as all
Roman citizens will tell us, that Michael Angelo conceived, at least in
its broad lines, the present effect of the Capitol. Vasari informs us that
Michael Angelo's old friend, Tomaso dei Cavalieri, superintended the work
after the great sculptor's death; we may trust him not to have departed
from the master's plans. Another scheme that interested Michael Angelo
considerably was the design for the church that the Florentine residents
in Rome wished to erect to their patron saint, San Giovanni. A letter to
his nephew Lionardo mentions it.(169) "The Florentines are minded to erect
a great edifice, that is to say, their church, and all of them with one
accord put pressure on me to attend to this. I have answered that I am
here by the Duke's licence for the work at Saint Peter's, and that without
his leave they will get nothing out of me." The Duke not only gave his
permission but was enthusiastic about the scheme. Michael Angelo promised
to send him his plan. "This I have had copied and drawn out more clearly
than I have been able to do it, on account of old age, and will send it to
your most Illustrious Lordship." Vasari tells us that Tiberio Calcagni,
"of gentle manners and discreet behaviour," not only copied this design,
but also made a model in clay under the master's supervision. Michael
Angelo informed the building committee that "if they carried it out,
neither the Romans or the Greeks ever erected so fine an edifice in any of
their temples; words, the like of which neither before or afterwards
issued from his lips, for he was exceedingly modest," says Vasari. Money
was lacking and the scheme fell through; both model and drawing were
allowed to perish. The present church of San Giovanni dei Fiorentini, in
Strada Giulia, is the work of Giacomo della Porta; the west part is by
Alessandro Galilei.

Tiberio Calcagni was appointed to finish the bust of Brutus, now in the
Bargello at Florence. Michael Angelo began it for Cardinal Ridolfi at the
request of his friend, Donato Giannotti. Tiberio had the sense and good
feeling not to touch his master's own work, but only carved the base and
the drapery; the face of the bust remains a magnificent specimen of the
great sculptor's handiwork. This powerfully-conceived head is said to have
been taken from a small intaglio cut in cornelian. It has been pointed out
that the chisel marks are cut by both the right and left hand. The vigour
of the workmanship indicates that the b