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A Life in Six Masterpieces
by Miles J. Unger
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Though kinship with the counts of Canossa seems to have been based on little more than family lore, the Buonarroti were in fact members of the Florentine ruling class and could boast many ancestors serving in the highest levels of government. In bourgeois, mercantile Florence, it was participation in elective office rather than an ancient landed title that defined the ruling elite, and on this basis alone the Buonarroti had a more-than-respectable lineage. By staking so much on the more aristocratic pedigree of the counts of Canossa, Michelangelo revealed himself to be not only a snob but one of a particularly conservative stripe.
A sounder claim to highborn status came via Michelangelo's mother, Francesca, daughter of Neri di Miniato del Sera and Bonda Rucellai. The Rucellai family was one of the richest and most powerful in Florence. Merchants who had grown prosperous by importing a plant used to create a prized purple dye, they were staunch allies of the ruling Medici clan and flourished along with that powerful family. This connection, rather than the spurious kinship with the descendants of Countess Matilda, could have paid real dividends, but Lodovico never seems to have turned it to his advantage.
For all their pretensions, however, at the time of Michelangelo's birth the Buonarroti were barely clinging to respectability. This had nothing to do with ancestry but rather with the lack of cold, hard cash, the other critical measure of status in mercantile Florence. Michelangelo's grandfather Lionardo had been so poor that he could not scrape together enough money to provide his daughter with a dowry and had to pledge his house on the Piazza dei Peruzzi to secure a suitable groom. Failure to provide for a marriageable daughter was a source of shame to a Florentine patrician as well as a practical obstacle, since dowerless women could not be deployed to forge the connections with other successful families necessary to rise in the world.
This blow to family pride occurred in 1449, but neither Lodovico nor his brother had done anything in the interim to improve their situation. Michelangelo's uncle, Francesco, was a small-time money changer who kept a table in the New Market, but unlike the vast majority of his compatriots he seemed to possess little aptitude for turning a profit. Lodovico's attempts at restoring the family's fortunes were even more halfhearted. For the most part, he preferred life as a gentleman of modest means. Lacking the drive to get ahead in business, he and his growing family had to be content to live off the income derived from a modest property in Florence and a small farm in the neighboring village of Settignano, supplemented by an occasional stint as a minor civil servant.
Michelangelo was less than a month old when Lodovico and his family returned to his native city of Florence at the end of his term in office. In 1475, about 50,000 people lived within the Tuscan capital's high walls; at least an equal number lived in the contado, the surrounding countryside where for thousands of years a large number of peasants and a smaller number of gentleman farmers had cultivated wine, grain, and olives in the rocky hillsides. The city itself was a crowded maze of streets and alleyways hugging either side of the Arno River. From the surrounding hills of Fiesole, Bellosguardo, and Settignano, the city was a sea of terra-cotta roofs overtopped by magnificent basilicas and bristling towers. Much of the city was given over to fetid slums filled with crowded tenements, home to the workers who were the muscle behind the thriving textile industries, but there were plenty of gracious homes fronting wide boulevards and spacious piazzas where merchant princes lived in opulent splendor. It was these successful men of business who, along with the Church, gave steady employment to the city's many artists.
Florence was a city built by merchants and run by merchants, equally suspicious of the proud feudal nobility and the downtrodden masses, both of whom would like nothing better than to plunder the wealth they had so patiently accumulated over the centuries. Every banker or wealthy trader lived in fear of having his throat slit in the night, a not unreasonable concern given Florence's history of murder and riot. This history was built into the architecture itself, with leading families—and even the Signoria, the collective lordship of Florence—residing in fortresslike structures with high stone walls, crenellations, and narrow windows.
Excerpted from Michelangelo by Miles J Unger. Copyright © 2014 by Miles J Unger. Excerpted by permission of Simon & Schuster. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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