Искусства и ремесла Средневековья

254 Arts and C1·afts in the l\Пddle Ages

figure, but in connection with his wonderful work we must consider his career а moment. Vasari says that he had "more pride than true artistic excellence." Не was constantly interfering ,vith l\Iichelangelo, with whom he was а student in Florence, and on one mem­ oraЫe occasion they came to Ыo,vs: and that was the day when "Tor1·egiano strнck Michelangclo on the nose with his fist, нsing sнch terriЫe violence and crнshing that featнre in such а maпner that the proper forш could never Ье restored to it, and Michelangelo had his nose flattened Ьу that Ыоw all his life." So Torregiano fled from the Medicean wrath which ,voнld have de­ scended нроn him. After а short career as а soldieг, impatient at поt being rapidly promoted, he retuгned to his old profession of а sculpto1·. Не went to England, wheгe, says Vasaгi, "he execнted many ,vorks in mагЫе, bгonze, and °"'ood, fог the king." Tl1e chief of tl1ese was the st1·iking tomb of Henry VII. апd the queen. Torregiano's agreement was to make it fог а thousand pounds: also theгe is а contract ,Yhich Ье signed ,vith Henry VIII., agreeing to const1·uct а similaг tomb also for that monarch, to Ье one qнarteг part larger than that of Henry VII., but this was not carried out. St. Anthony appears on а little scнlptured medallion on the tomb of Henry VII., with а small pig trotting beside him. This is St. Anthony of Vienna, not of Padua. His legend is as follows. In an old document, New­ court's Repertorium, it is related that "the monks of St. Anthony with their importunate begging, contrary