try. And, of a truth, whoever has seen this work need not trouble
to see any other work executed in sculpture, either in our own or in
other times, by no matter what craftsman. Michelagnolo received from
Piero Soderini in payment for it four hundred crowns; and it was set
in place in the year 1504. In consequence of the fame that he thereby
won as a sculptor, he made for the above-named Gonfalonier a most
beautiful David of bronze, which Soderini sent to France; and at this
time, also, he began, but did not finish, two medallions of
marble--one for Taddeo Taddei, which is now in his house, and another
that he began for Bartolommeo Pitti, which was presented by Fra
Miniato Pitti of Monte Oliveto, a man with a rare knowledge in
cosmography and many other sciences, and particularly in painting, to
Luigi Guicciardini, who was much his friend. These works were held to
be admirable in their excellence; and at this same time, also, he
blocked out a statue of S. Matthew in marble in the Office of Works of
S. Maria del Fiore, which statue, rough as it is, reveals its full
perfection and teaches sculptors in what manner figures can be carved
out of marble without their coming out misshapen, so that it may be
possible to go on ever improving them by removing more of the marble
with judgment, and also to draw back and change some part, according
as the necessity may arise. He also made a medallion in bronze of a
Madonna, which he cast in bronze at the request of certain Flemish
merchants of the Moscheroni family, persons of high nobility in their
own country, who paid him a hundred crowns for it, and intended to
send it to Flanders.

[Illustration: MADONNA, CHILD, AND S. JOHN

(_After the relief by =Michelagnolo=. Florence: Museo Nazionale_)

_Anderson_]

There came to Agnolo Doni, a Florentine citizen and a friend of
Michelagnolo, who much delighted to have beautiful things both by
ancient and by modern craftsmen, a desire to possess some work by
Michelagnolo; wherefore that master began for him a round picture
containing a Madonna, who, kneeling on both knees, has an Infant in
her arms and presents Him to Joseph, who receives Him. Here
Michelagnolo expresses in the turn of the head of the Mother of Christ
and in the gaze of her eyes, which she keeps fixed on the supreme
beauty of her Son, her marvellous contentment and her lovingness in
sharing it with that saintly old man, who receives Him with equal
affection, tenderness,