to be expressing high levels of resistance to recommended OP insecticides.
Subsequently, a graduate student here confirmed both high levels of resistance in some populations and extreme variability in resistance levels throughout the state. The publicized presence of these organophosphate and later pyrethroid (Capture) resistant aphid populations appears to have contributed to producer and consultant reluctance to spray for aphids, a decision usually rewarded by effective natural control.
Finally, based upon replicated tests conducted in North Carolina in 1997, 1998 and in 2000 to 2004, it is apparent that OP-resistant aphid populations are still common.
Chemical options: With the availability of Trimax, Centric and Assail (sold as Intruder in the western states), consultants and producers have effective foliar spray options to control cotton aphids, at least for the time being.
Treatment guidelines: In cases where aphid colonies are present on most plants in high enough numbers to result in honeydew and/or wilted terminals, treatment may be needed, particularly if cotton is under drought stress.
However, scouts should also assess predator, parasite, and fungal levels, and also take moisture into account. Less moisture means more plant stress.
An experienced scout or consultant comes in handy, as these assessments can be difficult. In most situations in North Carolina, if approximately 10 percent to 20 percent of the aphids are in the form of the round, brownish paper-like mummies, or if any level of the parasitic fungus is present, the aphid infestation will probably be sharply reduced in the coming days, and treatment should not be necessary.
Resistance avoidance: One word of caution. Cotton aphids have been notorious about developing resistance to previous insecticide classes. All of these new effective materials are in the same chemical class (choronicotinoids), and therefore the over-use of any of these materials may help confer aphid resistance to all.
Also, don't forget that the chloronicotinoids are also the basis for the seed treatments Gaucho Grande and Cruiser, and have additional labels in many other agricultural crops. This very safe, effective class of chemistry would be a nice one to keep around for a while.
Fortunately, cotton aphids appear to be one pest species for which biocontrol is presently far and away the preferred management option.


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Lindsay Lohan's father is launching a new career as a TV star after landing a job presenting reality show "Celebrity Cheaters."
Michael Lohan will front a revamped version of long-running series "Cheaters," which will feature famous participants looking to find out whether their partner is being unfaithful.
Lohan tells the New York Daily News, "Infidelity is a real issue everyone can identify with. Even if there isn't infidelity in a relationship, most people think there is some cheating going on. With (the) divorce rate so high, I think celebrities have as much if not more cheating going on, and a lot of people want to step up and talk about it."
The show will air in the fall.


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IN 1474, under a lucky star, was born a son to Lodovico di Lionardo
Buonarroti Simoni, descended, it is said, from the ancient and noble
family of the Counts of Canossa. This Lodovico was Podesta that year
of Chiusi and Caprese, near Vernia, where S. Francis received the
stigmata, and, as I have said, there was born to him on Sunday the 6th
of March, in the eighth hour of the night, a son, to whom he gave the
name of Michael Angelo, perceiving that he was something greater than
usual, Mercury and Venus at his birth being in the second house of
Jove, which demonstrated that he would produce marvellous and
stupendous works of art and genius. Lodovico, his time of office being
finished, returned to Florence to Settignano, three miles from the
city, where he had a small estate. The place was rich in a hard stone,
which was con stantly beitlg worked by stonecutters, mostly born in
the place, and the wife of one of these stonecutters was made nurse to
Michael Angelo Speaking of this once to Vasari, Michael Angelo said
jestingly, "Giorgio, if I have anything of genius, it came to me from
being born in the subtle air of your country of Arezzo, while from my
nurse I got the chisel and hammer with which I make my figures."
As in time many sons were born to Lodovico, and his revenues were
small, he set them to the woollen and silk trades, Michael Angelo, who
was already growing up, being placed at school with Master Francesco
da Urbino. But his inclination to the arts of design being strong, he
spent all his time in drawing, as far as he could do so secretly, for
he was often scolded by his father and those who were over him, and
sometimes beaten for it, they supposing, perhaps, that it was a low
thing, and unworthy of his ancient house. At that time Michael Angelo
made friends with Francesco Granacci, who; being then a youth, had
been placed with Domenico del Ghirlandajo to learn painting; and
Granacci loving Michael Angelo, and seeing him clever at drawing, used
to give him every day drawings of Ghirlandajo's, who was esteemed not
only in Florence but through all Italy as one of the best masters then
living. By this means the desire grew stronger every day in Michael
Angelo, and Lodovico, seeing there was no help for it, by the advice
of his friends determined to put him with Ghirlandajo.
Michael Angelo was at this time fourteen years old, and he made such
progress that he astonished Domenico, who saw that he not only
surpassed his other pupils, of whom he had a great number, but often
equalled the things he did himself. It happened once that one of the
boys who was learning there had copied with a pen some women out of
one of Ghirlandajo's works, and Michael Angelo, taking the paper, with
a thicker pen outlined one of the women again, as she should have been
drawn; and it is a wonderful thing to see the difference, and consider
the courage of the youth who was daring enough to correct his master's
things. I have this drawing still, as a relic, having received it from
Granaccio; and in the year 1550, when he was in Rome, Giorgio showed
it to Michael Angelo, who recognised it and was glad to see it, saying
modestly that he knew more of the art when he was a boy than now he
was old.
At that time the magnificent Lorenzo de' Medici had filled his garden
on the Piazza of S. Marco with ancient and good sculpture, so that the
terraces and alleys were adorned with good antique figures in marble,
and with pictures and other things by the best masters in Italy and
elsewhere. And not only were they a great ornament to the garden, but
they became a school and academy for young painters and sculptors,
particularly for young nobles; for Lorenzo held that those who are
born of noble blood can more easily attain perfection in anything than
those who come of low birth. Lorenzo therefore always favoured men of
talent, but particularly nobles who had any inclination to art; so it
is no wond'er that some came forth from that school to astound the
world. Besides this, he not only provided food and clothing for those
who being poor could not afford time for study, but he also offered
rewards for those who excelled in anything, that the youths by
competing together might become more perfect. The head of this academy
was Bertoldo, an old Florentine sculptor and a pupil of Donatello's.
He taught the youths, and at the same time had the care of the things
in the garden, and many drawings, cartoons, and models from the hand
of Donatello, Brunellesco, Masaccio, Paolo Uccello, Fra Giovanni, and
other masters native and foreign. And, indeed, these arts cannot be
learned except by long study and by copying good works, and he who has
not the opportunity, although he may be greatly endowed by nature,
wi!l be long in attaining perfection.
Lorenzo, therefore, lamenting that there were no great sculptors in
his time, though there were many painters of the greatest fame, asked
Domenico Ghirlandajo if he had in his workshop any youths who were
inclined to sculpture, to sond them to his garden. Now Domenico held
Michael Angelo and Francesco Granacci to be the best of his pupils. So
these two going to the garden, found young Torrigiano there working
upon some figures in clay as Bertoldo had directed him. This
Torrigian'o was by nature very proud and choleric, and being robust
and fierce and courageous, he domineered over all the others. His
principal occupation was sculpture, but he also worked in clay in a
very beautiful manner. He could not endure, however, that any one
should ever surpass him, and would with his own hands injure any work
of another which he could not equal; and if the other resented it,
they often came to something more than words about it. He took a
particular dislike to Michael Angelo, for no other reason than because
he saw that he worked studiously, and knew that he drew at home
secretly at night and on feast days, by which means he surpassed all
the others in the garden, and was much in favour with the great
Lorenzo. Therefore, moved by envy, he was always seeking to offend him
in word or deed, and having one day come to blows, Torrigiano gave
Michael Angelo such a blow with his fist on his nose that he broke it,
and Michael Angelo bore the mark of it as long as he lived. The thing
having come to the ears of Lorenzo, he was so angry that if Torrigiano
had not fled from Florence he would have been severely punished. He
fled to Rome, and was employed by Alexander VI. in the building of the
Borgia tower, but being led astray by some Florentine youths, he
turned soldier, and joining the Duke Valentino, bore himself valiantly
in the war in Romagna. He was afterwards in the war of Pisa, and was
with Pietro de' Medici in the deed of arms on the Garigliano, where he
obtained a pair of colours and earned the name of the brave
standardbearer. But finding he was never likely to attain to the rank
of captain, and had not advanced his ovvn affairs by war, but had
rather lost his time, he returned to sculpture. He made some little
figures in marble and bronze for some Florentine merchants, and was by
them brought to England. There he worked for the king many things in
marble, bronze, and wood, competing with the masters of that land, all
of whom he surpassed; and he earned such honours and rewards that if
he had not been a person without any selfcontrol, he would have lived
and died there quietly. However, leaving England, he went to Spain,
where he produced many works which are much esteemed, and was charged
by the Duke of Arcos to make a Madonna and Child for him, the duke
making him such fine promises that he thought he should be rich for
ever. Having finished the work, the duke paid him in those coins which
are called maravedis, which are worth little or nothing; but
Torrigiano, seeing two men laden with money come to his house, was
fully persuaded that he was very rich. When, however, he had had it
counted by one of his Florentine friends, and reduced to Italian
money, he found there was not quite thirty ducats. Upon this,
supposing himself to have been cheated, he went and destroyed in his
fury the statue he had made for the duke. The Spaniard in his turn,
considering himself insulted, accused Torrigiano of heresy. He was
taken to prison, and brought up day after day, being sent from one
inquisitor to another, and finally adjudged worthy of the gravest
punishment. But meanwhile Torrigiano had fallen into a state of
melancholy, and passed several days without eating, by which he
brought himself to such weakness that he died, saving himself thus
from shame, for it is said he had been condemned to death.
Another of the students in the garden of the Medici was Giuliano
Bugiardini, who was united in close and intimate friendship with
Michael Angelo, and loved him much. Michael Angelo returned his love,
not because he saw anything very profound in him, but because he bore
so much love to art. There was a certain natural goodness and
simplicity in him, without any envy or malice, which pleased
Buonarroti infinitely. He had no other fault than loving his own works
too much. For though this is a common fault with men, he passed all
bounds; for which reason Michael Angelo used to call him blessed,
because he was content with what he knew, and himself unhappy because
his works never satisfied him fully.
Ottaviano de' Medici having secretly asked him to draw Michael Angelo,
he set to work, and having kept him still for two hours, for he was
fond of his conversation, he said to him, "Michael Angelo, if you
would like to see yourself, come here, for I have just caught your
look." Michael Angelo got up, and looking at the portrait said, "What
have you done? you have put one of my eyes in my temple; look and
see." Giuliano looked at it several times, and said, "It does not seem
so to me; but sit down and I shall see a little better how it is."
Buonarroti, who saw what the mistake was, sat down laughing, and
Giuliano looked again and again at Michael Angelo and the portrait,
and then getting up at last said, "It seems that the thing is exactly
as I have drawn it." "Then," answered Buonarroti, "it is a defect of
nature; go on, and do not spare pencils or art."
M. Palla Rucellai had given him a picture to paint for his altar in S.
Maria Novella, and Giuliano began the martyrdom of S. Catherine; but
he kept it on hand for twelve years, not having invention or knowledge
enough for such a work. But Rucellai pressing for it to be done, he
resolved one day to take Michael Angelo to see it, and having told him
with what trouble he had made the lightning coming down from heaven
and breaking the wheel, and the sun coming out of a cloud, he prayed
Michael Angelo, who could not help laughing at his troubles, to tell
him how to do eight or ten principal figures of the soldiers standing
in file on guard, for he could not see how to foreshorten them so that
they should appear all in a row, or how he could find room for them in
so narrow a place. Buonarroti, feeling compassion for the poor man,
took up a piece of charcoal and sketched a file of naked figures with
all the judgment and excellence proper to him, and went away with many
thanks from Giuliano. Not long after, the latter brought Il Tribolo
his friend to see what Buonarroti had done, and told him all about it;
but because Buonarroti had only sketched them in outline, without any
shadow, Bugiardini could not carry them out; so Il Tribolo resolved to
help him and he made some rough models in clay, giving them all that
rough force which Michael Angelo had put into the drawing; and so he
brought them to Giuliano. But this manner did not please Bugiardini's
smooth fancy, and as soon as Il Tribolo was gone he took a brush and,
dipping it in water, smoothed them all down. Il Tribolo, hearing about
it from Giuliano himself, laughed at his honest simplicity, and the
work was at last finished, so that none would have known that Michael
Angelo had ever looked at it.
Giuliano, when he was old and poor, and doing little work, took great
pains over a Pieta in a tabernacle which was to go to Spain. To
reprcsent the darkness at the death of the Saviour, he made a Night on
a black ground, copying the figure from Michael Angelo's in the
sacristy of S. Lorenzo. But that statue having no emblem but an owl,
Giuliano added his own conceits--a net with a lantern for catching
thrushes at night, a little vessel with a candle in it, besides
nightcaps and pillows and bats. And when Michael Angelo saw the work
he nearly killed himself with laughing at the strange things with
which Bugiardini had enriched his Night.
Giuliano was once telling Il Bronzino how he had seen a very beautiful
woman, and after he had praised her a great deal, Il Bronzino asked,
"Do you know her?" "No," he replied; "but she is very beautiful. Think
she is like a picture of mine, and that is enough."
But to return to Michael Angelo in the garden. When he saw
Torrigiano's work in clay he was fired with emulation. He set himself
to imitate an ancient head of an old faun, and although he had never
touched marble or a chisel before, he succeeded so well that Lorenzo
was quite astonished. Seeing that out of his own fancy he had opened
the mouth and shown the tongue and teeth, De' Medici said in jest, but
speaking gravely, as was his wont, "You ought to know that old men
never have all their teeth, but have always lost some." Michael
Angelo, with his simple respect and love for this lord, thought he
spoke in earnest, and no sooner was he departed than he broke away a
tooth and altered the gum to look as if he had lost it, and waited
with desire the return of his Magnificence. He, when he came and saw
the simplicity of Michael Angelo, laughed much, telling the story to
his friends. But desiring to assist him, he sent for Lodovico his
father, and prayed him to give him his son, promising that he would
treat him like a son of his own. And he willingly consenting Lorenzo
gave him a room in his house, and he eat continually at his table with
his sons and the noble persons who were around his Magnificence.
This was in the year after he had gone to Domenico, when he was about
fifteen or sixteen years old, and he stayed in that house four years,
until the death of the magnificent Lorenzo.
Afterwards Michael Angelo returned to his father's house, but Piero
de' Medici, Lorenzo's heir, often sent for him, and one winter when it
snowed heavily in Florence, he made him make a statue of snow in his
courtyard, which was most beautiful. When the Medici were driven out
of Florence, Michael Angelo had gone to Bologna and Venice, having
left some weeks before, for he feared some evil would befall him from
his intimacy with that house, seeing the insolence and bad government
of Piero de' Medici. He tarried in Bologna a year and then returned to
Florence, where he made a sleeping Cupid, which being shown by
Baldassari del Milanese to Lorenzo di Pier Francesco de' Medici, he
said, "If you were to bury it till it looked old, and then sent it to
Rome, I am sure it would pass for an antique, and you would get much
more for it than if you sold it here." Some say that Michael Angelo
did so, making it look old, and others that Milanese carried it to
Rome and buried it in one of his vineyards, and then sold it as an
antique for two hundred ducats to the Cardinal S. Giorgio. However it
may be, it brought such reputation to Michael Angelo that he was
summoned to Rome by the Cardinal S. Giorgio, and tarried there a year,
but the cardinal, knowing little of art, gave him nothing to do.
Nevertheless during his stay in Rome he made much progress in the
study of art, and the Cardinal de S. Denis, desiring to leave some
worthy memorial of himself in so famous a city, caused him to make a
Pieta in marble for the chapel of the Virgin in S. Peter's. To this
work Michael Angelo bore such love that he inscribed his name on the
girdle of our Lady, a thing he never did again. For one day Michael
Angelo, entering the place where it stood, found a number of Lombard
strangers there. And as they were giving it great praise, one of them
asked another who had made it, and he answered, "Our hunchback from
Milan." Michael Angelo remained silent, but it seemed strange to him
that his labours should be attributed to another. And one night he
shut himself into the place with a light and cut his name upon it.
At this time some of his friends wrote to him advising him to come
back to Florence, because there was some talk of having the great
piece of marble which was lying spoilt made into a statue, and Piero
Soderini the Gonfaloniere had talked of giving it to Lionardo da
Vinci, and now was preparing to give it to Andrea Contucci. Michael
Angelo had desired to have it many years before; so he returned to
Florence, and tried for it. It was a piece of marble nine braccia in
size, out of which a Master Simone da Fiesole had begun to carve a
giant, and had managed it so badly that the heads of the works at S.
Maria del Fiore, without caring to have it finished, had abandoned it,
and it had been lying thus for many years. Michael Angelo measured it
again, and examined it to see if a reasonable figure could be cut out
of the rock by accommodating its attitude to the maimed condition in
which Master Simone had left it, and resolved to make request for it
from the architects and Soderini. They, considering it a useless
thing, granted it to him, thinking that anything would be better than
the state it was in. Then Michael Angelo made a model in wax of a
young David with a sling in his hand, and began to work in S. Maria
del Fiore, setting up a hoarding round the marble, and working at it
continually without any seeing it until he had brought it to
perfection. Master Simone had so spoilt the marble that in some places
there was not enough left for Michael Angelo's purpose, and certainly
it was a miracle restoring thus one that was dead.
When Piero Soderini saw it, it pleased him much, but he said to
Michael Angelo, who was engaged in retouching it in certain places,
that he thought the nose was too thick. Michael Angelo, perceiving
that the Gonfaloniere was below the statue, and could not see it
truly, to satisfy him went up the scaffold, taki4g a chisel in his
left hand with a little marble dust, and began to work with his
chisel, letting a little dust fall now and then, but not touching the
nose. Then looking down to the Gonfaloniere, who was watching, he
said, "Look at it now." "It pleases me better," said the Gonfaloniere;
"you have given it life." So Michael Angelo came down pitying those
who make a show of understanding matters about which they really know
nothing. Michael Angelo received from Soderini for the statue four
hundred crowns, and it was set up in the year 1504.
Lionardo da Vinci was now occupied in painting the great Council Hall,
and Pietro Soderini assigned one part of it to Michael Angelo, who
chose for his subject the war of Pisa. He took a room in the
dyers' hospital at S. Onofrio, and began a great cartoon, which he
would not allow any one to see. He covered it with nude figures of the
soldiers bathing in the river Arno and suddenly called to arms, the
enemy making an assault. Some are coming out of the water, others are
hastening to arm themselves and gc to the help of their companions,
buckling on their cuirasses and their other arms. When it was shown,
many said that such a thing had never been seen before, either from
his hand or another's. And indeed this must be true, for all who have
studied this cartoon have become men excellent in the art. And because
it became thus a study for artists it was carried to the Medici
palace, and was left in too great security in the hands of the
artists. For during the sickness of Duke Giuliano, when no one was
thinking of the matter, it was torn and cut into many pieces, and
dispersed in many places, some pieces being to be seen now in Mantua.
Michael Angelo's fame was grown so great that in the year 1503, when
he was twentynine years of age, Julius II. sent for him to come and
build his tomb. Therefore he proceeded to Rome, and after many months
he completed a design which in beauty, ornament, and the number of the
statues surpassed every ancient or imperial sepulchre. Thereupan Pope
Julius enlarged his projects, and resolved to rebuild the church of S.
Peter's that it might contain it. So Michael Angelo set to work and
went to Carrara with two of his youths to obtain the marble, and spent
in those mountains eight months. Having chosen a quantity of marble,
he caused it to be carried to the sea and thence to Rome, where it
filled half the Piazza of S. Peter's, and the part round S. Caterina,
and the space between the church and the corridor that goes to the
castle, where Michael Angelo had made a room in which to work at the
statues and the rest of the tomb. And that the'Pope might easily come
and see the work, he had a drawbridge made from the corridor to the
room Being treated with such familiarity he became exposed to great
persecution, and much envy was aroused among the artists.
Of this work Michael Angelo finished four statues and began eight
more. Some of the marble was carried to Florence, where he worked for
some time to escape the bad air of Rome. In Rome he made the two
Captives, and the Moses, which no other modern work will ever equal in
beauty. Meanwhile the rest of the marble, which had been left at
Carrara, arrived, and was carried to the Piazza of S. Peter's, and it
being necessary to pay those who had brought it, Michael Angelo went
as usual to the Pope, but finding that his Holiness was occupied with
important business concerning the affairs of Bologna, he returned home
and paid for the marble himself. He returned another day to speak of
it to the Pope, but found difficulty in obtaining admission, one of
the lacqueys bidding him have patience, for he had orders not to let
him in. A bishop said to the lacquey "Perhaps you do not know this
man;" but he answered, "I know him too well, but I am here to do what
my superiors and the Pope command me." This displeased Michael Angelo,
and thinking it treatment contrary to what he had before experienced,
he replied in anger to the Pope's lacquey, bidding him say, when his
Holiness asked for him, that he had gone elsewhere. He returned home
and set off in haste at two o'clock of the night, leaving two servants
with orders to sell all the things in the house to the Jews, and to
follow him to Florence. He journeyed on till he reached Poggibonsi, a
place in the Florentine district. It was not long before five couriers
arrived with letters from the Pope to bring him back; but he
would listen neither to their prayers nor to the letters, which
commanded him to return to Rome under pain of disgrace. At last the
couriers' entreaties induced him to write a few words to his Holiness,
saying that he must pardon him for not returning to his presence since
he had been driven away, that his faithful service had not deserved
such treatment, and therefore his Holiness must seek elsewhere for one
to serve him. And so coming to Florence he set himself to finish the
cartoon for the Great Hall, which Pier Soderini greatly desired he
should execute. In the meantime there came three briefs to the
Signory, commanding them to send back Michael Angelo to Rome.
He, perceiving the fury of the Pope, meditated going to Constantinople
to serve the Turk, who desired to have him to construct a bridge from
Constantinople to Pera. At last Pier Soderini persuaded him against
his will to go back to the Pope, sending him back as a public person,
with the title of ambassador of the city, and recommending him to his
brother, Cardinal Soderini So he came to Bologna, whither his Holiness
had come from Rome.
Some tell the story of his departure from Rome in another manner, and
say that the Pope was angry with Michael Angelo because he
would not let him see his work, and that he came more than once
disguised when Michael Angelo was not at home, and corrupted his lads
with money to let him in to see the chapel of Sixtus his uncle, which
he was painting, and that once Michael Angelo, doubting his
boys, hid himself and let something fall upon the Pope as he entered
the chapel, which made him rush out in a fury.
However it was, as soon as he reached Bologna before he had taken off
his boots, he was conduct~d by the Pope's servant to his Holiness
accompanied by a bishop from Cardinal Soderini the cardinal himself
being ill. Arrived in the Pope's presence, Michael Angelo knelt down
and his Holiness looked at him severely as if in anger, saying,
"Instead of coming to us, you have waited for us to come to you,"
meaning that Bologna was nearer to Florence than Rome. Michael Angelo
humbly begged pardon, saying he had not done it to offend, but that he
could not endure to be driven away in such a manner. And the bishop
who had brought him in began to excuse him, saying that such men were
ignorant, except in matters of art, and were not like other men. Upon
this the Pope grew angry, and with a stick he had in his hand he
struck the bishop, saying, "It is you who are ignorant and speak evil
of him, which we did not do." So the bishop was driven out from his
presence by the lacquey, and the Pope, having vented his anger upon
him, blessed Michael Angelo, and showered upon him gifts and promises.
He was employed to make a bronze statue of Pope Julius, five braccia
high, for the city of Bologna. The attitude is most beautiful, having
great dignity, and in the drapery there is richness and magnificence,
and in the countenance vivacity and force, promptness and terrible
majesty. It was set up in a niche over the gate of S. Petronio. It is
said that while Michael Angelo was working upon it, Francia the
goldsmith and also a most excellent painter came to see it, having
heard much of him and his works, and never having seen any of them.
Gazing upon the work with astonishment, he was asked by Michael Angelo
what he thought of it, and he answered that it was a very beautiful
cast and a fine material. Michael Angelo, thinking that he was
praising the bronze rather than the artist, said, " I am as much
obliged to Pope Julius who gave it to me as you are to the men from
whom you get your colours for painting," adding before some gentlemen
that he was a fool.
Michael Angelo finished this statue in clay before the Pope left
Bologna for Rome, and his Holiness went to see it. He asked what was
to be in his left hand, and whether the right hand, which was raised
with so haughty a gesture, was blessing or cursing. Michael Angelo
replied that he was advising the people of Bologna to conduct
themselves well, and prayed him to decide if he should put a book in
his left hand, but he answered, "Put a sword, for I am not a man of
letters." This statue was afterwards destroyed by Bentivogli, and the
bronze sold to Duke Alphonso of Ferrara, who made it into a cannon
called the Julia, but the head is still preserved.
When the Pope was returned to Rome, Bramante (a friend of Raffaello's,
and therefore little a friend to Michael Angelo) tried to turn his
mind from finishing his sepulchre, saying it was an evil augury and
seemed like hastening his death to make his own grave; and he
persuaded him that on Michael Angelo's return he should set him to
paint the ceiling of the chapel in the palace, in memory of Sixtus his
uncle. For Bramante and Michael Angelo's other rivals thought to draw
him away from sculpture, in which they saw he was perfect, and make
him produce less worthy works, not to be compared with Raffaello's,
knowing he had had no experience in painting in fresco. So when he was
returned and proposed to the Pope to finish his tomb, he desired him
instead to paint the ceiling of the chapel. Michael Angelo sought in
every way to shift the load off his back, proposing Raffaello instead.
But the more he excused himself, the more impetuous the Pope became.
So seeing that his Holiness persevered, he resolved to do it, and the
Pope ordered Bramante to make the scaffold. He made it hanging by
ropes passed through holes in the ceiling, which when Michael Angelo
saw, he asked Bramante how the holes were to be stopped up when the
painting was finished. He answered, "We must think of that afterwards,
but there is no other way." So Michael Angelo knew that either
Bramante was worth little or that he was no friend to him, and he went
to the Pope and told him the scaffolding would not do. So he told him
to do it his own way. He therefore ordered it to be made on supports,
not touching the wall, and he gave to a poor carpenter who made it so
many of the useless ropes that by the sale of them he obtained a dowry
for one of his daughters.
The Pope having resolved that the pictures which had been painted
there by the masters before him in the time of Sixtus should be
destroyed, Michael Angelo was forced by the greatness of the
undertaking to ask aid, and sent to Florence for men. And having begun
and finished the cartoons, and never having coloured before in fresco,
he brought from Florence some of his friends to aid hlm, and that he
might see their method of working in freseo, among whom were Granacci,
Bugiar~ini, and others. So he set them to begin the work, but their
efforts being far from satisfying him, one morning he resolved to
destroy all that they had done, and shutting himself up in the chapel,
would not open the door for them, nor show himself to them at home.
They therefore, after this had gone on some time, were offended, and
took leave and went back to Florence with shame. Then Michael Angelo
prepared to do the whole work himself, and brought it to a successful
termination with great labour and study, nor would he let any one see
it, by which means the desire grew strong in all. When the half was
done and uncovered, all Rome went to see it, the Pope the first; and
Raffaello da Urbino, who was excellent in imitating, having seen it,
changed his manner. Then Bramante sought to persuade the Pope to give
the other half to Raffaello. But the Pope, seeing every day the powers
of Michael Angelo, judged that he should finish the other half. So he
brought it to an end in twenty months by himself without even the help
of a man to grind the colours. Michael Angelo complained that from the
haste of the Pope he could not finish it as he would, for the Pope
constantly asked him when it would be finished. Once he answered, "It
will be finished when I have satisfied myself." "But we will," replied
the Popes "that you should satisfy us in our desire to have it
quickly." And he added that if it was not done soon he would have him
thrown from his scaffold. The Pope used often to tell Michael Angelo
to make the chapel rich in colour and gold, but Michael Angelo would
answer the Holy Father, "In those times men did not wear gold, and
those whom I am painting were never very rich, but holy men despising
The work was done in great discomfort from constantly looking up, and
it so injured his sight that he could only read or look at drawings in
the same position, an effect which lasted many months. But in the
ardour of labour he felt no fatigue and cared for no discomfort. The
work has been, indeed, a light of our art, illuminating the world
which had been so many centuries in darkness. Oh, truly happy age, and
oh, blessed artists, who at such a fountain can purge away the dark
films from your eyes. Give thanks to Heaven, and imitate Michael
Angelo in all things.
So when it was uncovered every one from every part ran to see it, and
gazed in silent astonishment; and the Pope, inspired by it and
encouraged to greater undertakings, rewarded him libera.lly with money
and rich gifts. The great favours that the Pope showed him proved that
he recognised his talents, and if sometimes he did him an injury, he
healed it with gifts and signal favours; as when, for instance,
Michael Angelo once asked leave of him to go to work in S. Giovanni in
Florence, and requested money for the purpose, and he said, "Well, and
this chapel, when will it be finished?" "When I can, Holy Father." The
Pope having a stick in his hand struck Michael Angelo, saying, "When I
can! when I can! I will make you finish it!" Michael Angelo therefore
returned to his house and prepared to leave for Florence, but
the Pope in haste sent his chamberlain after him with five hundred
crowns to pacify him, and ordered him to make his excuses and say it
was all done in love and kindness. And he, seeing it was the nature of
the Pope and really loving him, took it in good part and laughed at
it, finding also that it turned to his profit, for the Pope would do
anything to keep him his friend.
But when the chapel was finished, and before the Pope died, he gave
orders to Cardinal Santiquattro and Cardinal Aginense, his nephew,
that in the case of his death they were to complete his monument, but
after a less magnificent design than the first. So MichaeJ Angelo
returned again to his work upon the tomb, hoping to carry it out to
the end without hindrance, but it was to him the cause of more
annoyance and trouble than anything else he did in his life. At that
time befell the death of Julius, and the whole plan was abandoned upon
the creation of Pope Leo X For he having a mind and talents no less
splendid than those of Julius, desired to leave in his native city, of
which he was the first pontiff, such a marvellous work in memory of
himself and of the divine artist, his fellowcitizen, as a great prince
like himself was able to produce. So he gave orders that the facade of
S. Lorenzo in Florence, a church built by the house of Medici, should
be erected, and he commanded that the sepulchre of Julius should be
abandoned that Michael Angelo might prepare plans and designs for this
work. Michael Angelo made all the resistance he could, alleging that
he was bound to Santiquattro and Aginense for the tomb. But the Pope
replied that he was not to think about that, for he had already
considered that, and had procured their consent to his departure. So
the matter was settled to the displeasure both of the cardinals and
Michael Angelo, and he departed weeping. He consumed many years in
procuring marble, though in the meantime he made models in wax and
other things for the work; but the matter was so delayed that the
money set apart for it was consumed in the war of Lombardy, and the
work was left unfinished at the death of Leo.
At this time, in the year 1525, Giorgio Vasari was brought as a boy to
Florence by the Cardinal of Cortona and put with Michael Angelo to
learn the art. But he being called by Pope Clement VII to Rome,
determined that Vasari should go to Andrea del Sarto, and went himself
to Andrea's workshop to recommend him to his care.
When Clement VII was made pope he sent for Michael Angelo, and he
agreed with the Pope to finish the sacristy and library of S. Lorenzo,
and to make four tombs for the bodies of the fathers of the two Popes,
Lorenzo and Giuliano, his brother, and for Giuliano, brothcr of Leo,
and Duke Lorenzo, his nephew. At this time befell the sack of Rome and
the banishment of the Medici from Florence. Those who governed the
city desired to refortify it, and made Michael Angelo
commissarygeneral of all the fortifications. He surrounded the hill of
S. Miniato with bastions and fortified the city in many places, and he
was sent to Ferrara to view the fortifications of Duke Alfonso, who
received him with much courtesy, and prayed him at his leisure to make
some work of art for him. Returning to Florence, and engaged again
upon the fortifications, he nevertheless found time both to make a
painting of Leda in tempera for the duke, and to work upon the statues
for the monument in S. Lorenzo. Of this monument, partly finished,
there are seven statues. The first is Our Lady, and though it is not
finished, the excellence of the work may be seen. Then there are the
four statues of Night and Day, Dawn and Twilight, most beautiful, and
sufficient of themselves, if art were lost, to restore it to light.
The other statues are the two armed captains, the one the pensive Duke
Lorenzo, and the other the proud Duke Giuliano.
Meanwhile the siege of Florence began, and the enemy closing round the
city, and the hope of aid failing, Michael Angelo determined to leave
Florence and go to Venice. So he departed secretly without any one
knowing of it, taking with him Antonio Mini his pupil, and his
faithful friend Piloto the goldsmith, wearing each one their money in
their quilted doublets. And they came to Ferrara and rested
there. And it happened because of the war that Duke Alfonso had given
orders that the names of those who were at the inns and of all
strangers should be brought him every day. So it came about that
Michael Angelo's coming was made known to the duke. And he sent some
of the chief men of his court to bring him to the palace, with his
horses and all he had, and give him good lodging. So Michael Angelo,
finding himself in the power of another, was forced to obey and went
to the duke. And the duke received him with great honour, and making
him rich gifts, desired him to tarry in Ferrara. But he would not
remain, though the duke, praying him not to depart while the war
lasted, offered him all in his power. Then Michael Angelo, not willing
to be outdone in courtesy, thanked him much, and turning to his two
companions, said that he had brought to Ferrara twelve thousand
crowns, and that they were quite at his service.
And the duke took him through his palace and showed him all his
treasures, especially his portrait by the hand of Titian, which
Michael Angelo commended much; but he would not stop at the palace,
and returned to the inn, and the host where he lodged received from
the duke an infinite number of things with which to do him honour, and
command to take nothing from him for his lodging.
He proceeded thence to Venice, but many desiring to make his
acquaintance, for which he had no wish, he departed from the Giudecca
where he had lodged. It is said that he made a design for the bridge
of the Rialto at the request of the Doge Gritti, a design most rare
for invention and ornament.
But Michael Angelo was recalled by his native city, and earnestly
implored not to abandon her, and they sent him a safe conduct. At
last, overcome by his love for her, he returned, not without peril of
his life. He restored the tower of S. Miniato, which did much injury
to the enemy, so they battered it with great cannon, and would have
overthrown it, but Michael Angelo defended it, hanging bales of wool
and mattresses to shield it.
When the peace was made, Baccio Valore was commissioned by the Pope to
seize some of the ringleaders, and they sought for Michael Angelo, but
he had fled secretly to the house of a friend, where he lay hid many
days. When his anger was passed, Pope Clement remembered his great
worth, and bade them seek him, ordering them to say nothing to him,
but that he should have his usual provision and should go on with his
work at S. Lorenzo.
Then Duke Alfonso of Ferrara, having heard that he had
completed a rare piece of work for him, sent one of his gentlemen to
him that he might not lose such a jewel, and he came to Florence and
presented his letters of credence. Then Michael Angelo showed him the
Leda, and Castor and Pollux coming out of the eggbut the messenger of
the duke thought he ought to have produced some great work, not
understanding the skill and excellence of the thing, and he said to
Michael Angelo, "Oh, this is a little thing." Then Michael Angelo
asked him what was his trade, for he knew that none are such good
judges of a thing as those who have some skill in it themselves. He
replied contemptuously, "I am a merchant," thinking that Michael
Angelo did not know he was a gentleman; and so, being rather offended
by the question, he expressed some contempt for the industry of the
Florentines. Michael Angelo, who perfectly understood his meaning,
answered, " You have shown yourself a bad merchant this time, and to
your master's damage; take yourself off." Afterwards, Anton Mini, his
pupil, having twc sisters about to be married, asked him for the
picture, and he gave it to him willingly, together with the greater
part of his drawings and cartoons, and also two chests of models. And
when Mini went into France he took them with him there, and the Leda
he sold to King Francis, but the cartoons and drawings were lost, for
he died in a short time and they were stolen.
Afterwards the Pope desired Michael Angelo to come to him in Rome and
paint the walls of the Sistine Chapel. Clement wished that he should
paint the Last Judgment and Lucifer driven out of heaven for his
pride, for which many years before he had made sketches and designs.
However, in 1533 followed the death of Pope Clement, and Michael
Angelo again thought himself free to finish the tomb of Julius II But
when Paul III was made pope, it was not long before he sent for him,
and desired him to come into his service. Then Michael Angelo refused,
saying he was bound by contract to the Duke of Urbino to finish the
tomb of Julius II. But the Pope in anger cried out, "I have desired
this for thirty years, and now that I am Pope I will not give it up. I
will destroy the contract, and am determined that you shall serve me."
Michael Angelo thought of departing from Rome, but fearing the
greatness of the Pope, and seeing him so old, thought to satisfy him
with words. And the Pope came one clay to his house with ten
cardinals, and desired to see all the statues for the tomb of Julius,
and they appeared to him miraculous, particularly the Moses; and the
Cardinal of Mantua said this figure alone was enough to do honour to
Pope Julius. And when he saw the cartoons and drawings for the chapel,
the Pope urged him again to come into his service, promising to order
matters so that the Duke of Urbino should be contented with three
statues the others being made from his designs by good masters.
The new contract, therefore, being confirmed by the duke, the work was
completed and set up, a most excellent work, but very far from
the first design; and Michael Angelo since he could do no other,
resolved to serve Pope Paul, who desired him to carry out the commands
of Clement without altering anything. When Michael Angelo had
completed about three quarters of the work, Pope Paul went to see it,
and Messer Biagio da Cesena, the master of the ceremonies, was with
him, and when he was asked what he thought of it, he answered that he
thought it not right to have so many naked figures in the Pope's
chapel. This displeased Michael Angelo, and to revenge himself, as
soon as he was departed, he painted him in the character of Minos with
a great serpent twisted round his legs. Nor did Messer Biagio's
entreaties either to the Pope or to Michael Angelo himself, avail to
persuade him to take it away. At this time it happened that the master
fell from the scaffold, from no little height, and hurt one of his
legs, but would not be doctored for it. Thereupon Master Baccio
Rontini, the Florentine, his friend and a clever doctor, feeling pity
for him, went one day and knocked at his door, and receiving no
answer, made his way to the room of Michael Angelo, who had been given
over, and would not leave him until he was cured. When he was healed,
returning to his painting, he worked at it continually, until in a few
months it was brought to an end, and the words of Dante verified, "The
dead seem dead and the living living." And when this Last Judgment was
uncovered, he was seen to have vanquished not only all the painters
who had worked there before, but even to have surpassed his own work
on the ceiling. He laboured at this work eight years, and uncovered it
in the year 1541, on Christmas Day, I think, to the marvel of all
Rome, or rather all the world; and 1 who went that year to Rome was
Afterwards he painted for Pope Paul the Conversion of S. Paul and the
Crucifixion of S. PeterThese were the last pictures he painted, at the
age of seventyfive, and with great fatigue, as he told me; for
painting, and especially working in fresco, is not an art for old men.
But his spirit could not remain without doing something, and since he
could not paint, he set to work upon a piece of marble, to bring out
of it four figures larger than life, for his amusement and pastime,
and as he said, because working with the hammer kept him healthy in
body. It represented the dead Christ, and was left unfinished,
although he had intended it to be placed over his grave.
It happened in 1546 that Antonio de Sangallo died, and one being
wanted in his place to superintend the building of S. Peter's, his
Holiness sent for Michael Angelo and desired to put him in the office,
but he refused, saying that architecture was not his proper art.
Finally, entreaties availing nothing, the Pope commanded him to accept
it, and so, to his great displeasure and against his will, he was
obliged to enter upon this office. Then one day going to S. Peter's to
see the model of wood which Sangallo had made, he found the whole
Sangallo party there. They coming up to him said they were glad that
the charge of the work was to be his, adding that the model was a
field which would never fail to provide pasture. "You say the truth,"
answered Michael Angelo, meaning to infer, as he told a friend, " for
sheep and oxen, who do not understand art." And he used to say
publicly that Sangallo held more to the German manner than to the good
antique, and besides that fifty years' labour might be spared and
300,000 crowns' expense, and yet the building might be carried out
with more grandeur and majesty. And he showed what he meant in a model
which made every one acknowledge his words to be true. This model cost
him twentyfive crowns, and was made in fifteen days. Sangallo's model
cost more than four thousand, it is said, and took many years to make,
for he seemed to think that this building was a way of making money,
to be carried on with no intention of its being finished. This seemed
to Michael Angelo dishonest, and when the Pope was urging him to
become the architect, he said one day openly to all those connected
with the building, that they had better do everything to prevent him
having the care of it, for he would have none of them in the building;
but these words, as may be supposed, did him much harm, and made him
many enemies, who were always seeking to hinder him. But at last the
Pope issued his commands, and created him the head of the building
with all authority. Then Michael Angelo, seeing the Pope's trust in
him, desired that it should be put into the agreement that he served
for the love of God and without any reward. But when a new Pope was
made, the set that was opposed to him in Rome began again to trouble
him; therefore the Duke Cosimo desired that he should leave Rome and
return to Florence, but he, being sick and infirm, could not travel.
At that time Paul IV thought to have the Last Judgment amended which
when Michael Angelo heard he bade them tell the Pope that this was a
little matter, and might easily be amended; let him amend the world,
and then the pictures would soon amend themselves.
The same year befell the death of Urbino his servant, or rather, to
speak more truly, his companion. He had come to him in Florence after
the siege in 1530, and during twentysix years served him with
such faithfulness that Michael Angelo made him rich, and loved him so
much that when he was ill he nursed him and lay all night in his
clothes to watch him. After he was dead, Vasari wrote to him to
comfort him, and he replied in these words:-
"MY DEAR MESSER GIORCIO,-It is hard for me to write;
nevertheless, in reply to your letter, I will say something. You know
that Urbino is dead, to my great loss and infinite grief, but in the
great mercy of God. The mercy is that dying he has taught me how to
die, not in sorrow, but with desire of death. I have had him twentysix
years, and have found him most rare and faithful; and now that I had
made him rich, and hoped that he would have been the support of my old
age, he has left me, and nothing remains but the hope of meeting him
again in Paradise. And of this God gave me promise in the happy death
he died, for he regretted, far more than death, leaving me in this
treacherous world with so many infirmities, although the chief part of
me is gone with him, and nothing remains but infinite misery."
Until this time Michael Angelo worked almost every day at that stone
of which we have spoken before, with the four figures, but now he
broke it, either because the stone was hard or because his judgment
was now so ripe that nothing he did contented him. His finished
statues were chiefly made in his youth; most of the others were left
unfinished, for if he discovered a mistake, however small, he gave up
the work and applied himself to another piece of marble. He often said
this was the reason why he had finished so few statues and pictures.
This Pieta, broken as it was, he gave to Francesco Bandini. Tiberio
Calcagni, the Florentine sculptor, had become a great friend of
Michael Angelo's through Bandini, and being one day in Michael
Angelo's house, and seeing this Pieta broken, he asked him why he had
broken it, and spoilt so much marvellous work. He answered it was
because of his servant Urbino's importunity, who was always urging him
to finish it, and besides that, among other things, he had broken a
piece off the Virgin's arm, and before that he had taken a dislike to
it, having many misfortunes because of a crack there was in it; so at
last, losing patience, he had broken it, and would have destroyed it
altogether if his servant Antonio had not begged him to give it him as
it was. Then Tiberio spoke to Bandini about it, for Bandini desired to
have a work of Michael Angelo's, and he prayed Michael Angelo to allow
Tiberio to finish it for him, promising that Antonio should have two
hundred crowns of gold, and he being content, made them a present of
it. So Tiberio took it away and joined it together, but it was left
unfinished at his death. However, it was necessary for Michael Angelo
to get another piece of marble, that he might do a little
carving every day.
The architect Pirro Ligorio had entered the service of Paul IV, and
was the cause of renewed vexation to Michael Angelo, for he
went about everywhere saying that he was becoming childish. Indignant
at this treatment, Michael Angelo would willingly have returned to
Florence, and Giorgio urged him to do so. But he felt he was getting
old, having already reached the age of eightyone, and he wrote to
Vasari saying he knew he was at the end of his life, as it were in the
twentyfourth hour, and that no thought arose in his mind on which
death was not carved. He sent also a sonnet, by which it may be seen
that his mind was turning more and more towards God, and away from the
cares of his art. Duke Cosimo also commanded Vasari to encourage him
to return to his native place; but though his will was ready, his
infirmity of body kept him in Rome.
Many of his friends, seeing that the work at S. Peter's proceeded but
slowly, urged him at least to leave a model behind him. He was for
many months undecided about it, but at last he began, and little by
little made a small clay model, from which, with the help of his plans
and designs, Giovanni Franzese made a larger one of wood.
When Pius V became pope, he showed Michael Angelo much favour, and
employed him in many works, particularly in making the design of a
monument for the Marquis Marignano, his brother. The work was
entrusted by his Holiness to Lione Lioni, a great friend of Michael
Angelo's, and about the same time Lione pourtrayed Michael Angelo on a
medallion, putting at his wish on the reverse a blind man led by a
dog, with the words, "Docebo iniquos vias tuas, et impii ad te
convertentur," and because the thing pleased him much, Michael Angelo
gave him a model in wax of Hercules and Antaus. There are only two
painted portraits of Michael Angelo, the one by Bugiardini and the
other by Jacopo del Conte, besides one in bronze by Daniello
Ricciarelli, and this one of Lione's, of which there have been so many
copies made that I have seen a great number in Italy and elsewhere.
About a year before his death, Vasari, seeing that Michael Angelo was
much shaken, prevailed upon the Pope to give orders concerning the
care of him, and concerning his drawings and other things, in case
anything should befall him. His nephew Lionardo desired to come to
Rome that Lent, as if foreboding that Michael Angelo was near his end,
and when he fell sick of a slow fever, he wrote for him to come. But
the sickness increasing, in the presence of his physician and other
friends, in perfect consciousness, he made his will in three words,
leaving his soul in the hands of God, his body to the earth, and his
goods to his nearest relations, charging his friends when passing out
of this life to remember the sufferings of Jesus Christ; and so, on
the seventeenth day of February, at twentythree o'clock of the year
1563, according to the Florentine style, which after the Roman would
be 1564, he expired to go to a better Jife.
Michael Angelo's imagination was so perfect that, not being able to
express with his hands his great and terrible conceptions, he often
abandoned his works and destroyed many of them. I know that a little
before his death he burnt a great number of drawings and sketches. It
should appear strange to none that Michael Angelo delighted in
solitude, being as it were in love with art. Nevertheless he held dear
the friendship of many great and learned persons, among whom were many
cardinals and bishops. The great Cardinal Ippolito de' Medici loved
him much, and once, having heard that Michael Angelo was greatly
pleased with a Turkish horse of his, he sent it to him as a gift with
ten mules' burden of hay and a servant to keep it. He loved the
society of artists, and held intercourse with them; and those who say
he would not teach are wrong, for he was ready to give counsel to any
one who asked. But he was unfortunate with those pupils who lived in
his house; for Piero Urbano was a man of talent, but would never do
anything to tire himself; Antonio Mini would have done anything, but
he had not a brain capable of much, and when the wax is hard you
cannot get a good impression; Ascanio dalla Ripa Transone worked very
hard, but nothing came of it: he spent years over a picture of which
Michael Angelo had given him the drawing, but at last all the great
expectations that had been formed of him went off into smoke, and I
remember Michael Angelo had so much compassion for his difficulty in
painting that he helped him with his own hand.
He has often said to me that he would have written something for the
help of artists, but feared not being able to express in writing what
he wished. But he delighted much in reading the poets, particularly
Dante and Petrarca, and in making madrigals and sonnets. And he sent
much, both in rhyme and prose, to the illustrious Marchioness of
Pescara, of whose virtues he was greatly enamoured, and she of his.
Many times she went from Viterbo to Rome to visit him, and Michael
Angelo made many things for her. He delighted much in the sacred
scriptures, like the good Christian he was, and held in veneration the
works of Fr. Girolamo Savonarola, having heard him preach. In his
manner of life he was most abstemious, being content when young with a
little bread and wine while at his work, and until he had finished the
Last Judgment he always waited for refreshment till the evening, when
he had done his work. Though rich he lived poorly, never taking
presents from any one. He took little sleep, but often at night he
would rise to work, having made himself a paper cap, in the middle of
which he could fix his candle, so that he could have the use of his
hands. Vasari, who often saw this cap, noticed that he did not use wax
candles, but candles made of goats' tallow, and so he sent him four
bundles, which would be 40 lbs. His servant took them to him in the
evening, and when Michael Angelo refused to take them, he answered,
"Sir, carrying them here has almost broken my arms, and I will not
carry them back again; but there is some thick mud before your door in
which they will stand straight enough, and I will set light to them
all." Upon which Michael Angelo answered, "Put them down here, then,
for I will not have you playing tricks before my door." He told me
that often in his youth he had slept in his clothes, too worn out with
his labours to undress himself. Some have accused him of being
avaricious, but they are mistaken, for he freely gave away his
drawings and models and pictures, for which he might have obtained
thousands of crowns. And then, as for the money earned by the sweat of
his brow, bv his own study and labour-can any one be cailed avaricious
who remembered so many poor as he did, and secretly provided for the
marriage of many girls, and enriched his servant Urbino? He had served
him long, and once Michael Angelo asked him, "If I die, what will you
do?" He answered, "I shall serve another." "Oh, poor fellow!" answered
Michael Angelo, "I will mend your poverty." And he gave him at once
two thousand crowns, a gift for a Caesar or a great pontiff.
He had a most tenacious memory; he could remember and make use of the
works of others when he had only once seen them; while he never
repeated anything of his own, because he remembered all he had done.
In his youth, being one evening with some painters, his friends, it
was proposed that they should try who could make a figure without any
drawing in it, like those things that ignorant fellows draw on the
walls, and the one that could make the best should have a supper given
him. He remembered having seen one of these rude drawings on a wall,
and drew it as if he had it in front of him, and so surpassed all the
other painters-a difficult thing for a man to do who had such
knowledge of drawing.
He felt very strongly against those who had done him an injury, but he
never had recourse to vengeance. His conversation was full of wisdom
and gravity, mixed with clever or humorous sayings. Many of these have
been noted down, and I will give some. A friend of his was once
talking to him about death, and saying that he must dread it very much
because he was so continually labouring in his art; but he answered,
"All that was nothing, and if life pleased us, death was a work from
the hand of the same Master, and ought not to displease us." A citizen
found him once at Orsanmichele in Florence, looking at the statue of
S. Mark by Donatello, and asked him what he thought of it. He answered
that he had never seen a more honest face, and that if S. Mark was
like that, we might believe all that he had written. A painter had
painted a picture in which the best thing was an ox, and some one
asked why it was that the painter had made the ox more lifelike than
anything else? Michael Angelo answered, "Every painter can pourtray
himself well."
He took pleasure in certain men like Il Menighella, a common painter,
who would come to him and get him to make a drawing for a S. Rocco or
a S. Antonio, which he was to paint for some peasant. And Michael
Angelo, who could hardly be persuaded to work for kings, would at once
lay aside his work, and make simple designs suited to Il Menighella's
wishes. He was also attached tc, Topolino, a stonecutter, who fancied
hin1self a sculptor of worth. He resided for many years in the
mountains of Carrara for the purpose of sending marble to Michael
Angelo, and he never sent a boatload without three or four roughly
hewn figures of his own carving, which used to make Michael Angelo die
with laughing. After he came back from Carrara he set himself to
finish a Mercury which he had begun in marble, and one day, when it
was nearly completed, he asked Michael Angelo to look at it and give
him his opinion on it. "You are a fool," said Michael Angelo, "to try
to make figures. Don't you see that this Mercury is the third part of
a braccio too short from the knee to the foot-that you have made him a
lame dwarf?" "Oh, that is nothing! If that is all, I will soon remedy
that." Michael Angelo laughed again at his simplicity, but when he was
gone Topolino took a piece of marble, and having cut Mercury under the
knees, inserted the marble, joining it neatly, and giving Mercury a
pair of boots, the top of which hid the join. When he showed his work
to Michael Angelo he laughed again, but marvelled that ignorant
fellows like him, when driven by necessity, should be capable of doing
daring things which sculptors of real worth would not think of.
Michael Angelo was a very healthy man, thin and muscular, although as
a boy he was sickly. When grown up he had also two serious illnesses;
nevertheless he could support any amount of fatigue. He was of middle
height, wide across the shoulders, but the rest of his body in good
Certainly he was sent into the world to be an exarnple to men of art,
that they sholld learll from his life and from his works; and I, who
have to thank God for felicity rare among men of our profession, count
among my greatest blessings that I was born in the time when Michael
Angelo was alive, and was counted worthy to have him for my master,
and to be treated by him as a familiar friend, as every one knows.


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Ian Anderson Brings 'Thick as a Brick' Tour to Nashville – Concert Review
Jethro Tull front man Ian Anderson presented the crowd with both a full dose of nostalgia, and a new musical challenge in Nashville on Tuesday night (Oct. 30). Performing both the classic Tull album 'Thick as a Brick' and his new solo sequel 'Thick as a Brick 2' in their entirety, Anderson pulled off the unlikely feat of topping his past success with his newest work.
The original 'Thick as a Brick' was a long, musically and lyrically convoluted work that spanned two entire album sides, and since many of its passages feature Anderson on vocals, flute and acoustic guitar simultaneously, part of the challenge Tuesday night was performing it in an arrangement that was musically possible to pull off live. That demanded much of Anderson -- especially since many of those vocal parts employed the higher part of his range and long, sustained notes that are beyond his current vocal capabilities. Enter Ryan O'Donnell, a singing actor who performed many of the rangier parts from that album Tuesday, delivering them with phrasing so close to Anderson's own that it's almost startling.
O'Donnell portrayed the character of Gerald Bostock, the young boy from the concept who supposedly wrote the long poem upon which 'Thick as a Brick' was based. In so doing, he not only took some of the vocal weight off of Anderson, he also provided a focal point during times when Anderson was involved in long acoustic guitar or flute passages. In that sense his presence was positive, but there were also moments where some of the elements of theater and mime that his performance brought to the show threatened to lapse into absurdity -- as if the writers from Saturday Night Live drafted a sketch in which Spinal Tap performed 'Les Miserables.'
Fortunately, those moments were few. For the most part the first half of the evening succeeded at presenting a very ambitious mix of rock, folk, classical music, theater and multi-media elements in a way that brought a 40-year-old piece of work to new life -- albeit with a few fits and starts. The crowd certainly seemed to enjoy it, whooping and cheering Anderson with every rapid flute riff and bug-eyed expression -- particularly when he struck his trademark pose of playing the flute while standing on one leg.
After a brief intermission, the band returned to the stage to perform 'Thick as a Brick 2' in its entirety as well. Unlike the first album, which most people have heard at least portions of for the last four decades, this material was entirely new for many, and performing it could have been a disastrous choice. But for any Tull fans who have been thinking about attending this tour, then leaving after the first half, you really should mind if you sit this one out, because the evening's second half turned out to be the best part of the show by a wide margin.
The material from 'Thick as a Brick 2' was written more with this type of performance in mind, and while it certainly has no shortage of long instrumental passages and crazy solos in unusual time signatures, it seems to have been written with the specific intent of playing it live, with more exciting rhythms underpinning the main themes that make it far more compelling in a live setting. The central flute and guitar motif is also very strong, and Anderson wrote and recorded this material to accommodate his current vocal range, meaning that more of the focus of the evening's second half was on him, as it should be. O'Donnell was still present and very much a part of the music and presentation, but his presence onstage was far better integrated in the second half of the show.
What was truly remarkable about Tuesday night's performance is that this is not really a show that appears to have been designed with the interests of the fans in mind. This is a show in which Ian Anderson is giving his longtime fans exactly what he damn well wants to and challenging them to deal with it. You could call that self-indulgent, and you wouldn't be entirely wrong -- this is, after all, a man standing on one leg playing the flute as part of a classic rock show that incorporates elements of mime and interpretive dance -- but you have to admire the sheer artistic audacity that drives that, especially when it works this well.
Given the choice between rehashing old classic hits or moving forward musically, on Tuesday night in Nashville Ian Anderson simply chose to do both, and in such a way that he actually made fans like it.


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SpentGrains needed a new logo design and created a contest on 99designs.
A winner was selected from 50 designs submitted by 28 freelance designers.
Spent Grains
Our Colorado-based brewpub will feature homebrewers for brewmasters and pizzas made with spent grains (usable grains left over from the brewing process). We are looking to change the name to something more franchiseable.
We are pretty confident in the name "Spent Grains." Given the nature of both our brewery and pizza recipe.
Craft-Beer lovers
Pizza Lovers
Families in our suburban-based neighborhood.
We believe Spent Grains feels organic, natural, and incorporates every aspect of the brewpub.
We are looking for something that feels:
and clearly represents our restaurant
We would like to have a logo that incorporates the following in order of importance:
Spent Grains
Brewery & Pizzeria
Your design will be placed on:
Exterior Sign
Employee Uniforms
Marketing Materials
We like the mushroom man from the Pizzeria "Mellow Mushroom"
A personified grain with "spent" eyes in the image would be interesting if it is done right.
Find out how a design contest works or learn more about our logo design services.