Dodgeville chronicle. [volume] (Dodgeville, Wis.) 1862-current, 1872-08-16


Angelo, and the sculptor shortly devised
a plan by means of which the scafold.
ing should not touch the wall.
His cartoons finished, he set to work
with earnestness, though almost de.
spairing of success and finding himself
unable to carry on the work alone,
through unfamiliarity with the mechan-
ical processes of the art, he was COM
PEELED to summon several of his artistic
friends to his aid From them he learn
ed the processes of fresco-painting, and
SO far they were useful; but when he
sought to employ them in painting from
his cartoons as Raphael employed others,
he found them incapable of carrying out
his designs worthily, and he was not
only compelled to dispense with their
assistance, but to efface all their work.
From that time he worked in solitude,
relying solely on his own powers. He
even ground his own colors, and he re,
fused to admit any spectators of his
work, daily locking himself in and
keeping the keys of the chapel in his
own custody. Public curiosity was
strongly excited by the mystery of his
proceedings, but Angelo refused admit
tance even to the Pope. At length,
however, Julius became so impatient to
inspect the work that Angelo could no
longer resist his wishes. Julius, who,
though vain-glorious, loved art for its
own sake, was struck with wonder and
admiration at the marvellous work in
progress. Though the paintings could
only be viewed from the platform, to
which the aged Pope assembled with
some difficulty, he made repeated visits
until one-half of the ceiling was cover
ed; then he desired thatthe scafolding
should be removed, that the public also
might see the glorious work. Angelo
in vain protested against this, urging
that he had yet to make many finishing
touches. Jul us, in his impatience for
others to enjoy the sight with him, would
listen to no excuses, and the scaffolding
was therefore removed, when, before the
dust had settled, the Pope had entered,
followed by all the rank and talent in
Rome. Ali stood spell bound at the
sublime sight, and even Angeles enc
mics and detractors bowed before this
new revelation of his genius.
The scafolding replaced, Angelo ap-
piled himself to the work with renewed
ardor, and, according to some testimony,
the whole ceiling was completed within
twenty months. The preparation for
the work could not have been included
in this period, for it was four years from
it's projection to the final formal open,
ing of the chapel to the public. Butso
vast and profound composition might
we'll have employed lifetime.
According to Condivi, Michel Angelo
would have brought the work to far
higher degree of perfection had it not
been for the petulant impatlence of
Julius. He relates that one day Julius,
viewing the work, pressed the great
artist to tell him how soon the paint
ings would be completed. Angelo re-
piled, g AS soon as | am able" The
Pope angrily answered, I" see you want
that should order you to be thrown
down from this platform" Angelo, in
dignant, returned, Z" [ will take care
you shall not have the opportunity"
and, leaving the platform, at once gave
orders for the removal of the scafold-
ing. This story, however, lacks con-
frmation. Vasari, the intimate friend
of Angelo, gives the following version
OF the affair, which seems more reason
able. Not long before the finishing of
the ceiling, Michel Angelo, having
pressing call to Florence, requested
leave OF absence for short tsme, and
also the payment of a sum OF money
due him. "But," asked the Pope,
"when will the chapel be finished ?"
GAS soon as l am able" returned An
gelo. " AS soon as you are able, indeed I"
exclaimed Julius ''I'll take care that
you will quickly finish il" as he spoke
touching the artist with his stick.
Michel Angelo, constituting this as a
personal afront, fastened home and
began to prepare at once to leave for
Florence, but the Popes chamberlain
arriving with 500 scudi and the message
that Julius had merely thought to pass
joke. Angelo accepted the explana
t on, and Immediately resumed friendly
relations with the aged pontif.
Condivi, it is true, also mentions the
above, and it is known that but for the
anxiety Of julius to display the great
work pre- maturely, various portions of
the diaperies of the figures would have
been touched with ultra-marine and
gold, and other finishing strokes have
been added.
On All Saints Day, 1912, the chapel
was thrown open to the public, Julius
attending the service, and witnessing
The effect of Angelo work onthe crowo
with emotion and pride. After short
time, the Pope desired that the scat
folding should again be erected, that
the gold and other finishing touches
should be put to the work, but Angelo
answered that the work was complete.
"I must have it touched with gold,' said
the Pope.
Holy Father" Angelo replied, "the
sainted characters depicted above did
not wear ornaments of gold"
I" Without the gold urged the Pope,
ssthe work will look poor.''
They were poor men," replied the
artist "they were saints who despised
riches.' julius had no answer to max e
| to this, and as he ceased to urge the
point, these finishing touches were never
made.
Fer length of time after the COM
pletion of this work, Angelo suffered
greatly from having been compelled for
so long a period to work with his eyes
continually uplifted. lie had become
utterly unable even to read a letter, or
look at drawing without holding it
above bis forehead, but after considera-
bic time these i'll effects disappeared.
Scarcely more than year later Julius
passed away, regretted by Angelo, who
truly loved and honored him; for al.
though they had had few differences
and Angelo had suffered much vexation
from his fickleness, be felt grateful to
his princely patron for his hearty ap.
preciation of his talent, and by all his