F. REISET.--_Notice des dessins du musée du Louvre_. Paris, 1866.
Baron H. GEYMULLER.--_Michelangelo als Architekt_.
Dr Ernst STEINMANN.--_Die Sixtinische Kapelle_.
Carl FREY.--_Studien zu Michelagnolo (Jahrb. der K. preuss. Kunstssamml._) 1895-1896.
Luigi PASSERINI.--_La bibliografia di Michel-Angelo Buonarroti e gli incisori delle sue opere_. Florence, 1875.
Buonarroti (Lionardo, son of Lodovico), 1, 12.
Buonarroti (Lionardo, son of Buonarroto), 115, 130, 132, 135, 138, 140.
Cavalieri (Tommaso dei), 80, 81, 97, 134, 137, 138.
Cellini (Benvenuto), 22, 128, 139, 148, 158, 160, 163.
Clement VII, 54, 56, 59. 60, 61, 74-76, 128.
Crucifix in wood of the convent of S. Spirito, 10.
Descent from the cross (Duomo, Florence), 126, 127.
Julius II (Tomb of), 26-36, 45-47, 48-50, 72, 89-96, 102, 103.
Madonna and child (bas-relief in bronze), 9.
Medici (Duke Cosmo de'), 78, 115-117, 129, 130, 138.
Raphael, 3, 22, 28, 36, 50, 109, 143, 155, 156.
San Gallo (Antonio da), 16, 50, 109-111, 122.
San Lorenzo (chapel of the Medici), 76-78.
Sebastiano del Piombo, 58, 70, 87, 111, 128, 134, 150.
Vasari, 20, 78, 101, 111, 128, 139, 140, 153.
Volterra (Daniele da), 100, 128, 136, 140, 158.
[2] Drawings in the Louvre from the frescoes of Santa Croce.
[3] Munich. Drawings from the frescoes of the Carmine.
[4] In the collection of the Medici a St. Jerome by Van Eyck was valued at forty ducats, the Giottos and Fra Angelicos at only ten ducats. The Flemings were no less appreciated at Urbino where Justus of Ghent had painted, whose frescoes were copied by Raphael when he was a child, and at Rome where Jan Ruysch, twenty years later, was to work on the Stanze, and throughout the kingdom of Naples--not to mention the great collection of Flemish pictures in the north of Italy, like those of Cardinal Grimani at Venice, and of Cardinal Bembo at Padua.
[5] Michelangelo was to receive six florins the first year, eight the second and ten the third.
[6] "On the 10th of May, 1508," as he wrote at a later time, "I Michelangelo, _sculptor_, began to work on the paintings of the Sistine Chapel."
[7] He had for his companions at Bertoldo's, Granacci, the sculptors Rustici, Baccio di Monte Lupo and Andrea del Monte-Sansovino, the painters Niccolo Soggi, Lorenzo di Credi, Giuliano Bugiardini and the brutal Torrigiano dei Torrigiani, whose blow left its mark on Michelangelo's face for life.