Angelo Montorsoli). The last named of
these masters is here, eagerly desirous to have the opportunity of doing
you honour. So are Francesco Sangallo, Giovanni Bologna, Benvenuto
Cellini, Ammanato, Rossi and Vincenzio Danti of Perugia, not to mention
other sculptors of note. The painters, headed by Bronzino, include many
talented young men, skilled in design, and colourists, quite capable of
establishing an honourable reputation. Of myself I need not speak. You
know well that in devotion, attachment, love, and loyalty (and let me
say this with prejudice to no one) I surpass the rest of your admirers
by far. Therefore, I entreat you, of your goodness, to console his
Excellency, and all these men of parts, and our city, as well as to show
this particular favour to myself, who have been selected by the Duke to
write to you, under the impression that, being your familiar and loving
friend, I might obtain from you some assistance of sterling utility for
the undertaking. His Excellency is prepared to spend both substance and
labour on the task, in order to honour you. Pray then, albeit age is
irksome, endeavour to aid him by unfolding your views; for, in doing so,
you will confer benefits on countless persons, and will be the cause of
raising all these men of parts to higher excellence, each one of whom
has learned what he already knows in the sacristy, or rather let me say
our school."

This eloquent despatch informs us very clearly that the walls of the
sacristy, above the tall Corinthian order which, encloses the part
devoted to sculpture, were intended to be covered with stucco and
fresco paintings, completing the polychromatic decoration begun by
Giovanni da Udine in the cupola. Twelve statues had been designed for
the niches in the marble panelling; and one word used by Vasari,
_facciate_, leaves the impression that the blank walls round and
opposite the altar were also to be adorned with pictures. We remain
uncertain how Michelangelo originally meant to dispose of the colossal
Madonna with SS. Damian and Cosimo.

Unhappily, nothing came of the Duke's project. Michelangelo was either
unable or unwilling--probably unable--to furnish the necessary plans
and drawings. In the eighth chapter of this book I have discussed the
hesitations with regard to the interior of the sacristy which are
revealed by some of his extant designs for it. We also know that he
was not in the habit of preparing accurate working cartoons for the