III

Julius left Bologna on the 22nd of February 1507.  Michelangelo remained working diligently at his model.  In less than three months it was nearly ready to be cast.  Accordingly, the sculptor, who had no practical knowledge of bronze-founding, sent to Florence for a man distinguished in that craft, Maestro dal Ponte of Milan.  During the last three years he had been engaged as Master of the Ordnance under the Republic.  His leave of absence was signed upon the 15th of May 1507.

Meanwhile the people of Bologna were already planning revolution.  The Bentivogli retained a firm hereditary hold on their affections, and the government of priests is never popular, especially among the nobles of a state.  Michelangelo writes to his brother Giovan Simone (May 2) describing the bands of exiles who hovered round the city and kept its burghers in alarm:  “The folk are stifling in their coats of mail; for during four days past the whole county is under arms, in great confusion and peril, especially the party of the Church.”  The Papal Legate, Francesco Alidosi, Cardinal of Pavia, took such prompt measures that the attacking troops were driven back.  He also executed some of the citizens who had intrigued with the exiled family.  The summer was exceptionally hot, and plague hung about; all articles of food were dear and bad.  Michelangelo felt miserable, and fretted to be free; but the statue kept him hard at work.

When the time drew nigh for the great operation, he wrote in touching terms to Buonarroto:  “Tell Lodovico (their father) that in the middle of next month I hope to cast my figure without fail.  Therefore, if he wishes to offer prayers or aught else for its good success, let him do so betimes, and say that I beg this of him.”  Nearly the whole of June elapsed, and the business still dragged on.  At last, upon the 1st of July, he advised his brother thus:  “We have cast my figure, and it has come out so badly that I verily believe I shall have to do it all over again.  I reserve details, for I have other things to think of.  Enough that it has gone wrong.  Still I thank God, because I take everything for the best.”  From the next letter we learn that only the lower half of the statue, up to the girdle, was properly cast.  The metal for the rest remained in the furnace, probably in the state of what Cellini called a cake.  The furnace had to be pulled down and rebuilt, so as to cast the upper half.  Michelangelo adds that he does not know whether Master Bernardino mismanaged the matter from ignorance or bad luck.  “I had such faith in him that I thought he could have cast the statue without fire.  Nevertheless, there is no denying that he is an able craftsman, and that he worked with good-will.  Well, he has failed, to my loss and also to his own, seeing he gets so much blame that he dares not lift his head up in Bologna.”  The second casting must have taken place about the