[300] To these years we must also assign the two unfinished medallions of “Madonna and the infant Christ,” the circular oil picture of the “Holy Family,” painted for Angelo Doni, and the beautiful unfinished picture of “Madonna with the boy Jesus and S. John” in the National Gallery.  The last of these works is one of the loveliest of Michael Angelo’s productions, whether we regard the symmetry of its composition or the refinement of its types.  The two groups of two boys standing behind the central group on either hand of the Virgin, have incomparable beauty of form.  The supreme style of the Sistine is here revealed to us in embryo.  Whether the “Entombment,” also unfinished, and also in the National Gallery, belongs to this time, and whether it be Michael Angelo’s at all, is a matter for the experts to decide.  To my perception, it is quite unworthy of the painter of the Doni “Holy family;” nor can I think that his want of practice in oil-painting will explain its want of charm and vigour.

[301] It has long been believed that Baccio Bandinelli destroyed Michael Angelo’s; but Grimm, in his Life of the sculptor (vol. i. p. 376, Eng.  Tr.), adduces solid arguments against this legend.  A few studies, together with the engravings of portions by Marc Antonio and Agostino Veneziano, enable us to form a notion of the composition.  At Holkham there is an old copy of the larger portion of the cartoon, which has been engraved by Schiavonetti, and reproduced in Harford’s Illustrations, plate x.

[302] Vita, p. 23.  Cellini, the impassioned admirer of Michael Angelo, esteemed this cartoon so highly, that he writes:  “Sebbene il divino Michelagnolo fece la gran cappella di Papa Julio da poi, non arrivo mai a questo segno alla meta:  la sua virtu non aggiunse mai da poi alla forza di quei primi studj.”

[303] The cartoon was probably exhibited in 1505.  See Gotti, vol. i. p. 35.

[304] Gotti, pp. 277-282.

[305] Springer, in his essay, Michael Agnolo in Rome, p. 21, makes out that this large design was not conceived till after the death of Julius.  It is difficult to form a clear notion of the many changes in the plan of the tomb, between 1505 and 1542, when Michael Angelo signed the last contract with the heirs of Julius.

[306] In the Uffizzi at Florence.  See Heath Wilson, plate vi.

[307] Boboli Gardens, Bargello, Louvre.  These captives are unfinished.  The “Rachel” and “Leah” at S. Pietro in Vincoli were committed to pupils by Michael Angelo.

[308] “Che mi fosso messo a fare zolfanelli....  Son ogni di lapidato, come se havessi crucifisso Cristo.... io mi truovo avere perduta tutta la mia giovinezza legato a questa sepoltura.”

[309] Gotti, p. 42.  Grimm makes two visits to Carrara in 1505 and 1506, vol. i. pp. 239, 243.

[310] See his letter.  Gotti, p. 44.

[311] Our authorities for this episode in Michael Angelo’s biography are mainly Vasari and Condivi.  Though there may be exaggeration in the legend, it is certain that a correspondence took place between the Pope and the Gonfalonier of Florence, to bring about his return.  See Heath Wilson, pp. 79-87, and the letter to Giuliano di San Gallo in Milanesi’s Archivio Buonarroti, p. 377.  Michael Angelo appears to have had some reason to fear assassination in Rome.