It bears indubitable traces of his influence; that is apparent in the
figure of the dead Christ. But this colossal nude, with the massive
chest and attenuated legs, reminds us of his manner in old age;
whereas the rest of the picture shows no trace of that manner. I am
inclined to think that the Entombment was the production of a
second-rate craftsman, working upon some design made by Michelangelo
at the advanced period when the Passion of our Lord occupied his
thoughts in Rome. Even so, the spirit of the drawing must have been
imperfectly assimilated; and, what is more puzzling, the composition
does not recall the style of Michelangelo's old age. The colouring, so
far as we can understand it, rather suggests Pontormo.


VII

Michelangelo's good friend, Jacopo Gallo, was again helpful to him in
the last and greatest work which he produced during this Roman
residence. The Cardinal Jean de la Groslaye de Villiers François,
Abbot of S. Denys, and commonly called by Italians the Cardinal di San
Dionigi, wished to have a specimen of the young sculptor's handiwork.
Accordingly articles were drawn up to the following effect on August
26, 1498: "Let it be known and manifest to whoso shall read the
ensuing document, that the most Rev. Cardinal of S. Dionigi has thus
agreed with the master Michelangelo, sculptor of Florence, to wit,
that the said master shall make a Pietà of marble at his own cost;
that is to say, a Virgin Mary clothed, with the dead Christ in her
arms, of the size of a proper man, for the price of 450 golden ducats
of the Papal mint, within the term of one year from the day of the
commencement of the work." Next follow clauses regarding the payment
of the money, whereby the Cardinal agrees to disburse sums in advance.