Gotti finds the language strained and unnatural.

We cannot deny that it differs greatly from the simple diction of the writer's ordinary correspondence.

But Michelangelo did sometimes seek to heighten his style, when he felt that the occasion demanded a special effort; and then he had recourse to the laboured images in vogue at that period, employing them with something of the ceremonious cumbrousness displayed in his poetry.

The letters to Pietro Aretino, Niccolo Martelli, Vittoria Colonna, Francis I., Luca Martini, and Giorgio Vasari might be quoted as examples.
As a postscript to this letter, in the two drafts which were finally rejected, the following enigmatical sentence is added:--"It would be permissible to give the name of the things a man presents, to him who receives them; but proper sense of what is fitting prevents it being done in this letter." Probably Michelangelo meant that he should have liked to call Cavalieri his friend, since he had already given him friendship.

The next letter, July 28, 1533, begins thus:--"My dear Lord,--Had I not believed that I had made you certain of the very great, nay, measureless love I bear you, it would not have seemed strange to me nor have roused astonishment to observe the great uneasiness you show in your last letter, lest, through my not having written, I should have forgotten you.