Portrait frontispiece. An oil painting in The Hall of the Portraits of Old Masters, Uffizi Gallery, Florence.  The authorship of the painting is not certainly known.  Symonds says that “it may perhaps be ascribed with some show of probability to Bugiardini.”  Bugiardini was a friend of Michelangelo’s youth and a fellow student in the gardens of the Medici.  That later in life he painted a portrait of his distinguished friend we know from Vasari.  Vasari tells us that the portrait showed a peculiarity in the right eye, and this fact lends probability to the identification of the Uffizi portrait with Bugiardini’s work.

1. Madonna and Child, an unfinished bas-relief medallion, made, according to Vasari, during Michelangelo’s residence in Florence in 1501-1505.  It was made for Bartolommeo Pitti.  It is now in the National Museum (Bargello), Florence.

2. David, a statue made from a block of Carrara marble which had been spoiled by an unskilled sculptor.  After it had lain useless in Florence for a century, a sculptor applied to the board of works of the cathedral for permission to use it.  The board consulted Michelangelo and offered him the marble.  He undertook to cut from it a single figure which would exactly use the block.  The contract to make the statue of David was drawn up in 1501, and the statue was completed in 1504.  Forty men were employed four days to remove it from the cathedral works to the Piazza della Signoria, where it was placed on the platform of the palace (Palazzo Vecchio), remaining in the open air more than three centuries.  The weather was beginning to injure it, and it was removed in 1873 to the Academy of Fine Arts in Florence, where it now stands.

3. Cupid. Symonds gives the following account of the statue in the “Life of Michelangelo,” published in 1893:  “Discovered some forty years ago, hidden away in the cellars of the Gualfonda (Ruccellai) Gardens, Florence, by Professor Milanesi and the famous Florentine sculptor, Santarelli.  On a cursory examination they both declared it to be a genuine Michelangelo.  The left arm was broken, the right hand damaged, and the hair had never received the sculptor’s final touches.  Santarelli restored the arm, and the Cupid passed by purchase into the possession of the English nation.”  It is now in the Museum of South Kensington.

4. Moses, a statue on the tomb commemorative of Julius ii.,[2] in the church of S. Pietro in Vincoli, Rome.  At the beginning of Michelangelo’s connection with Julius ii., he made plans for a magnificent monumental tomb for this pope, to be ornamented with more than forty statues and to be of great size (34-1/2 x 23 feet).  The fickleness of the Pope caused a continual series of disappointments in the progress of the work, which was finally abandoned for the frescoes of the Sistine Chapel.  After the death of the Pope, his executors were even less zealous for the completion of the tomb.  A succession