1501: Leonardo and Michelangelo in a Tale of Art, Love, and Betrayal

By Rod Buntzen

Michelangelo, explain this passage from Dante for us, Leonardo Da Vinci cries out across the piazza, They say hes your favorite poet. Words such as these might have begun a brief interaction between the two creative giants that prompted the historian, Giorgio Vasari, to write that the two felt an intense dislike for each other. History shows Michelangelo and Leonardo were fierce competitors in the late Renaissance, but fails to explain just when this animosity began, or its origin. Leonardo and Michelangelos dislike of each other began somehow.

It is difficult to believe the intensity of dislike that Vasari and others relate derives from simple differences in style and personality; it started before Michelangelo began to paint seriously and Leonardo had never competed with him in marble. In reading Vasari, it seemed as though there must have been a physical incident involved. What really happened between them?

I began the tale about their personalities and relationships as a novella to emphasize the technical aspects of their creative techniques. I wanted to tell how they might have reacted to each others techniques and methods, as well as how their personalities might have evolved in the process. Soon, I realized that these gigantic personalities needed to be acted out on stage, not confined to a short story. As a play, I have tried to create a blend of technical details and personal interactions suitable to light theater.

1501 takes place in the late Renaissance in Florence, after Leonardo had completed The Last Supper in Milan, but before painting the Mona Lisa. Michelangelo, unknown for painting, has recently received the commission for David, and young Raphael is becoming recognized locally for his potential to become a master. The intense competitive spirit among the artists is not fully developed when they happen to meet and decide to form a cooperative project under the guise of testing the publics preferences between reality and beauty when viewing current art. Together, they struggle toward their goal, while unknown forces determine their success.

Raphael suggests the three artists together create a single work that would be both real and beautiful and use it to test the publics response. Amused by the suggestion, Leonardo readily accepts. Although Michelangelo hesitates, he is urged to accept the challenge during a visit from Savonarolas ghost who threatens his work with David. The artists agree to follow Raphaels suggestion to work together while still satisfying their individual goals.

As they work together in Leonardos hidden workshop, the artists discuss philosophy and artistic technique. As they become familiar with one anothers personality and style, Michelangelo feels a growing sexual attraction to Leonardo, prompting Savonarolas ghost to appear and remind him of their plot against Leonardo. But Leonardos charm is too great, and Michelangelo breaks his vow to David.

Meanwhile, Machiavelli, periodically snooping about, has discovered Leonardos workshop and becomes suspicious about the two artists behavior. Unbeknownst to Michelangelo and Raphael, Machiavelli leverages his discovery to achieve his own political goal. While the artists wait in the workshop for the finished work to be discovered and evaluated by the public, their mutual animosities and historic ill feelings flare.

• Language: English
• Publisher: Xlibris US
• Release date: Dec 22, 2016
• ISBN: 9781524568931

Rod Buntzen

Rod Buntzen lives in Napa Valley and is retired from a career in research and development for the US Department of the Navy and as a chief scientist in an advanced technology company. He now finds time to enjoy his lifelong interest in art, literature, and writing.

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Copyright © 2016 by Rod Buntzen.

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

Any people depicted in stock imagery provided by Thinkstock are models, and such images are being used for illustrative purposes only.

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Rev. date: 12/15/2016

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Characters

Synopsis

History tells us Michelangelo and Leonardo were fierce competitors in the late Renaissance, but fails to explain just when this animosity began—or its origin. But was this animosity always so? If not, a chance meeting during the late Renaissance could have led to Leonardo Da Vinci, Michelangelo, and Raphael drinking together in an inn, discussing whether reality or beauty should be expressed in their future art. They decided that the issue could not be settled through argument alone.

In 1501, young Raphael suggests the three artists together create a single painting that would test the public’s response to both beauty and reality. Amused by the suggestion, Leonardo readily accepts. Although Michelangelo hesitates, he is urged to accept the challenge during a visit from Savonarola’s ghost who threatens his work with David. The artists agree to follow Raphael’s suggestion to work together while still satisfying their individual goals.

As they work together in Leonardo’s hidden workshop, the artists discuss philosophy and artistic technique. As they become familiar with one another’s personality and style, Michelangelo feels a growing sexual attraction to Leonardo, prompting Savonarola’s ghost to appear and remind him of their plot against Leonardo. But Leonardo’s charm is too great, and Michelangelo breaks his vow to David. An irate Savonarola’s ghost catches them flagrante delicto, frightening Michelangelo and causing him to flee. A calm Leonardo faces Savonarola’s ghost, delivering a withering rebuke that sends him back to his ashes.

However, a problem remains. Machiavelli, periodically snooping about, has discovered Leonardo’s workshop and becomes suspicious about the two artists’ forbidden act. Unbeknownst to Michelangelo and Raphael, Machiavelli leverages his discovery to achieve his own political goal. While the artists wait in the workshop for the finished painting to be discovered and evaluated by the public, their mutual animosities and historic ill feelings flare.

ACT I, SCENE 1

The action takes place in Urbino, a short distance from Florence, in 1501. LEONARDO is standing in the street in front of the Sorry Duck Inn, where considerable cheering and shouting inside causes him to pause. The inn is a colorful two-story, sandwiched between similar buildings along the street. The first floor is stone-faced and has a plastered upper level that is separated from below by protruding beams. Cheering inside the inn increases. MICHELANGELO enters from one side of the street and is taken aback by seeing the colorfully dressed LEONARDO before him.

MICHELANGELO: LEONARDO, can that be you? I had no idea that you were in Urbino.

(LEONARDO is richly dressed in a pink cape, gold blouse, and light green hose that contrast with MICHELANGELO’s gray blouse and dark loose-fitting pants. LEONARDO is clean shaven and still retains most of his middle-aged, handsome features, while MICHELANGELO is thin and unkempt, which highlights his long face and disfigured nose. The cheering subsides so the audience can hear them as the two begin to speak.)

LEONARDO: MICHELANGELO! I hardly recognize you. Where is that marble dust veneer that covered you when we passed each other in Palazzo Spini last month? (He lowers his voice as MICHELANGELO approaches.) I’m sorry we didn’t have more time to talk. Some friends and I were discussing Dante and wanted your opinion. You called out some remarks I couldn’t make out, and then hurried off. I just stood there feeling foolish while my friends consoled me. They said your words were unkind, but wouldn’t tell me what you had said.

MICHELANGELO: I’m sorry. I should’ve stopped because I love Dante. A toothache put me in a foul mood and my work was suffering. I am glad you didn’t hear what I said. I made an offhand remark about your great horse statue fiasco, um … problem with the Duke of Milan. I apologize. It wasn’t your fault that Sforza made cannon with your bronze. You had no way to cast the horse.

LEONARDO: Yeah. It was going to be a marvelous thing—nearly as tall as this building. (gesturing to the Sorry Duck Inn) I even designed a new way to make the bronze casting. Unfortunately, it is just a memory now. The French destroyed my beautiful clay model a couple of years ago. The casting was to be done—

MICHELANGELO: (interrupting and changing the subject) Yes, yes, I was sorry to hear about it all.

LEONARDO: Thanks. Well then, the incident’s forgotten. What are you doing in Urbino?

MICHELANGELO: I’m sure you’ve heard. I got the commission for Florence’s great block of Carrara marble. I understand you and Contucci were considered for the work as well. No hard feelings, I hope?

LEONARDO: None. I’m not qualified for such a difficult block. Many have considered working on it after it was originally ruined by di Cuccio … and later Rossellino gave up without even trying. My last sculpture was the clay horse and I was constantly covered in that disgusting mud. (LEONARDO sighs, turns away from MICHELANGELO, and walks in a circle, seemingly speaking to himself.) It ruined my pink blouse and stained my boots. I prefer painting. I can work (gesturing to his clothing) in these fine garments, in leisure, and be ready to join friends for a drink after a day’s work. I don’t get all hot and sweaty, smelling like a horse. Besides, color subtly extends the true artistic nature of painting beyond that of mere sculpture.

MICHELANGELO: Calm down, LEONARDO! Your opinion about sculpture is well known. It’s just that I prefer—

LEONARDO: (turning back to MICHELANGELO) You’ve done a couple of paintings, haven’t you? But why are you in Urbino?

MICHELANGELO: (ignoring LEONARDO’s first question) My commission for David brings me here. The Urbino public baths are filled with exquisite youths that would be fine models for the figure of David I intend to carve. You might want to join me sometime to have a look for yourself.

LEONARDO: I think not. I have to concentrate on armaments for city defense these days. Very hush-hush stuff that takes up most of my time. Besides, from what I have seen of your work, you have more interest in the nude male figure than I do. (He finds a way to change the subject.) But doesn’t your interest in art and nude males give you some cause to fear what that fanatic Savonarola preached? I heard that you attended some of his sermons.

MICHELANGELO: Perhaps, perhaps … but I sided with Lorenzo in favor of art over moral obedience long ago. I hate all that holier-than-thou and self-flagellation stuff. I had to flee to Bologna for my safety and returned to Florence just a couple of years ago. I kept a low profile while he was alive. Still we artists have to fear the roving bands of his personal acolytes, the boys of the night, who still believe his zealous crap. (pause) However, he was right when he said that sex can ruin your creativity. I have noticed that when I think about sex, I lose all interest in work. I made a vow to David to—

LEONARDO: Good, good … Anyway, Savonarola’s smoke—literally—along with most of his creepy philosophy. Art is flourishing in Florence once again. (gesticulating) And we have much work to do!

MICHELANGELO: I agree! Did you see the crowds that cheered at Savonarola’s burning? Rumor in Florence has it that one could see his spirit rising above the flames. They say his ghost still controls his boys.