Thus we should both of us fail in our duty, I to the brides, you to the vicar of Christ.

For these reasons, inasmuch as I am well assured of our steadfast friendship and firm affection, bound by knots of Christian kindness, I do not think it necessary to obtain the proof of your good-will in letters by writing on my side, but rather to await with well-prepared mind some substantial occasion for serving you.

Meanwhile I address my prayers to that Lord of whom you spoke to me with so fervent and humble a heart when I left Rome, that when I return thither I may find you with His image renewed and enlivened by true faith in your soul, in like measure as you have painted it with perfect art in my Samaritan.
Believe me to remain always yours and your Urbino's." This letter must have been written when Michelangelo was still working on the frescoes of the Cappella Paolina, and therefore before 1549.
The check to his importunacy, given with genial tact by the Marchioness, might be taken, by those who believe their _liaison_ to have had a touch of passion in it, as an argument in favour of that view.

The great age which Buonarroti had now reached renders this, however, improbable; while the general tenor of their correspondence is that of admiration for a great artist on the lady's side, and of attraction to a noble nature on the man's side, cemented by religious sentiment and common interests in serious topics.
III All students of Michelangelo's biography are well acquainted with the Dialogues on Painting, composed by the Portuguese miniature artist, Francis of Holland.

Written in the quaint style of the sixteenth century, which curiously blent actual circumstance and fact with the author's speculation, these essays present a vivid picture of Buonarroti's conferences with Vittoria Colonna and her friends.