it here." It is said that
Michelagnolo handled it in such a manner as to make it appear an
antique; nor is there any reason to marvel at that, seeing that he had
genius enough to do it, and even more. Others maintain that Milanese
took it to Rome and buried it in a vineyard that he had there, and
then sold it as an antique to Cardinal San Giorgio for two hundred
ducats. Others, again, say that Milanese sold to the Cardinal one that
Michelagnolo had made for him, and that he wrote to Lorenzo di Pier
Francesco that he should cause thirty crowns to be given to
Michelagnolo, saying that he had not received more for the Cupid, and
thus deceiving the Cardinal, Lorenzo di Pier Francesco, and
Michelagnolo; but afterwards, having received information from one who
had seen that the boy was fashioned in Florence, the Cardinal
contrived to learn the truth by means of a messenger, and so went to
work that Milanese's agent had to restore the money and take back the
Cupid. That work, having come into the possession of Duke Valentino,
was presented by him to the Marchioness of Mantua, who took it to
her own country, where it is still to be seen at the present day.
This affair did not happen without some censure attaching to Cardinal
San Giorgio, in that he did not recognize the value of the work, which
consisted in its perfection; for modern works, if only they be
excellent, are as good as the ancient. What greater vanity is there
than that of those who concern themselves more with the name than the
fact? But of that kind of men, who pay more attention to the
appearance than to the reality, there are some to be found at any
time.

Now this event brought so much reputation to Michelagnolo, that he was
straightway summoned to Rome and engaged by Cardinal San Giorgio, with
whom he stayed nearly a year, although, as one little conversant with
our arts, he did not commission Michelagnolo to do anything. At that
time a barber of the Cardinal, who had been a painter, and could paint
with great diligence in distemper-colours, but knew nothing of design,
formed a friendship with Michelagnolo, who made for him a cartoon of
S. Francis receiving the Stigmata. That cartoon was painted very
carefully in colours by the barber on a little panel; and the picture
is now to be seen in S. Pietro a Montorio in the first chapel on the
left hand as one enters the church. The talent of Michelagnolo was
then clearly recognized by a Roman gentleman named Mess