, 70, 87, 111, 128, 134, 150.

Serlio (Sebastiano), 66.

Signorelli, 14, 23.

Sistine chapel (ceiling of), 36-42.

Slaves, 47, 49.

Soderini, 16, 19.

Sodoma, 23.

Strozzi (Roberto), 47, 134.

T

Tasso (Bernardo), 82.

Temptation of St. Anthony, 4.

Tintoretto, 151, 165.

Torrigiani, 7.

Tribolo, 78, 165.

Tromboncino, 86.

U

Urbano (Pietro), 58, 131.

Urbino, 103, 132, 133.

V

Valori (Baccio), 71, 75.

Varchi, 68, 86, 128.

Varj (Metello), 49, 58.

Vasari, 20, 78, 101, 111, 128, 139, 140, 153.

Venusti (Marcello), 100.

Veronese, 99.

Verrocchio, 3.

Victory, 138, 140.

Vignole, 128.

Vinci (Lionardo da), 18-22, 24.

Virgin of Manchester, 11.

Vitruvius, 77.

Volterra (Daniele da), 100, 128, 136, 140, 158.

W

War with Pisa (Cartoon), 18-23.

Z

Zucchero, 153, 159.

THE END

FOOTNOTES:

[1] Condivi

[2] Drawings in the Louvre from the frescoes of Santa Croce.

[3] Munich. Drawings from the frescoes of the Carmine.

[4] In the collection of the Medici a St. Jerome by Van Eyck was valued
at forty ducats, the Giottos and Fra Angelicos at only ten ducats. The
Flemings were no less appreciated at Urbino where Justus of Ghent had
painted, whose frescoes were copied by Raphael when he was a child, and
at Rome where Jan Ruysch, twenty years later, was to work on the Stanze,
and throughout the kingdom of Naples--not to mention the great
collection of Flemish pictures in the north of Italy, like those of
Cardinal Grimani at Venice, and of Cardinal Bembo at Padua.

[5] Michelangelo was to receive six florins the first year, eight the
second and ten the third.

[6] "On the 10th of May, 1508," as he wrote at a later time, "I
Michelangelo, _sculptor_, began to work on the paintings of the Sistine
Chapel."

[7] He had for his companions at Bertoldo's, Granacci, the sculptors
Rustici, Baccio di Monte Lupo and Andrea del Monte-Sansovino, the
painters Niccolo Soggi, Lorenzo di Credi, Giuliano Bugiardini and the
brutal Torrigiano dei Torrigiani, whose blow left its mark on
Michelangelo's face for life.

[8] At first in the Strozzi Palace, then bought in 1529 by Francis I and
placed at Fontainebleau, it disappeared in the seventeenth century.

[9] I find it impossible to recognise, as Thode does, an allusion to the
death of Savonarola in a letter of 1508, when Michelangelo, hearing that
his father had been slandered by his brother, writes, "I have not