leave him to his
rest in Santa Croce, the Westminster Abbey of his city and the church of
his ward.

Vasari received from Lionardo Buonarroti the commission to design the tomb
for Santa Croce. He did his best to get the Pieta now in the Duomo to
serve as the principal part of the monument, asserting that it had been
intended by Michael Angelo for his monument. "Besides, there is an old man
in the group who represents the sculptor." This plan did not succeed, and
the ugly monument now in existence was designed instead. The Duke supplied
the marbles, and the figures were carved by Giovanni dall' Opera, Lorenzi
and Valerio Cioli. The bust portrait in bronze was modelled by Battista
Lorenzi. It was erected in 1570, and bears the inscription:

MICHAELI ANGELO BONAROTIO
E VETVSTA SIMONIORVM FAMILIA
SCVLPTORI. PICTORI. ET ARCHITECTO
FAMA OMNIBVS NOTISSIMO.
LEONARDVS PATRVO AMANTIS. ET DE SE OPTIME MERITO
TRANSLATIS ROMA EIVS OSSIBVS. ATQVE IN HOC TEMPLO MAIOR
SVOR SEPVLCRO CONDITIS. COHORTANTE SERENISS. COSMO MED.
MAGNO HETRVRIAE DVCE. P. C.
ANN. SAL. CIC. IC. LXX
VIXIT ANN. LXXXVIII. M. XI. D. XV.

The Romans also erected a monument in the church where they had hoped to
keep the bones of the artist who did more for their Immortal City than any
man who ever lived. Over this monument is the following epitaph:

MICHAEL ANGELUS
BONARROTIUS
SCULPTOR PICTOR ARCHITECTUS
MAXIMA ARTIFICUM FREQUENTIA
IN HAC BASILICA SS. XII APOST. F.M.C.
XI CAL. MART. A. MDLXIV ELATUS EST
CLAM INDE FLORENTIAM TRANSLATUS
ET IN TEMPLO S. CRUCIS EORUMD. F.
V. ID. MART. EJUSD. A. CONDITUS
TANTO NOMINI
NULLUM PAR ELOGIUM

Michael Angelo formed no school, his love of excellence would not permit
him to leave any inferior work behind him, as Raphael did in certain
portions of the Stanze and Loggia of the Vatican. Michael Angelo's
disposition was not so genial nor were his manners so universally pleasing
as those of the gentle Raphael, so he was unable to keep a body of workmen
together in good temper; the re