tion of their race by so renowned a man. It should also be
observed that at this time Michelangelo is always described in deeds
as sculptor, and that he frequently signs with Michelangelo, Scultore.
Later on in life he changed his views. He wrote in 1548 to his nephew
Lionardo: "Tell the priest not to write to me again as _Michelangelo
the sculptor_, for I am not known here except as Michelangelo
Buonarroti. Say, too, that if a citizen of Florence wants to have an
altar-piece painted, he must find some painter; for I was never either
sculptor or painter in the way of one who keeps a shop. I have always
avoided that, for the honour of my father and my brothers. True, I
have served three Popes; but that was a matter of necessity." Earlier,
in 1543, he had written to the same effect: "When you correspond with
me, do not use the superscription _Michelangelo Simoni_, nor
_sculptor_; it is enough to put _Michelangelo Buonarroti_, for that is
how I am known here." On another occasion, advising his nephew what
surname the latter ought to adopt, he says: "I should certainly use
_Simoni_, and if the whole (that is, the whole list of patronymics in
use at Florence) is too long, those who cannot read it may leave it
alone." These communications prove that, though he had come to be
known as Buonarroti, he did not wish the family to drop their old
surname of Simoni. The reason was that he believed in their legendary
descent from the Counts of Canossa through a Podesta of Florence,
traditionally known as Simone da Canossa. This opinion had been
confirmed in 1520, as we have seen above, by a letter he received from
the Conte Alessandro da Canossa, addressing him as "Honoured kinsman."
In the correspondence with Lionardo, Michelangelo alludes to this act
of recognition: "You will find a letter from the Conte Alessandro da
Canossa in the book of contracts. He came to visit me at Rome, and
treated me like a relative. Take care of it." The dislike expressed by
Michelangelo to be called _sculptor_, and addressed upon the same
terms as other artists, arose from a keen sense of his nobility. The
feeling emerges frequently in his letters between 1540 and 1550. I
will give a specimen: "As to the purchase of a house, I repeat that
you ought to buy one of honourable condition, at 1500 or 2000 crowns;
and it ought to be in our quarter (Santa Croce), if possible. I say
this, because an honourable mansion in the city does a family great
credit. It ma