t you will remember to command me, and to make use not of me alone,
but of all my household, since we are all your servants. Indeed, my
most honoured and revered master, I entreat you deign to dispose of me
and do with me as one is wont to do with the least of servants. You
have the right to do so, since I owe more to you than to my own
father, and I will prove my desire to repay your kindness by my deeds.
I will now end this letter, in order not to be irksome, recommending
myself humbly, and praying you to let me have the comfort of knowing
that you are well: for a greater I could not receive. Farewell."

It cannot be denied that Michelangelo sometimes treated his pupils and
servants with the same irritability, suspicion, and waywardness of
temper as he showed to his relatives and friends. It is only necessary
to recall his indignation against Lapo and Lodovico at Bologna,
Stefano at Florence, Sandro at Serravalle, all his female drudges, and
the anonymous boy whom his father sent from Rome. That he was a man
"gey ill to live with" seems indisputable. This may in part account
for the fact that, unlike other great Italian masters, he formed no
school. The _frescanti_ who came from Florence to assist him in the
Sistine Chapel were dismissed with abruptness, perhaps even with
brutality. Montelupo and Montorsoli, among sculptors, Marcello Venusti
and Pontormo, Daniele da Volterra and Sebastiano del Piombo, among
painters, felt his direct influence. But they did not stand in the
same relation to him as Raffaello's pupils to their master. The work
of Giulio Romano, Giovanni da Udine, Francesco Penni, Perino del Vaga,
Primaticcio, at Rome, at Mantua, and elsewhere, is a genial
continuation of Raffaello's spirit and manner after his decease.
Nothing of the sort can be maintained about the statues and the
paintings which display a study of the style of Michelangelo. And this
holds good in like manner of his imitators in architecture. For worse
rather than for better, he powerfully and permanently affected Italian
art; but he did not create a body of intelligent craftsmen, capable of
carrying on his inspiration, as Giulio Romano expanded the Loggie of
the Vatican into the Palazzo del Te. I have already expressed my
opinions regarding the specific quality of the Michelangelo tradition
in a passage which I may perhaps be here permitted to resume:--

"Michelangelo formed no school in the strict sense of the word; yet
his influence