general features as to force the conclusion that they were all derived from an original moulded by one masterly hand.  Three of these heads are unmounted, namely, those at Milan, Oxford, and M. Piot’s house in Paris.  One, that of the Capitoline Museum, is fixed upon a bust of bigio morato marble.  The remaining four examples are executed throughout in bronze as busts, agreeing in the main as to the head, but differing in minor details of drapery.  They exist respectively in the Museo Buonarroti, the Accademia, and the Bargello at Florence, and in the private collection of M. Cottier of Paris.  It is clear, then, that we are dealing with bronze heads cast from a common mould, worked up afterwards according to the fancy of the artist.  That this original head was the portrait ascribed to Daniele da Volterra will be conceded by all who care to trace the history of the bust; but whether he modelled it after Michelangelo’s death cannot be decided.  Professional critics are of the opinion that a mask was followed by the master; and this may have been the case.  Michelangelo died upon the 17th of February 1564.  His face was probably cast in the usual course of things, and copies may have been distributed among his friends in Rome and Florence.  Lionardo Buonarroti showed at once a great anxiety to obtain his uncle’s bust from Daniele da Volterra.  Possibly he ordered it while resident in Rome, engaged in winding up Michelangelo’s affairs.  At any rate, Daniele wrote on June 11 to this effect:  “As regards the portraits in metal, I have already completed a model in wax, and the work is going on as fast as circumstances permit; you may rely upon its being completed with due despatch and all the care I can bestow upon it.”  Nearly four months had elapsed since Michelangelo’s decease, and this was quite enough time for the wax model to be made.  The work of casting was begun, but Daniele’s health at this time became so wretched that he found it impossible to work steadily at any of his undertakings.  He sank slowly, and expired in the early spring of 1566.

What happened to the bronze heads in the interval between June 1564 and April 1566 may be partly understood from Diomede Leoni’s correspondence.  This man, a native of San Quirico, was Daniele’s scholar, and an intimate friend of the Buonarroti family.  On the 9th of September 1564 he wrote to Lionardo:  “Your two heads of that sainted man are coming to a good result, and I am sure you will be satisfied with them.”  It appears, then, that Lionardo had ordered two copies from Daniele.  On the 21st of April 1565 Diomede writes again:  “I delivered your messages to Messer Daniele, who replies that you are always in his mind, as also the two heads of your lamented uncle.  They will soon be cast, as also will my copy, which I mean to keep by me for my honour.”  The casting must have taken place in the summer of 1565, for Diomede writes upon the 6th of October:  “I will remind him (Daniele) of your two heads; and he will find mine