The grotesque barocco style of the Porta Pia, strong in its total outline, but whimsical and weak in decorative detail, may probably be ascribed to the same cause.  It was sketched out by Michelangelo during the pontificate of Pius IV., and can hardly have been erected under his personal supervision.  Vasari says:  “He made three sketches, extravagant in style and most beautiful, of which the Pope selected the least costly; this was executed much to his credit, as may now be seen.”  To what extent he was responsible for the other sixteenth-century gates of Rome, including the Porta del Popolo, which is commonly ascribed to him, cannot be determined; though Vasari asserts that Michelangelo supplied the Pope with “many other models” for the restoration of the gates.  Indeed it may be said of all his later work that we are dealing with uncertain material, the original idea emanating perhaps from Buonarroti’s mind, but the execution having devolved upon journeymen.

Pius IV. charged Michelangelo with another great undertaking, which was the restoration of the Baths of Diocletian in the form of a Christian church.  Criticism is reduced to silence upon his work in this place, because S. Maria degli Angeli underwent a complete remodelling by the architect Vanvitelli in 1749.  This man altered the ground-plan from the Latin to the Greek type, and adopted the decorative style in vogue at the beginning of the eighteenth century.  All that appears certain is that Michelangelo had very considerable remains of the Roman building to make use of.  We may also perhaps credit tradition, when it tells us that the vast Carthusian cloister belongs to him, and that the three great cypress-trees were planted by his hand.

Henri the Second’s death occurred in 1559; and his widow, Catherine de’ Medici, resolved to erect an equestrian statue to his memory.  She bethought her of the aged sculptor, who had been bred in the palace of her great-grandfather, who had served two Pontiffs of her family, and who had placed the mournful image of her father on the tomb at San Lorenzo.  Accordingly she wrote a letter on the 14th of November in that year, informing Michelangelo of her intention, and begging him to supply at least a design upon which the best masters in the realm of France might work.  The statue was destined for the courtyard of the royal chateau at Blois, and was to be in bronze.  Ruberto degli Strozzi, the Queen’s cousin, happened about this time to visit Rome.  Michelangelo having agreed to furnish a sketch, it was decided between them that the execution should be assigned to Daniele da Volterra.  After nearly a year’s interval, Catherine wrote again, informing Michelangelo that she had deposited a sum of 6000 golden crowns at the bank of Gianbattista Gondi for the work, adding:  “Consequently, since on my side nothing remains to be done, I entreat you by the affection you have always shown to my family, to our Florence, and lastly