ever produced, was sold by the heir to Martino Longhi, the architect, on December 14, 1584. It could not have fallen into more evil hands. Martino himself was not a bad man, but his eldest son, Onorio, can be safely proclaimed one of the worst scoundrels of the age. The police archives of the end of the sixteenth and the beginning of the seventeenth century contain the records of at least twenty-five street brawls in which Onorio took a leading part, striking defenceless women and boys, throwing blame on innocent people, and perjuring himself before the magistrate with astounding effrontery. In 1611 I find another Longhi in possession of the historical house, Stefano the sculptor, whose name is associated with the tomb of Paul V, the Borghese chapel in Santa Maria Maggiore, the Cappella Clementina in St. John the Lateran, the monument of Cardinal Cusano in the church of Santa Maria in Vallicella, and other works of the time. In a sworn declaration made on May 28, 1611, apropos of another escapade of his disreputable kinsman, Onorio, he declares himself to be the "owner of the houses formerly belonging to Michelangelo Buonarroti, located in the Rione di Trevi, next door to the one inhabited by Onorio himself."

With the destruction of the block in which these houses once stood, accomplished, as I have stated above, in the spring of 1902, the last trace of Michelangelo's residence in Rome has disappeared. In 1872 the same fate befell his other house, located at the foot of the Capitol at the first turn of the Salita delle Tre Pile.

The vaulted halls of the temple of Hercules at Tivoli (the so-called villa of Maecenas of old guide-books), which he and Daniele da Volterra used for a studio when heat or plague or malaria made life impossible in Rome, have been turned into an iron foundry. Of the four giant cypresses in

the Chiostro della Certosa, planted, according to tradition, by his own hand in 1563, only one is left standing, the others having been thrown down by a tornado in 1886. The outline of the dome of St. Peter's, drawn on the marble floor of the nave of St. Paul's, was obliterated in the memorable fire of July, 1826. His very body was stolen away from the provisional tomb in the church of SS. Apostoli (where it had been laid to rest pending the erection of a great mausoleum in St. Peter's), enclosed in a bale of wool and taken out of the city by stealth!

Roman guide-books describe a cenotaph erected to Michelangelo's memory in the cloisters of SS. Apostoli, having upon it the recumbent figure of a bearded old man. This curious identification was suggested for the first time in 1823 by Filippo de Romanis. Nicola Ratti, however, has proved to our satisfaction that the monument pertains to Filippo Eustachio da Macerata, a distinguished physician, whose likeness to Michelangelo is indeed striking.

The only reminiscence of his personality to be found among us is the wonderful bust in the Conservatori palace, a bronze head upon a bust of bigio morato, which tradition ascribes to Michelangelo's own hand. The tradition is unfounded. Guglielmo della Porta likewise may be left out of the question, on account of the following passage in Vasari's "Life" (p. 260, ed. Lemonnier): "Of Michelangelo we have no other portrait but two in painting, one by the hand of Bugiardini, and the other by Jacopo del Conte, with one of bronze in full relief by Daniele Ricciarelli." Neither of the painted portraits recorded by Vasari is now known to exist, but the Capitoline head is beyond doubt the one modelled by Daniele da Volterra. It is a fine bold work, full of character, and stamped with every mark of originality. It represents the great man considerably past

middle age, with the fracture of his nose-which he sufered from Torregiano in his youth distinctly marked. The bust was presented to the museum of the Capitol about the end of the eighteenth century by a Roman antiquary

Bust of Michelangelo, by Daniele da Volterra

and dealer, Antonio Borioni. Several replicas of it are known to exist, all cast in bronze towards the end of the sixteenth century. Such is the one offered to the University of Oxford by Mr. W. Woodburn; a second now in the Bargello, Florence, wrongly attributed to Giovanni

Bologna; and a third exhibited by Mr. Bendeley at the Musée Retrospectif in 1865, and described in vol. xix of the "Gazette des Beaux Arts," pp. 330, 331.

Vasari tells us in the "Life" (p. 260, ed. Lemonnier): "About that time [1562] the Cavaliere Leone made the portrait of Michelangelo in a medal, very lifelike, on the reverse of which, and to humor him, he represented a blind

Michelangelo's portrait, modelled in wax, by Leone Aretino

man led by a dog, with these words around: DOCEBO INIQVOS VIAS TVAS ET IMPII AD TE CONVERTENTVR [which is the fourteenth verse of the Miserere]; and because this pleased Michelangelo greatly, he gave Leone a model in wax by his own hand of Hercules crushing Antæus, and some of his drawings."

Of this medallion by Leone Leoni d' Arezzo there is a fine example in silver, seemingly of the original period, and

if so unique, in the South Kensington Museum. The bronze specimens are less rare.

I have mentioned this small but interesting portrait because in 1881, while visiting my late friend Charles DruryFortnum at his villa at Stanmore, I was shown the original model from life, executed in 1562 by Leone. It is modelled in wax, of flesh color, in gentle relief, on a black oval piece of slate. The admirable and careful modelling of the features denotes the painstaking touch of a superior hand, and gives them a more lifelike expression than that conveyed by the medal. The artist's name, LEO, so conspicuous on the medal itself, is nowhere apparent on the wax; but on the back of the oval there is a label written by a sixteenth century hand containing the words, "Ritratto di Michelangiolo Buonaroti, fatto dal Naturale da Leone Aretino suo Amico."