[Illustration: MICHELANGELO BUONAROTTI (ATTRIBUTED TO BUGIARDINI) _Uffizi Gallery, Florence_]

 The Riverside Art Series

 MICHELANGELO

 A COLLECTION OF FIFTEEN PICTURES AND A PORTRAIT OF THE MASTER WITH INTRODUCTION AND INTERPRETATION

 BY

 ESTELLE M. HURLL

 BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY

 The Riverside Press, Cambridge 1900

 COPYRIGHT, 1900, BY HOUGHTON, MIFFLIN & CO. 

PREFACE

In making a collection of prints from the works of Michelangelo, it isimpossible to secure any wide variety, either in subject or method oftreatment. We are dealing here with a master whose import is alwaysserious, and whose artistic individuality is strongly impressed on allhis works, either in sculpture or painting. Our selections representhis best work in both arts. These are arranged, not in chronologicalorder, but in a way which will lead the student from the subjects mostfamiliar and easily understood to those which are more abstract anddifficult. 

ESTELLE M. HURLL. NEW BEDFORD, MASS. January, 1900. 

CONTENTS AND LIST OF PICTURES

PORTRAIT OF MICHELANGELO. ATTRIBUTED TO BUGIARDINI. _Frontispiece. _

INTRODUCTION

 I. ON MICHELANGELO'S CHARACTER AS AN ARTIST II. ON BOOKS OF REFERENCE III. HISTORICAL DIRECTORY OF THE WORKS OF ART IN THIS COLLECTION IV. COLLATERAL READINGS FROM LITERATURE V. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN MICHELANGELO'S LIFE VI. SOME OF MICHELANGELO'S FAMOUS ITALIAN CONTEMPORARIES

 I. MADONNA AND CHILD II. DAVID III. CUPID IV. MOSES V. THE HOLY FAMILY VI. THE PIETÀ VII. CHRIST TRIUMPHANTVIII. THE CREATION OF MAN IX. JEREMIAH X. DANIEL XI. THE DELPHIC SIBYL XII. THE CUMÆAN SIBYLXIII. LORENZO DE' MEDICI XIV. TOMB OF GIULIANO DE' MEDICI XV. CENTRAL FIGURES FROM THE LAST JUDGMENT XVI. PORTRAIT OF MICHELANGELO (_See Frontispiece_)

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

NOTE: All the pictures with the exception of the Cupid weremade from photographs by Fratelli Alinari. The Cupid was photographedfrom the statue in the South Kensington Museum, London. 

INTRODUCTION

I. ON MICHELANGELO'S CHARACTER AS AN ARTIST. 

Michelangelo's place in the world of art is altogether unique. Hissupremacy is acknowledged by all, but is understood by a few only. Inthe presence of his works none can stand unimpressed, yet few dare toclaim any intimate knowledge of his art. The quality so vividlydescribed in the Italian word _terribilità_ is his predominant trait. He is one to awe rather than to attract, to overwhelm rather than todelight. The spectator must needs exclaim with humility, "Suchknowledge is too wonderful for me; it is high, I cannot attain untoit. " Yet while Michelangelo can never be a popular artist in theordinary sense of the word, the powerful influence which he exercisesseems constantly increasing. Year by year there are more who, drawn bythe strange fascination of his genius, seek to read the meaning of hisart. 

His subjects are all profoundly serious in intention. Life was noholiday to this strenuous spirit; it was a stern conflict with thepowers of darkness in which such heroes as David and Moses wereneeded. Like the old Hebrew prophets, the artist poured out his soulin a vehement protest against evil, and a stirring call torighteousness. 

Considered both as a sculptor and a painter, Michelangelo's onevehicle of expression was the human body. His works are "form-poems, "through which he uttered his message to mankind. As he writes in oneof his own sonnets, "Nor hath God deigned to show himself elsewhere More clearly than in human forms sublime. "

In his art, says the critic Symonds, "a well-shaped hand, or throat, or head, a neck superbly poised on an athletic chest, the sway of thetrunk above the hips, the starting of the muscles on the flank, thetendons of the ankle, the outline of the shoulder when the arm israised, the backward bending of the loins, the curves of a woman'sbreast, the contours of a body careless in repose or strained foraction, were all words pregnant with profoundest meaning, whereby fitutterance might be given to thoughts that raise man near to God. "

Learning his first lessons in art of the Greeks, he soon possessedhimself of the great principles of classic sculpture. Then he boldlystruck out his own path; his was a spirit to lead, not to follow. Withthe subtle Greek sense of line and form, he united an entirely newmotif. In contrast to the ideal of repose which was the leading canonof the Greeks, his chosen ideal was one of action. Moreover, heinvariably fixed upon some decisive moment in the action he had torepresent, a moment which suggests both the one preceding and the onefollowing, and which gives us the whole story in epitome. Thus in theDavid we see preparation, aim, and action. It was a far cry from theelegant calm of the Greek god to the restless energy of this ruggedyouth. 

Even with seated figures he followed the same principle. Moses and theDuke Giuliano are ready to rise to their feet if need be. In hisfrescoes we again find the same motif, --Adam rising to his feet inobedience to the Creator's summons, and Christ the Judge sweepingasunder the multitudes. 

In his love of action and his passion for the human form lay theelements of his art most easily lending themselves to exaggeration. That the master did indeed permit himself to be carried beyond duelimits in these matters is seen by comparing the grandeur of theSistine ceiling with the mannerisms of the Last Judgment. The intervalbetween was "the time of his best technical and spiritualcreativeness, " when he produced the statues of the Sacristy of S. Lorenzo. 

It was characteristic of Michelangelo's impetuous nature to spend hisenthusiasm upon the early stages of his work, and leave it unfinished. This unfinished effect of many of his marbles seems to bring us incloser touch with his methods as a sculptor. Nor is a rough surfacehere and there inharmonious with the rugged character of hisconceptions. Moreover, as a critic[1] has pointed out, the polishedand rough portions enhance each other, giving a variety in the lightand shadow which is pictorial in effect. 

[Footnote 1: See notes on the Life of Michelangelo Buonarotti in theBlashfield-Hopkins edition of Vasari. ]

To a man of Michelangelo's austere temperament, intensely masculine inhis predilections, the beauty of womanhood was not fully revealed. Hissibyls can scarcely be counted as women; they belong to a world oftheir own, neither human nor divine. It was only in his few Madonnasthat we can trace his feminine ideal, an ideal noble and dignified, rather than beautiful. The Madonna of the bas-relief is proud ratherthan tender, the Virgin of the Pietà is grand rather than lovely. These were works of his youth. Later in life, when he had known theblessing of a good woman's friendship, he developed a new ideal in thegentle and delicate womanhood of the Virgin of the Last Judgment. 

Michelangelo has been compared to two great masters of dissimilararts, Milton and Beethoven. There are striking points of similarityin the men themselves, in stern uprightness of character, in scorn ofthe low and trivial, in lofty idealism. The art of all three is toofar above the common level to be popular; it requires too muchthinking to attract the superficial. In poetry, in music, and insculpture, all three utter the profoundest truths of human experience, expressed in grand and solemn harmonies. 

II. ON BOOKS OF REFERENCE. 

The original materials for the study of Michelangelo's life and workare the two biographies by his contemporaries, Vasari and Condivi. Vasari's was the first of these (1550), and like the other portions ofhis "Lives of the Painters" contained many inaccuracies. It was tocorrect these that Condivi published his little book a few yearslater. This rival effort aroused Vasari's wrath, and afterMichelangelo's death he issued an enlarged edition of his own book, unscrupulously incorporating all that was valuable in Condivi's work, and adding thereto many reminiscences of the master's life. The fameof Vasari's monumental work caused Condivi's little book to beentirely forgotten for long years, and it has been one of the tasks ofmodern scholarship to restore it to its true place. Even now, however, there is no available form of Condivi's biography for Americanreaders, though Vasari's "Lives" in Mrs. Foster's translation is foundin most libraries. The latest edition of Vasari, published in 1897, contains annotations by Mr. And Mrs. E. H. Blashfield, and A. A. Hopkins, which correct all the statements in the light of recentauthorities. 

Far more valuable even than the early biographies is the mass ofexisting documents of the Buonarotti family, including contracts, letters, poems, and memoranda, and containing data for a full andexact biography of the master. Unfortunately, however, this greatstorehouse of material has been for all these centuries a sealedtreasure, given up only little by little, to successive generations ofscholars. When Hermann Grimm wrote his celebrated "Life of MichaelAngelo" (in 1860), the only original material accessible to him wasthe collection of letters in the British Museum. His volumes are stillread with interest and profit, though it is to be regretted that theyshould be reprinted without any editorial comments to connect formerlyreceived opinions with later conclusions. John S. Harford's "Life ofMichael Angelo Buonarotti" was published at about the same time asGrimm's work, that is, in 1857. It was in two volumes, and containedtranslations of many of Michelangelo's poems, as well as materialabout Savonarola, Vittoria Colonna, and Raphael. The work is found inthe older libraries, and is well worth studying, as the latter portionis still valuable for all that refers to the architecture of St. Peter's. 

Signor Gotti's "Vita, " in 1875, was the first to profit to anyconsiderable degree by documentary researches. The conclusions of thisbook are best known to the English-reading public through CharlesHeath Wilson's "Life and Works of Michelangelo Buonarotti" (1876 and1881), consisting of compilations from Gotti, to which are addedoriginal investigations of the Sistine frescoes, which are veryvaluable. 

More privileged than any of his predecessors was John AddingtonSymonds, who, by special favor of the Italian government, was allowedto examine the Buonarotti collection in Florence, so long debarred toothers. His "Life of Michelangelo Buonarotti" is therefore unique inbeing, as the sub-title announces, "based on studies in the archivesof the Buonarotti family at Florence. " It was published in 1893 in twolarge, finely illustrated volumes, and is taken as the latestauthoritative word on the subject, a word singularly independent ofothers' conclusions, and influenced by an artistic and literary natureof rare sensitiveness. 

To those who wish briefer notices of Michelangelo's life and work thanany of these full biographies are recommended the chapters onMichelangelo in Kugler's "Handbook of the Italian Schools, " in Mrs. Jameson's "Memoirs of the Italian Painters, " in Frank PrestonStearns's "Midsummer of Italian Art, " in Mrs. Oliphant's "Makers ofFlorence, " and in Symonds's volume on "Fine Arts" in the series"Renaissance in Italy. "

To understand more fully the character of the man Michelangelo, thestudent should read his sonnets. There is a complete collectiontranslated by J. A. Symonds, while both Wordsworth and Longfellow havetranslated a few. 

The life of Michelangelo has furnished material for two long poems byAmerican writers, --Longfellow's drama, and the poem by Stuart Sterne. The former, which is annotated, is a well-balanced study of the greatartist's career and ideals. 

III. HISTORICAL DIRECTORY OF THE WORKS OF ART IN THIS COLLECTION. 

_Portrait frontispiece. _ An oil painting in The Hall of the Portraitsof Old Masters, Uffizi Gallery, Florence. The authorship of thepainting is not certainly known. Symonds says that "it may perhaps beascribed with some show of probability to Bugiardini. " Bugiardini was afriend of Michelangelo's youth and a fellow student in the gardens ofthe Medici. That later in life he painted a portrait of hisdistinguished friend we know from Vasari. Vasari tells us that theportrait showed a peculiarity in the right eye, and this fact lendsprobability to the identification of the Uffizi portrait withBugiardini's work. 

1. _Madonna and Child_, an unfinished bas-relief medallion, made, according to Vasari, during Michelangelo's residence in Florence in1501-1505. It was made for Bartolommeo Pitti. It is now in theNational Museum (Bargello), Florence. 

2. _David_, a statue made from a block of Carrara marble which hadbeen spoiled by an unskilled sculptor. After it had lain useless inFlorence for a century, a sculptor applied to the board of works ofthe cathedral for permission to use it. The board consultedMichelangelo and offered him the marble. He undertook to cut from it asingle figure which would exactly use the block. The contract to makethe statue of David was drawn up in 1501, and the statue was completedin 1504. Forty men were employed four days to remove it from thecathedral works to the Piazza della Signoria, where it was placed onthe platform of the palace (Palazzo Vecchio), remaining in the openair more than three centuries. The weather was beginning to injure it, and it was removed in 1873 to the Academy of Fine Arts in Florence, where it now stands. 

3. _Cupid. _ Symonds gives the following account of the statue in the"Life of Michelangelo, " published in 1893: "Discovered some fortyyears ago, hidden away in the cellars of the Gualfonda (Ruccellai)Gardens, Florence, by Professor Milanesi and the famous Florentinesculptor, Santarelli. On a cursory examination they both declared itto be a genuine Michelangelo. The left arm was broken, the right handdamaged, and the hair had never received the sculptor's final touches. Santarelli restored the arm, and the Cupid passed by purchase into thepossession of the English nation. " It is now in the Museum of SouthKensington. 

4. _Moses_, a statue on the tomb commemorative of Julius II. , [2] inthe church of S. Pietro in Vincoli, Rome. At the beginning ofMichelangelo's connection with Julius II. , he made plans for amagnificent monumental tomb for this pope, to be ornamented with morethan forty statues and to be of great size (34-1/2 × 23 feet). Thefickleness of the Pope caused a continual series of disappointments inthe progress of the work, which was finally abandoned for the frescoesof the Sistine Chapel. After the death of the Pope, his executors wereeven less zealous for the completion of the tomb. A succession ofcontracts were made and broken, each one reducing the size andimportance of the design. The artist was continually in demand forother work. Finally, in 1542, to leave him free for the services ofthe Pope, the completion of the tomb was put into other hands. Thestatue of Moses, with those of Rachel and Leah, is all thatMichelangelo contributed to a work which had occupied his thoughts fornearly forty years. The setting of the Moses is in every wayexceedingly unfavorable to a proper appreciation of the work. 

[Footnote 2: The Pope, Julius II. , is buried at St. Peter's. ]

5. _Holy Family_, an oil painting belonging to the Florentine period1501-1505, and painted for Angelo Doni. It is now in the UffiziGallery, Florence. 

6. _The Pietà_, a marble group executed by the order of the Cardinaldi San Dionigi according to a contract drawn up August 28, 1498. Itwas placed in the old basilica of St. Peter's (Rome), in a chapeldedicated to Our Lady of the Fever (Madonna della Febbre). In thepresent church of St. Peter's it occupies a side chapel, to which itgives its name, where it is placed so high that it is impossible tosee it well, and where its beauty is disfigured by the bronze cherubsfastened above, holding a crown over the Virgin's head. 

7. _Christ Triumphant_, a marble statue ordered by Bernardo Cencio (acanon of St. Peter's), Mario Scappuci, and Metello Varj dei Porcarifor the church of S. Maria sopra Minerva, Rome, where it still stands. The deed was executed in 1514, specifying that the statue should be ofmarble, "life sized, naked, erect, with a cross in his arms. " Itappears from Michelangelo's correspondence that the work was finishedby apprentices, first by Pietro Urbano, who did so badly that he wasdischarged and replaced by Federigo Frizzi. It was completed in 1521, when Michelangelo offered to make a new statue if it was notsatisfactory. Varj, however, declared that the sculptor had "alreadymade what could not be surpassed and was incomparable, " so the statuewas placed in position. 

8-12. _The Creation of Man, Jeremiah, Daniel, The Delphic Sibyl, theCumæan Sibyl_, frescoes on the ceiling of the Sistine Chapel, Rome, begun in 1508 at the order of the Pope Julius II. Michelangeloundertook the work reluctantly, as sculpture was his chosen art. Thearchitect Bramante first made a scaffolding for the work, so clumsilyconstructed that Michelangelo replaced it by one of his own invention. Several Florentine painters were engaged as assistants, but, failingto satisfy the painter, returned. Julius II. Often visited the chapelduring the work, climbing to the scaffolding to see how it progressed. Impatient to see it, he gave orders to have the ceiling uncovered whenbut half finished. The first uncovering took place November 1, 1509. The work was completed October, 1512. 

13-14. _Lorenzo de' Medici_, _Tomb of Giuliano de' Medici_, marbletombs first projected in 1520 or 1521, during the pontificate of LeoX. (formerly Giovanni de' Medici). The order was renewed by ClementVII. , another Medici pope, in 1523. The work was carried onintermittently a number of years during which occurred the revolution, siege, and recapture of Florence. From 1530-1533 Michelangelo carriedthem to the point of completion in which they are now seen: they werenever fully finished. The identity of the tombs was long a matter ofdoubt. Though Vasari had called the helmeted figure Lorenzo and theother Giuliano, there were critics, notably Grimm, who took theopposite view. In 1875 the sarcophagus of the helmeted figure wasopened and evidence found proving it to be unquestionably the tomb ofLorenzo, as Vasari had said. Both tombs remain as originally placed inthe new sacristy of the church of San Lorenzo, Florence. 

15. _Central Figures of the Last Judgment_, a fresco painting on thewall of the Sistine Chapel, executed by the order of the Pope PaulIII. , who in 1535 appointed Michelangelo chief architect, sculptor, and painter at the Vatican. The work occupied several years and wascompleted in 1541. 

IV. COLLATERAL READINGS FROM LITERATURE. 

IN CONNECTION WITH THE SEVERAL WORKS HERE REPRESENTED. 

The Madonna and Child and the Holy Family:--

 The Latin hymn, Mater Speciosa, by Jacobus de Benedictis, translated by Dr. Neale. 

David:--

 Arthur Penrhyn Stanley. History of the Jewish Church, Part II. Lectures XXII. -XXV. : David. 

 Robert Browning. Poem, Saul. 

 Psalm Twenty-three. 

Cupid:--

 Richard Crashaw. Poem, Cupid's Cryer; out of the Greek. 

 Edmund Gosse. Poem, Cupido Crucifixus. 

Moses:--

 Arthur Penrhyn Stanley. History of the Jewish Church, Part I, Lectures V. -VIII. : Moses. 

 Mrs. A. D. T. Whitney. The Open Mystery: A Reading of the Mosaic Story, Part IV. 

 The Song of Moses: Deuteronomy, chapter xxxii. 

 The Prayer of Moses: Psalm Ninety. 

 Cecil Frances Alexander. Poem, The Burial of Moses. 

 Sonnet on the statue of Moses by Giovanni Battista Felice Zappi, translated by J. A. Symonds (in Life of Michelangelo Buonarotti). 

The Pietà:--

 Latin hymn, Stabat Mater, by Jacobus de Benedictis, translated by Lord Lindsay, by General Dix or by Dr. Coles. 

Christ Triumphant:--

 Henryk Sienkiewicz. Quo Vadis, chapter lxix. 

Frescoes of the Sistine Chapel, general impressions:--

 Symonds. Renaissance in Italy, volume on the Fine Arts, chapter viii. : Life of Michael Angelo. 

 Taine. Italy, book iii. , chapter ix. : Michael Angelo. 

 Andersen. The Improvisatore, chapter xii. : Allegri's Miserere, in the Sistine Chapel. 

The Creation of Man:--

 Milton. Paradise Lost, book VIII. , lines 500-528. 

Jeremiah:--

 Lucy Larcom. Poem, The Weeping Prophet. 

Daniel:--

 Sir Edwin Arnold. Poem, The Feast of Belshazzar. 

The Delphic Sibyl:--

 Lord Houghton. Delphi, a poem included in Longfellow's collection of Poems of Places, volume on Greece. 

The Cumæan Sibyl:--

 Virgil. Æneid, sixth book, translated by C. P. Cranch or by John Conington. 

The Medicean Tombs, general impressions:--

 Symonds. The Renaissance in Italy, volume on the Fine Arts, chapter viii. : Life of Michael Angelo. 

 Taine. Italy, book iii. , chapter v. : The Florentine School of Art. 

 Mrs. Oliphant. The Makers of Florence, chapter xv. : Michael Angelo. 

 Rogers. Italy: poem on Florence. 

Lorenzo de' Medici:--

 Milton. Il Penseroso. 

Tomb of Giuliano de' Medici:--

 Charles Algernon Swinburne. Poem, In San Lorenzo. 

The Last Judgment:--

 The Latin hymn, Dies Irae, by Thomas de Celano, translated by General John E. Dix. 

 Alexander Dumas. Les Trois Maitres: Description of Last Judgment, translated by Esther Singleton in the compilation Great Pictures described by Great Writers. 

The portrait of Michelangelo:--

 C. P. Cranch. Michael Angelo Buonarotti, a poem read at a celebration of the 400th anniversary of his birth, included in Longfellow's collection of Poems of Places, volume on Italy. 

V. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN MICHELANGELO'S LIFE. 

(_Based on Symonds' Life of Michelangelo Buonarotti, to which theaccompanying notes on pages refer. _)

1475. Born at Caprese, March 6 (p. 4). 

1488. Apprenticed to Domenico and David Ghirlandajo, April 1 (p. 12). 

1489-1492. Under the patronage of Lorenzo the Magnificent, in the Casa Medici (p. 23). 

1494, 1495. In Bologna, work on the tomb of St. Dominick (pp. 47, 48). 

1495. Return to Florence, the Sleeping Cupid (pp. 50-52). 

1496-1498. In Rome:-- The Bacchus (p. 58). The South Kensington Cupid (p. 62). The Pietà (p. 69). 

1500. A second visit to Rome (p. 80). 

1501-1505. In Florence (p. 87). 

1504. Statue of David (p. 96) taken from workshop, May 14; arrived at Piazza Signoria, May 18; set in place, June 8. 

Commissioned in August to prepare cartoons for decoration of Hall in Palazzo Vecchio, on wall opposite to that assigned to Leonardo da Vinci (p. 119). 

1505. Arrival in Rome to work under patronage of the Pope Julius II. (p. 126). 

Preparations begun for work on tomb of Julius and trip to Carrara to select marbles (p. 129). 

1506. His angry flight from Rome (p. 155). 

Visit in Florence and completion of competitive cartoon (Battle of Pisa) for Palazzo Vecchio (p. 161). 

Reconciliation with the Pope at Bologna, November (p. 186). 

1506-1508. Residence in Bologna, and statue of Julius II. (pp. 187 and 195). 

1508. Return to Florence, March (p. 197). 

Thence to Rome by order of Julius II. (p. 198). 

Frescoes of the Sistine Chapel begun (p. 206). 

1509. First uncovering of the Sistine Chapel ceiling, showing frescoes in the central space (pp. 209, 211). 

1512. Sistine frescoes completed, October (p. 217). 

1513. Death of Michelangelo's patron, Julius II. , Feb. 21. 

New contract for tomb, dated May 6 (p. 302). 

1514. Contract for life size marble statue of Christ. Date of deed, June 14 (p. 305). 

1516. Reduced plan for tomb of Julius II. (p. 320). 

Visit to Carrara to quarry marble. 

Suspension of work on tomb to make façade of church of S. Lorenzo (Florence) for Pope Leo X. (p. 323). 

1518. Contract for façade of S. Lorenzo, Jan. 19 (p. 328). 

1518, 1519. To and from Florence and Carrara for marble (pp. 331, 339, 341, 342). 

1520. Façade of S. Lorenzo abandoned (p. 349). 

1521. Work begun on tombs in sacristy of S. Lorenzo (p. 357). 

Statue of Christ finished (pp. 306, 359). 

Death of Michelangelo's patron, Leo X. , Dec. 1. 

1523. Fresh beginning of project of the Medicean tombs in sacristy of S. Lorenzo (p. 372). 

1524. Vasari's apprenticeship with Michelangelo (p. 389). 

1525. Work in Florence on Medicean tombs (p. 391). 

1526. Work begun on Laurentian Library (p. 397). 

1527, 1528. Uneventful years in Florence (p. 404). 

1529. His services on the fortifications of S. Miniato, to defend Florence against the Medici (pp. 409, 412). 

Flight from Florence to Venice, Sept. 21 (p. 416). 

1530. Capitulation of Florence (p. 435). 

Michelangelo in hiding (p. 437). 

Resumption of work on Medicean tombs (p. 438). 

1530-1533. Work on Medicean tombs (p. 447). 

1532. New contract for tomb of Julius II. (p. 455). 

1534. Death of Clement VII. 

1535. Appointed chief architect, sculptor, and painter at the Vatican by Pope Paul III. , Sept. 1 (vol. Ii. P. 40). 

1536-1537. Work on the Last Judgment (vol. Ii. P. 43). 

1538-1547. Friendship with Vittoria Colonna (vol. Ii. Pp. 93, 117, 125). 

1541. Last Judgment shown to the public, Christmas day (vol. Ii. P. 58). 

1542. Work assigned by Paul III. For frescoes in the Paulien Chapel (vol. Ii. P. 69). 

Michelangelo's last contract for tomb of Julius II. (vol. Ii. Pp. 40, 69, 73). 

1544. Illness (vol. Ii. Pp. 183, 187). 

1546. Michelangelo succeeds Antonio da Gallo as architect-in-chief at St. Peter's (vol. Ii. P. 213). 

1552. Invitation of Duke Cosimo de' Medici to return to Florence declined (vol. Ii. Pp. 289-291). 

1556. Excursion to Spoleto (vol. Ii. P. 303). 

1557. Model for cupola of St. Peter's (vol. Ii. P. 232). 

1564. Death in Rome, Feb. 17 (vol. Ii. P. 320). 

VI. SOME OF MICHELANGELO'S FAMOUS ITALIAN CONTEMPORARIES. 

RULERS. 

_Florentine Dukes_:--

Lorenzo de' Medici, 1469-1492. 

Piero de' Medici succeeded Lorenzo 1492, expelled from Florence 1493. 

Alessandro de' Medici, made first hereditary duke of Florence 1531, assassinated 1537. 

Cosimo de' Medici succeeded Alessandro, 1537-1574. 

_Popes_:--

Sixtus IV. , 1471-1484. 

Innocent VIII. , 1484-1492. 

Alexander VI. , 1492-1503. 

Pius III. , 1503-1503. 

Julius II. , 1503-1513. 

Leo X. , 1513-1522. 

Hadrian VI. , 1522-1523. 

Clement VII. , 1523-1534. 

Paul III. , 1534-1550. 

Marcellus II. , 1550-1555. 

Paul IV. , 1555-1555. 

Pius IV. , 1555-1559. 

Pius V. , 1559-1566. 

MEN OF LETTERS. 

Boiardo, 1434-1494, poet (Orlando Innamorato). 

Ariosto, 1474-1533, poet (Orlando Furioso). 

Aretino (Venetian) 1492-1557, poet. 

Francesco Berni, 1496-1535, burlesque poet. 

Bandello, 1480-1562, _novelliero_. 

Sannazaro, 1458-1530, poet (Arcadia). 

Niccolo Machiavelli, 1469-1527, author of The Prince. 

Gucciardini, 1483-1540, historian. 

Tasso, 1544-1595, poet (Gerusalemme Liberata). 

_Group centring about Lorenzo the Magnificent in Florence. _

Cristoforo Landino, 1424-1504, tutor of Lorenzo, and professor of Latin Literature. 

Bartolommeo Scala, 1430-1497, chancellor of Florence. 

Luigi Pulci, 1431-1487, writer of burlesque epic Il Morgante Maggiore, and intimate friend of Lorenzo and Poliziano. 

Marsilio Ficino, 1433-1499, president of Academy in 1463, translator of Plato and Plotinus. 

Angelo Poliziano, 1454-1494, tutor of Lorenzo's children, and professor of Greek and Latin Literature in University of Florence. 

Giovanni Pico della Mirandola, 1463-1494, published 900 theses at Rome in defence of Platonic mysticism. 

_Group in Rome_:--

Pietro Bembo, 1470-1547, made cardinal in 1539, master of Latin style and also writer in Italian. 

Jacopo Sadoleto, 1477-1547, made cardinal in 1536, writer of Latin verses, moral treatises, and commentary on Romans. 

Egidio Canisio, 1470-1532, made cardinal in 1457, Latin orator and writer on philosophy, history, and theology. 

Paolo Giovio, 1483-1552, bishop of Nocera 1528, historian and biographer. 

Baldassare Castiglione, 1478-1529, diplomatist and scholar. 

Gian Francesco Pico della Mirandola, 1470-1533, author of life of Savonarola. 

Jerome Aleander, 1480-1542, made cardinal in 1536, librarian at Vatican. 

Marcus Musurus, 1470-1517, lecturer in Gymnasium Caballini Montis. 

Joannes Lascaris, 1445-1535, superintendent of Greek press established in Rome by Leo X. 

Riario, Giulio de' Medici, Bibbiena, Petrucci, Farnese, Alidosi, Gonzaga, cardinals and patrons of literature. 

PAINTERS. 

Ghirlandajo, 1449-1495? FlorentineVerrocchio, 1435-1488 "Leonardo da Vinci, 1452-1519 "Bartolommeo, 1475-1517 "Francesco Granacci, 1477-1543 (friend of Michelangelo) "Giuliano Bugiardini, 1475-1554 (friend of Michelangelo) "Raphael, 1483-1520 "Andrea del Sarto, 1486-1531 "Sebastiano del Piombo, 1485-1547 "Giorgio Vasari, 1512-1574 "Giovanni Bellini, 1428-1516 VenetianGiorgione, 1477-1510 "Titian, 1477-1576 "Tintoretto, 1518-1594 "Paolo Veronese, 1528-1588 "Perugino, 1446-1523 UmbrianBazzi, 1477-1549 SieneseBaldassare Peruzzi, 1481-1536 (also architect) "Domenico Beccafumi, 1486-1551 "Mantegna, 1431-1506 MantuanFrancia, 1450-1518 BologneseCorreggio, 1494-1534 Emilian

MISCELLANEOUS. 

Savonarola, 1452-1498, prior of monastery of S. Marco, Florence, preacher, reformer, martyr. Marc' Antonio, 1487-1539, engraver. Bramante, 1444-1514, architect of St. Peter's. Antonio da San Gallo, 1485-1546, architect of St. Peter's. Christopher Columbus, 1436 or 1446-1506, discoverer. Aldo Manuzio (Teobaldo Mannucci), 1450-1515, printer, established press at Venice 1490. Vittoria Colonna, 1490-1547, poet. 

I

THE MADONNA AND CHILD

About two thousand years ago a babe was born in the littleJudæan village of Bethlehem whose life was to change all history. Hisname was Jesus, and every Christian country now takes his birth as astandard from which to reckon time. When we speak of the year 1900, weare counting the number of years that have passed since that event. [3]To make this clear we sometimes add the initials A. D. , standing forthe Latin words, Anno Domini, meaning in the year of our Lord. To gostill farther back we speak of an event as so many years B. C. OrBefore Christ. 

[Footnote 3: To be perfectly exact we must always add four years to adate to get the full length of time passed since the birth of Christ, as a mistake has been made in the calculation. ]

The infant Jesus came to his mother Mary as a peculiar treasure. Before his birth she had had a vision of an angel telling her that herson was to reign over a great kingdom. She felt that there was a greatand solemn mystery in his life. 

At the time he was born, Bethlehem happened to be crowded with peoplewho had come there to pay their taxes. When Mary and her husbandJoseph went to the inn, there was no room for them, and the baby waslaid in a manger used to feed cattle. This was a humble cradle forone destined to be a king; but the mother did not think too much ofoutward things. Her confidence in her son's greatness was not to beshaken by trifles like this. 

The new-born babe was soon sought out. First came some shepherdsasking to see him, because, while watching their sheep at night, theyhad had a vision of angels telling them that a Saviour was born inBethlehem. Still stranger visitors were some wise men from the East, who said they had seen a star which signified to them the birth of aking. They brought the babe royal gifts of gold and frankincense andmyrrh, and returned on their way well pleased with the success oftheir journey. 

When the babe was about a month old he was carried up to the greatcity of Jerusalem, where, according to the religious custom of theJews, he was to be offered or presented to the Lord, in the temple. Here a saintly old man named Simeon took him in his arms, with somestrange words of prophecy of the salvation which this child was tobring to the world. 

All these things made a deep impression upon Mary, and she was a proudand devoted mother. Day by day she watched her child grow "strong inspirit, filled with wisdom; and the grace of God was upon him. " It issaid that

 "All mothers worship little feet, And kiss the very ground they've trod, "

and this mother had special cause for child worship. 

[Illustration: MADONNA AND CHILD. _National Museum, Florence. _]

The Italians always refer to the mother of Jesus as the Madonna, which is the old Italian way of addressing a lady. This representationof the Madonna and Child makes us understand better what the two wereto each other. The confiding way in which the boy leans against hismother's knee shows the love between them. The mother looks like aqueen; on her well-poised head she wears a headdress something like acrown. As the mother of a prince she bears her honors proudly. 

On her lap is the book from which she has been reading. The childseems dreaming of the wonderful words he has heard, as he rests hischeek on his little hand, his elbow bent across the open page. Athoughtful mood is upon them both, and there is something wistful inthe boy's attitude. The message they have read must indeed be a solemnone. Perhaps it is something which recalls to the mother the promiseof the angel in foretelling the birth of Jesus. She thinks of thegreat honors that are to be his, and also of the sacrifices by whichthey must be won. The book may be open at the words of one of thoseold Hebrew prophets who longed for the coming of the Redeemer. Thereis a verse in the prophecy of Isaiah, which speaks of a child uponwhose shoulders the government shall rest. [4] The writer tells some ofthe many names by which he shall be called, and we may imagine thismother and child going over together these strange titles: "Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince ofPeace. "

[Footnote 4: Isaiah, chapter ix. Verse 6. ]

Our illustration is from a bas-relief by Michelangelo, and as weexamine it closely we discover that the sculptor's work was leftunfinished. The rough marks of the chisel are still seen on thesurface of the marble. A child's figure in the background is quiteindistinct. Probably it was intended for the boy St. John the Baptist, the cousin of Jesus. The child Jesus himself is by no means completed;his right arm is only faintly indicated. 

As we shall learn from other examples of sculpture in this book, [5]Michelangelo often neglected to carry his work to completion. He wasso possessed with his ideas that he could not work fast enough insketching them on the marble, but after this, it did not matter somuch to him about the finishing. He had done enough to show hismeaning. 

[Footnote 5: Note particularly the Cupid on page 15, and the tomb ofGiuliano de' Medici on page 81. ]

There are reasons for liking such work all the better for beingunfinished. Some of the most delightful stories ever written, likethose of Hawthorne, leave something at the end still unexplained. Thereader's imagination is then free to go on forever exploring themystery, and inventing new situations. So in this bas-relief, thegreat sculptor does not work out the details, but allows us toexercise our own fancy upon them. He sketches his thought in a fewnoble lines, and each may round out for himself the completed ideal. 

II

DAVID

Long ago in the country of Palestine lived a lad named David, who kepthis father's sheep. His free life out of doors made him strong andmanly beyond his years. The Israelites were at this time at war withthe Philistines, and David's quick wit and indomitable courage fittedhim to play an important part in the issue of the war. 

The Philistine army contained a giant named Goliath, described as "sixcubits and a span" in height. That is over ten feet; but perhaps histerrible appearance, in all his armor, made him taller than he reallywas. 

One day this giant came out from his army and made a proposal to theIsraelites:[6] "Choose you a man for you, and let him come down to me. If he be able to fight with me, and to kill me, then will we be yourservants: but if I prevail against him and kill him, then shall ye beour servants, and serve us. " Every day, morning and evening for fortydays, the Philistine stood forth and repeated his challenge, yet invain. Saul, the king, and all Israel, were "dismayed and greatlyafraid. "

[Footnote 6: 1 Samuel, chapter xvii. Verses 8, 9. ]

Now it happened that David's three elder brothers were in theIsraelite army, and one day their father sent him to them with apresent of some provisions. While the lad was talking with hisbrothers, Goliath came out with his usual call of defiance. Davidlistened with wonder and indignation. "Who is this Philistine?" heasked scornfully, "that he should defy the armies of the living God?"The brothers were angry at what they thought foolish bravado on thepart of David; but there were others who reported his words to Saul, who forthwith sent for the lad. Then David amazed the king by boldlyoffering to go and fight with the Philistine. 

"And Saul said to David, 'Thou art not able to go against thisPhilistine to fight with him: for thou art but a youth, and he a manof war from his youth. ' And David said unto Saul, 'Thy servant kepthis father's sheep, and there came a lion, and a bear, and took a lambout of the flock: And I went out after him, and smote him, anddelivered it out of his mouth: and when he arose against me, I caughthim by his beard, and smote him, and slew him. Thy servant slew boththe lion and the bear.... The Lord that delivered me out of the paw ofthe lion, and out of the paw of the bear, he will deliver me out ofthe hand of this Philistine. ' And Saul said unto David, 'Go, and theLord be with thee. '

[Illustration: DAVID. _Academy of Fine Arts, Florence. _]

"And Saul armed David with his armour, and he put an helmet of brassupon his head; also he armed him with a coat of mail. And David girdedhis sword upon his armour, and he assayed to go; for he had notproved it. And David said unto Saul, 'I cannot go with these; for Ihave not proved them. ' And David put them off him. And he took hisstaff in his hand and chose him five smooth stones out of thebrook, ... And his sling was in his hand: and he drew near to thePhilistine.... 

"And when the Philistine looked about, and saw David, he disdainedhim: for he was but a youth, and ruddy, and of a fair countenance.... And the Philistine said to David, 'Come to me, and I will give thyflesh unto the fowls of the air, and to the beasts of the field. ' Thensaid David to the Philistine, 'Thou comest to me with a sword, andwith a spear, and with a shield: but I come to thee in the name of theLord of hosts, the God of the armies of Israel, whom thou hast defied. This day will the Lord deliver thee into mine hand; and I will smitethee, and take thine head from thee. ' ... 

"And it came to pass, when the Philistine arose, and came and drewnigh to meet David, that David hasted, and ran toward the army to meetthe Philistine. And David put his hand in his bag, and took thence astone, and slang it, and smote the Philistine in his forehead, thatthe stone sunk into his forehead; and he fell upon his face to theearth. So David prevailed over the Philistine with a sling and with astone, and smote the Philistine, and slew him; but there was no swordin the hand of David. Therefore David ran, and stood upon thePhilistine, and took his sword, and drew it out of the sheaththereof, and slew him, and cut off his head therewith. And when thePhilistines saw their champion was dead, they fled. "[7]

[Footnote 7: 1 Samuel, chapter xvii. Verses 33-51. ]

This heroic adventure of David is the subject of Michelangelo'sstatue. The shepherd, having thrown off the king's armor, advancesnaked and unhampered, carrying only the sling flung across his back. The large muscular hand hanging by his side holds the piece of wood onwhich the sling is hung. It is the hand that wrenched the lamb fromthe lion's mouth and then seized the king of beasts himself by thebeard. The left hand, poised on the shoulder, holds the centre of thesling where it bulges with the pebble. The youth scans the enemykeenly, marking the spot at which to aim. In another moment the pebblewill be speeding on its way. His air of confidence makes us sure ofthe victory. Determination like this must win the day. 

Critics of sculpture tells us that the statue of David must have beenstudied from a model of the age which Michelangelo imagined as that ofthe shepherd lad at this time. The figure is that of a growing youth, and although it is therefore not so beautiful as a type of perfectlydeveloped manhood, it has a rugged strength which makes it one of thesculptor's most interesting works. 

III

CUPID

In the mythology of ancient Greece there is no more popular figurethan the little god of love, Eros, more commonly known by the Latinname Cupid. He was supposed to be the son of Venus, the goddess oflove and beauty, whom he attended. He was never without his bow andquiver of arrows. Whoever was hit by one of his magic dartsstraightway fell in love. The wound was at once a pain and a delight. Some traditions say that he shot blindfolded, --his aim seemed often soat random. Sometimes the one whom he wounded was apparently leastsusceptible to love. Indeed, Cupid had the reputation of being rathera mischievous fellow, fond of pranks. 

One of these was at the expense of Apollo, the great sun god. Apollowas himself a mighty archer, and had slain with his arrows the pythonof Delphi. Proud of his victory, he mocked at the little god of love, advising him to leave his arrows for the warlike, and content himselfwith the torch of love. Cupid, vexed at the taunt, repliedthreateningly, "Thine arrows may strike all things else, Apollo, butmine shall strike thee. " So saying he drew from his quiver two arrows, one of gold, to excite love, and one of lead, to repel it. With thegolden one he shot Apollo through the heart, with the leaden he shotthe nymph Daphne. So Apollo became nearly mad with love for Daphne, but the maid fled from him with horror. He pursued her, and when hewas close upon her, she turned into a laurel-tree. 

Cupid continued to work havoc with his arrows. Even his mother Venuscould not escape their power. One day, when frolicking with her boy, she was wounded by one of the darts, and before the wound healed shesaw and loved Adonis. When that youth was killed in a struggle with awild boar, she was inconsolable. 

Another romantic tragedy for which Cupid was responsible was the lovebetween Hero and Leander. These two young people lived in towns onopposite sides of the Hellespont. Leander was one day worshipping inthe temple of Venus, in Hero's town, Sestos, when he saw Hero, and wasat that moment shot by Cupid's arrow. His love was returned, and everynight he swam across the channel to see his lady love, until one nighta tempest arose, and he was drowned. The waves bore his body to theshore, where Hero found him, and in her despair threw herself into thesea and was also drowned. 

[Illustration: CUPID. _South Kensington Museum, London. _]

Such legends as these were dear to the hearts of the Greeks. Theirpoets and artists were very fond of the subject of Cupid. NowMichelangelo's early artistic training was under the influence of theGreek culture. He was an inmate of the household of Lorenzo de'Medici, who was an ardent lover of all that was beautiful in Greekart and literature. At the table of the prince the youth must oftenhave heard the old Greek myths related, and in the gardens he sawsplendid Greek marbles. It was natural, then, that among his earlyworks in sculpture he should choose the subject of Cupid. His ideawas, however, his own, and was not at all such as a Greek would haveimagined. Classic art always represented the god of love as a merrylittle winged boy, while in this statue he is seen as a well-grownyouth. His face is strong and masterful, instead of innocently gay. 

He has dropped on one knee to take an arrow from the ground. In hisraised left hand he holds the bow, of which we see only a portion. Hisleft leg is bent in position to rise again. Like David, he has anabundance of bushy hair crowning his handsome head; his straight browsand set mouth show the same determination of character. He stands forlove which is determined to win, for love which conquers everyobstacle, for love which is unerring in aim. It is a much noblerconception than the mere passing fancy of which the old myth speaks. Michelangelo was one who believed that

 "Love betters what is best, Even here below, but more in heaven above. "[8]

So he put into a pagan fancy a new and higher meaning. 

[Footnote 8: one of Michelangelo's sonnets translated by Wordsworth. ]

To understand fully the qualities of this work of art, one ought tosee it from many points of view, and study the lines. The long curveof the right arm follows the curve of the right leg from hip to knee. The bend of the left arm repeats the line made by the bend of the leftleg. The two extended arms together form a long line arching like thecurve of a bow. 

From every standpoint all the lines are beautiful and harmonious. Thiswas the secret the Greeks had taught the young Italian sculptor. Inother respects he was entirely original. Cupid, like David, is in anattitude of action. In another moment he will move. This was quitedifferent from the Greek sculpture, which always gives an impressionof repose. 

 NOTE. --There is a difference of opinion among critics as to the subject of the statue at South Kensington. Heath Wilson considered it an Apollo. The writer has followed Symonds in calling it Cupid. 

 The size of the statue may be calculated from the foot rule which lies across the pedestal in the picture. 

IV

MOSES

In Michelangelo's statue of Moses the great Hebrew leader isrepresented at the height of his career. He was a prophet, a poet, amilitary commander, and a statesman. The story of his life will showhow all these qualities could be combined in one person. 

At the time of his birth his people were in slavery to the Egyptians, who cruelly oppressed them. Their numbers were increasing so rapidlythat it was feared they would soon outnumber their masters. So thecommand went forth to drown every boy baby. Now the mother of Moseshad no mind to lose her boy, and "when she could not longer hide him, she took for him an ark of bulrushes, and daubed it with slime andwith pitch, and she put the child therein and laid it in the flags bythe river's brink. And his sister stood afar off, to know what wouldbe done to him. "[9]

[Footnote 9: Exodus, chapter ii. Verses 3, 4, Revised Version. ]

Then a strange thing happened. The princess came to the river with hermaids for a bath, and finding the babe, was touched by his cries. Thesister came up as if by chance, and asked if she should seek a Hebrewnurse for the child, and when the princess said Yes, she wentstraight for her mother. 

So Moses was adopted by an Egyptian princess, yet he was nurtured ininfancy by his own mother. This explains why, with all the Egyptianlearning acquired at court, he had still the religious training of aJew, and when he grew to manhood he was full of sympathy for thewrongs of his people. One day he saw an Egyptian smiting a Hebrew, andin his wrath he slew the Egyptian on the spot. News of the deed cameto Pharaoh the king, and Moses fled into a place called Midian. Herefor forty years he lived a quiet pastoral life as a shepherd forJethro, whose daughter he had married. 

Then came the divine call. He was alone with his sheep on themountain-side, when he heard a voice saying, "Come now and I will sendthee unto Pharaoh, that thou mayest bring forth my people the childrenof Israel out of Egypt, ... And I will bring you up out of theaffliction of Egypt unto the land of the Canaanites ... Unto a landflowing with milk and honey. "[10] Thus Moses became the leader of hispeople in their exodus, or departure from Egypt. 

[Footnote 10: Exodus, chapter iii verses 10 and 17. ]

[Illustration: MOSES. _Church of S. Pietro in Vincoli, Rome. _]

After many strange experiences, the great company of emigrants madethe passage of the Red Sea in safety, and Moses showed his poeticgifts in a song of triumph. Many years of slavery had taken the spiritout of the Hebrews, and they needed a wise head and a firm hand togovern them. Moses had both, and he was, besides, a man of God. Going apart from them for a season of divine communion on themountain, he spent forty days in preparation for a system ofgovernment. On his return he brought with him two tables of stone, inscribed with the ten great commandments, which are at the foundationof right character. He had also detailed directions for their dailyconduct, and for their religious ceremonial. 

The people for whose good all these plans were made were in the meantime discouraged by the long absence of their leader. They had no ideahow much he was doing for them, and in their folly they forgot histeachings, and began to practise the idolatrous customs they had seenin Egypt. On descending the mountain, Moses found them worshipping thegolden image of a calf. It is not to be wondered at that, as thehistorian says, [11] "Moses' anger waxed hot, and he cast the tables outof his hands, and brake them beneath the mount. "

[Footnote 11: Exodus, chapter xxxii. Verse 19. ]

Again Moses went up into the mount for communion with God, and againtwo tables of stone were inscribed with the ten commandments, toreplace those which had been destroyed. Again, also, he was gone fortydays, and this time he was given a mysterious revelation of thegoodness of God. 

Thus it was that when he came down the people were afraid to comenear, for[12] "the skin of his face shone, " or "put forth beams, " asthe expression reads in some Bible translations. In the old Latinversion made by Jerome in the fifth century, and known as the Vulgate, translated into what is now called the Douay Bible, we read that"Moses' face was horned. " This is why all the old artists, who wereguided by the Vulgate, represented Moses with horns. These hornsbecame, as it were, symbols of Moses' inspiration as a prophet. 

[Footnote 12: Ibid. , chapter xxxiv. Verse 30. See Revised Version. ]

Michelangelo followed the prevailing custom in using these curioussymbols. The long curling beard gives his hero the aspect of a poet. The tables of stone show him to be a law-giver. But of all thequalities of this many-sided man seen in the great statue, the mostconspicuous are his qualities of leadership, --the keen glance, thecommanding air, the alert attitude, the determined look. He seemsready to spring to his feet if occasion demands. We see also somethingof his faults, of the impulsive anger which slew the Egyptian, anddashed in pieces the tables of stone, and of the arrogance which costhim the privilege of entering Canaan. 

He was not permitted to see his labors carried to completion, but onthe borders of Canaan "went up into the mountain of Nebo, ... And diedthere in the land of Moab, according to the word of the Lord. And heburied him in a valley ... Over against Beth-peor; but no man knowethof his sepulchre unto this day. "

V

THE HOLY FAMILY

The pictures we have thus far studied in this collection arereproductions of works of sculpture. This is the art whichMichelangelo loved best. He was, however, a painter also, and in thelater years of his life he was even drawn into architecture. Paintingwas the first art he studied, but he soon laid it aside for sculpture, and after that returned to it from time to time throughout his life. 

This picture of the Holy Family is from an oil painting. It shows us aglimpse of the home life of the child Jesus. We have already seen inthe bas-relief of the Madonna and Child how thoughtful a mood wassometimes upon the mother and her boy. In this picture they are makingmerry together. The mother, seated on the ground, tosses the boy withher strong arms, for her husband Joseph to catch. She is a beautifulwoman, large, and full of life and vigor. The boy is a healthy, happychild, with perfect confidence in his mother. He rests his fat littlehands on her head to steady himself. 

Joseph, bald and gray, takes the play a little more seriously, as hegently lifts the boy from the mother's arms. He has a special care forthe child. It was he who was warned by an angel in a dream that itwas dangerous to remain in Judæa. It was he who "took the young childand his mother by night and departed into Egypt. "[13] It was he againwho duly brought them back to their native country when the cruel kingwas dead who had threatened the child's life. After the return fromEgypt Joseph and his family settled in the little town of Nazareth, where he followed the trade of a carpenter. 

[Footnote 13: Matthew, chapter ii. Verses 13, 14. ]

Now Jesus had a cousin, a boy who was not far from the same age. Hisname was John, and his mission in life was closely connected with thatof Jesus. He was to grow up a great preacher, and finally to leadpeople to Jesus himself. His parents knew before his birth, from anangelic visitation, that he was to be a prophet. His mother Elizabeth, and Mary the mother of Jesus, used to talk together, before theirchildren were born, of the strange future in store for them. We liketo think that the two boys grew up as companions and playmates. 

It is this little boy John who is seen in the back of the picture, atthe right, coming up as if to join the child Jesus in his romp. We seehis eager little face, with the long hair blown back from it, justabove the coping stone surrounding the garden inclosure which the HolyFamily occupy. He carries over his left shoulder a slender reed cross, such as is given him in all the old works of art as a symbol of hisprophetic character. 

[Illustration: THE HOLY FAMILY. _Uffizi Gallery, Florence. _]

You may say when you look at the picture that this is such a groupas you might see any day in some Tuscan village. The people are indeedvery plainly of the peasant class, and the artist did not go far outof his way to find his figures. Perhaps he thought this was after allthe best way to show that the Holy Family was not unlike otherfamilies in enjoying the simple pleasures of home life. We may feel acloser sense of kinship with them on that account. 

In studying the artistic qualities of this picture we have to rememberthat Michelangelo was more of a sculptor than a painter, and that hewent to work upon a painting with the same methods he used in marble. The central figures are grouped in a solid mass as if for abas-relief, as we may see by comparing this illustration with that ofthe Madonna and Child. The mother's arms are so "modelled, " to use acritical term, that they seem to start out from the canvas "in theround, " just as if cut from marble. The folds of her dress, as well asthose of Joseph's garment, are arranged in the long beautiful linesartists call "sculpturesque. "

The sculptor's methods are also plainly seen in the peculiarity of hisbackground. In a picture of this kind most painters would have paintedthere a landscape, but Michelangelo did nothing of the kind. Insteadthere is a semicircular parapet upon which five slender unclothedyouths are playing together. Three sit upon the wall and two leanagainst it. 

The figures bear no relation to the story of the picture. They areintroduced merely for the sake of decoration. To Michelangelo therewas nothing so beautiful in decoration as the human form. The linesmade by different positions of the body trace patterns more beautiful, he thought, than any arabesques. The Greeks had the same idea whenthey decorated the pediments of their temples with bas-reliefs of nudefigures. Applying this principle of sculpture to his painting, Michelangelo arranged these boys so that their slender limbsintertwine in graceful patterns, making a decorative background tofill in the picture. The lightness and delicacy of the design heightenthe effect of solidity in the figures of the foreground, giving themthe prominence of figures in relief. 

VI

THE PIETÀ

In the busy years of Christ's ministry we do not read of his oftenbeing with his mother Mary. He was going about the country preachingand healing, and gave himself wholly to his mission. Yet we know thatthe love between mother and son was constant and unchanging. Frombeginning to end she always had confidence in his power, and histender care for her was among his last thoughts. 

On the dreadful day of the Crucifixion, the mother was found standingby the cross, with her sister and Mary Magdalene. "When Jesustherefore saw his mother, and the disciple standing by, whom he loved[that is, St. John], he saith unto his mother, Woman, behold thy son!Then saith he to the disciple, Behold thy mother! And from that hourthat disciple took her unto his own home. "[14]

[Footnote 14: John, chapter xix. Verses 26, 27. ]

We can imagine the mother's anguish in seeing her son suffer thiscruel and ignominious death. He had lived only to do good, and now hewas dying an innocent sacrifice to his enemies. At such a moment themother might truly feel that a sword was piercing her soul, as the oldman Simeon[15] had once prophesied of her, many years before. 

[Footnote 15: Luke, chapter ii. Verse 35. ]

 "Wearied was her heart with grieving, Worn her breast with sorrow heaving, Through her soul the sword had passed. 

 "Ah! how sad and broken-hearted Was that blessed mother, parted From the God-begotten One!

 "How her loving heart did languish When she saw the mortal anguish Which o'erwhelmed her peerless Son. "[16]

[Footnote 16: From _Stabat Mater_. ]

Time passed, and Jesus now being dead, his friends were permitted bythe governor to remove him from the cross. Joseph of Arimathea tookthe lead, as he was to lay the body in a new sepulchre recently madein his garden. Nicodemus was also there, bringing linen and spices forthe burial, and the loving women lingered to see these preparations. 

We can imagine how they might all stand aside to make room for themother Mary. Perhaps, indeed, they would withdraw a little way toleave her for a moment alone with her son. The years seem to meltaway, and again she gathers him in her lap as when he was a babe. Allthe motherly tenderness which she has had long pent up in her heartnow overflows. If she has sometimes felt a little lonely that in hismanhood he no longer needed her care, she forgets it now. He is stillher child. 

The marble group by Michelangelo interprets such a moment for us. TheItalians call the subject the Pietà, which means compassion, but thename scarcely expresses all the emotions of the mother. She seemsas strong and young as when she brooded over her babe in the Bethlehemmanger. "Purity enjoys eternal youth" was the sculptor's explanationto those who objected. 

[Illustration: THE PIETÀ _St. Peter's, Rome_]

Across her capacious, motherly lap lies the slender, youthful figureof the dead Christ. The head falls back, and the limbs are relaxed indeath. Suffering has left no trace on his face. The nail prints inhands and feet, and the scar in the side, are the only signs of hiscrucifixion. The delicately moulded body is beautiful in repose. 

The mother seems to find mysterious comfort in gazing upon her son. Perhaps his death has opened her eyes to the meaning of his life. Ifthis is so, she cannot grieve. He has finished the work given him todo, and death is the beginning of immortality. So sorrow gives placeto resignation. She is again the proud mother. The fond hopes withwhich she watched his childhood have been more than fulfilled. Sheextends her hand in a gesture which seems to say, "Behold and see. "

It is said that certain Lombards, passing through the church where thePietà stood, ascribed the work to a Milanese sculptor named CristoforoSolari. Michelangelo, having overheard them, shut himself up in thechapel, and chiselled his name upon the girdle which crosses theMadonna's breast and supports her flowing garments. His name is notfound on any of his other works, and we can understand why he feltproud of such a masterpiece. Though made when on the very threshold ofhis career, it was never surpassed even in his later years. Someother artist afterwards designed the two little bronze cherubs whohold a crown over the Madonna's head. They are quite out of harmonywith the impressive dignity of the figures below. 

Michelangelo's early love of Greek sculpture taught him many lessons, which were worked out in this group. It has, first of all, thatperfect repose which was the leading trait in classic art. There isnothing strained or violent in the positions. Besides this, thefigures are so arranged that on all sides, as in a Greek statue, thelines are beautiful and harmonious. 

But the subject itself is one which would have been too sad for thepleasure-loving Greek. To the pagan the thought of death was somethingto be avoided. Michelangelo's statue teaches the highest lesson ofreligious faith, --the beauty of resigned sorrow and the sublimity ofsacrificing love. 

VII

CHRIST TRIUMPHANT

(_Cristo Risorto_)

The character of Christ is so many-sided that when trying to fancy howhe looked while he lived in the world, everyone has probably adifferent thought uppermost. The business man and the lawyer mayimagine the keen, searching glance which he turned upon those whotried to entangle him with hard questions. A loving woman thinksrather of the compassionate look with which he greeted the sisters ofLazarus when they came to tell him that their brother was dead. Thephysician may wonder how he looked when he spoke the commanding wordsto those whom he healed. 

Others dwell upon his sufferings as the Man of Sorrows, and oftenthink how sad he looked when he referred to the disciple who shouldbetray him. Lovers of nature like to imagine the look of pleasure onhis face in seeing the lilies growing in the field, or the expressionof eager inquiry with which he asked the fishermen what luck they hadhad. Every boy and girl likes best to think of him smiling upon thechildren, whom he called to him and took in his arms. 

Now when an artist makes an ideal representation of Christ, he triesto show us as many as possible of these elements of character combinedin one figure. So we may test the success of Michelangelo's statue ofChrist by searching out these various elements in it. We must alsoknow what incident the artist had in mind of which the work is anillustration, so to speak. 

The statue is called in Italian _Cristo Risorto_, that is, ChristRisen or Triumphant, because the reference is to a circumstance notrecorded of his earthly career, but belonging to the time followinghis resurrection. It is connected with a story told by St. Ambroseabout the apostle Peter. St. Peter, it is believed, spent the latterpart of his life in Rome, where the cruel emperor, Nero, was doing hisbest to exterminate the Christians. 

"After the burning of Rome, Nero threw upon the Christians theaccusation of having fired the city. This was the origin of the firstpersecution, in which many perished by terrible and hithertounheard-of deaths. The Christian converts besought Peter not to exposehis life, which was dear and necessary to the well-being of all; andat length he consented to depart from Rome. But as he fled along theAppian Way, about two miles from the gates, he was met by a vision ofour Saviour, travelling towards the city. Struck with amazement, heexclaimed, 'Lord! whither goest thou?' (_Domine, quo vadis?_) to whichthe Saviour, looking upon him with a mild sadness, replied, 'I go toRome to be crucified a second time, ' and vanished. Peter, takingthis for a sign that he was to submit himself to the sufferingsprepared for him, immediately turned back, and reëntered the city. "[17]

[Footnote 17: From Mrs. Jameson's _Sacred and Legendary Art_, pages200, 201. ]

[Illustration: CHRIST TRIUMPHANT. _Church of S. Maria sopra Minerva, Rome. _]

It is this visionary figure of the Christ, appearing and disappearingbefore the eyes of Peter, that Michelangelo represents in the statue. He carries a cross not large enough for an actual crucifixion, as thatwould be out of place here, but tall enough to show its real purpose. He has also the long reed and the sponge which the soldier used togive him a drink of vinegar and gall when he thirsted on the cross. Abit of rope is a reminder of the scourging given him by the governor. 

All these things he carries with him to Rome for a fresh martyrdom. Itis as if in walking along the way he suddenly meets Peter, and, at theapostle's astonished question, he pauses, leaning a moment on thecross, as he turns gently to reply. 

Now as this is the Christ risen, or triumphant, the Christ who hasconquered death and the grave, Michelangelo wanted to do all he couldto make a noble-looking figure. The face is of the handsome type, withregular features, which the Italians like to give to their ideal ofChrist. The expression of reproach is so gentle that one deservingrebuke may well feel ashamed before it. 

The sorrow in the face is such as Jesus might have shown as he turnedto Judas at the Last Supper. The gentleness in it is of the quality soattractive to children. There is, too, something of the sympatheticelement in it which Mary and Martha found. 

The countenance is not without intellectuality, though it scarcelyshows the keenness which the lawyers found it hard to outwit. It hasrather the refinement of a lover of all that is beautiful. Nor isthere much in expression or attitude to suggest the more commandingqualities of Jesus. These stronger elements the statue seems to lack. 

It is rather puzzling to one who is trying to form standards of tasteto learn that critics are divided in their opinion about this statue. It is, therefore, well to know that Michelangelo is not whollyresponsible for the work as we now see it. Though he designed andbegan it, he left it to some unskilful apprentices to finish. Theeffect of the lines is injured by the bronze drapery which was addedlater. A bronze sandal has also been put on the right foot to protectit, as it had become much worn by kisses. 

In criticising a statue one must always remember that it is best seenin the surroundings for which it is designed. It is said, even by onewho does not greatly admire Michelangelo's Christ, that in the dimlight of the church where it stands, "it diffuses a grace andsweetness which no reproduction renders. "[18]

[Footnote 18: Symonds, in _Life of Michelangelo Buonarotti_. ]

VIII

THE CREATION OF MAN

Science has long been trying to solve the problem of the origin of thehuman race. Great books are published by learned men to explain howthe being called man came to be what he is. But centuries before thebeginnings of science a wonderful poem was written on the same subjectof the creation. This poem is called Genesis, that is, the Birth orOrigin of things, and it forms a part of the first book of our Bible. Ever since it was written it has been one of the sacred books of manypeople. 

This story of creation was once the favorite subject of artists. Inthe period before the invention of printing, people depended for theirinstruction upon pictures about as much as we now do upon books. Painters sometimes covered the walls and ceiling of churches withillustrations of the book of Genesis, transforming them into hugepicture-books, from which the worshippers could learn the Biblestories which they were unable to read in books. 

Michelangelo was one of the last Italian painters to do this, and heprofited by all the work that had been done before to make thegrandest series of Genesis illustrations ever produced. It is fromthis series that our illustration is taken, representing the subjectof the Creation of Man. The painter did not try to follow the textvery literally. In the book of Genesis we read:[19]--

[Footnote 19: Genesis, chapter i verses 26-27; chapter ii verse 7. ]

"And God said, Let us make man in our image, after our likeness: andlet them have dominion over the fish of the sea, and over the fowl ofthe air, and over the cattle, and over all the earth, and over everycreeping thing that creepeth upon the earth. 

"So God created man in his own image, in the image of God created hehim.... And the Lord God formed man of the dust of the ground, andbreathed into his nostrils the breath of life; and man became a livingsoul. "

Michelangelo takes these words, and expresses, in his own way, thesupreme creative moment when "man became a living soul. "

The man Adam lies on a jutting promontory of the newly made land. Though his body is formed, he lacks as yet the inner force to use it;he is not yet alive. The Creator is borne along on a swirling cloud ofcherubs, moving forward through space like a rushing mighty wind. Perhaps the painter was thinking of the psalmist's beautifuldescription of God's coming:[20] "He rode upon a cherub, and did fly:yea, he did fly upon the wings of the wind. "

[Footnote 20: Psalm xviii, verse 10. ]

[Illustration: THE CREATION OF MAN. _Sistine Chapel, Rome. _]

In His fatherly face is expressed the good purpose to create a son "inhis own image. " The cherubic host accompanying him are full of joyand awe. We are reminded of that time of which the poet Miltonwrote, [21] when

 "All The multitude of angels, with a shout Loud as from numbers without number, sweet As from blest voices, uttering joy, --Heaven rung With jubilee, and loud hosannas filled The eternal regions. "

[Footnote 21: _Paradise Lost_, book iii. Lines 344-349. ]

The sign of the Almighty's creative power is the outstretched armextended towards Adam with a superb gesture of command. As if inanswer to the divine summons, the lifeless figure begins to stir, rising slowly to a sitting posture. The face turns towards the sourceof life as the flower turns to the sun. The eyes are lifted to theCreator's with a wistful yearning. It is the look we sometimes see inthe eyes of a woodland creature appealing for mercy. It is such a lookas might belong to that imaginary being of the Greek mythology, thefaun, half beast, half human. Thus Adam, still but half created, begins to feel the thrill of life in his members, and is aroused toaction. He lifts his hand to meet the Creator's outstretched finger. The current of life is established, the vital spark is communicated, and in another moment Adam will rise in his full dignity as a humansoul. 

This picture was painted long before there was any knowledge ofelectricity, of electric sparks, and electric currents. Yet, if we didnot know otherwise, we might fancy that Michelangelo had some ofthese wonderful ideas of modern science in mind, as the symbols of thegreat thoughts he was trying to express. 

The picture suggests to our latter day scientific imagination thatGod's currents of power move as silently, as swiftly, as invisibly andmysteriously as the currents of electricity. The painter meant to showthat the work of creation was not a mechanical effort of the Almighty, but that with him a gesture, a word, even a thought, brings somethinginto being. 

The series of which this picture forms a part is painted in fresco onthe ceiling of the Sistine Chapel, in the Pope's palace of theVatican, Rome. To break up the monotony of the long plain surface hehad to decorate, the painter divided the strip of space in the centreinto nine compartments. These are separated from each other by apainted architectural framework, so cunningly represented that itseems to project from the ceiling like a solid structure of beams. 

Our illustration shows a portion of the simulated framework whichincloses the picture. On what appears to be a pedestal at each corneris a seated figure representing a statue. One is a beautiful youthwith a horn of plenty, and the other is a faun-like creature caperinggayly. The purpose of these figures is decorative, like those in thebackground of the Holy Family. 

IX

JEREMIAH

Michelangelo's decoration of the Sistine Chapel ceiling did not stopwith the series of panels running along the flat space in the centre. On either side, where the ceiling arches to meet the side walls, hepainted a row of figures, which seem to be seated in sculpturedniches. There are twelve of these figures in all, and seven of themare Hebrew prophets. 

The prophets were holy men of old, who walked with God, and carriedhis messages among men. They were men of great courage and conviction, fearlessly denouncing the sins of their times. Sometimes they weregreat reformers, bringing about by their preaching an improvedcondition of things. Often their mission was to arouse hope indiscouragement, to strengthen faith in a happier time to come. Theylooked forward to a future day, when the Prince of Peace should reignin the earth. 

Jeremiah was a prophet of Judah during the corrupt and troublous timesin the reigns of Josiah, Jehoiakim, and Zedekiah. He has been comparedby a recent writer[22] to "a Puritan living in the age of the Stuarts, to a Huguenot living in the age of the Medici, or a Savonarola livingin the age of Pope Alexander VI. " He was born in Anathoth, a littlevillage of Judæa, and being the son of a priest was consecrated to thepriesthood from birth. 

[Footnote 22: Lyman Abbott in _Hebrew Prophets and American Problems_. ]

He was still very young when it was borne in upon him that to be loyalto God he must stand forth and speak the truth more boldly than otherpriests were doing. Shrinking from such a task, he besought God tospare him. "Ah, Lord God! behold, I cannot speak: for I am a child. "

And this, writes Jeremiah, is the answer he received:[23] "Say not, Iam a child: for thou shalt go to all that I shall send thee, andwhatsoever I command thee thou shalt speak. Be not afraid of theirfaces: for I am with thee to deliver thee, saith the Lord. Then theLord put forth his hand, and touched my mouth. And the Lord said untome, Behold, I have put my words in thy mouth. See, I have this day setthee over the nations and over the kingdoms, to root out, and to pulldown, and to destroy, and to throw down, to build, and to plant. "

[Footnote 23: Jeremiah, chapter i. Verses 6-10. ]

Thus Jeremiah became a prophet, and from that time on his life was"one long, hopeless protest against folly and crime. " Earnestly hebesought his people to return to God before it was too late: "OJerusalem, wash thine heart from wickedness, that thou mayest besaved;"[24] but prayers and threats were alike of no avail, andmisfortunes began to afflict the land. Then Jeremiah shows himself atrue patriot. Though his people refused to hear him, he still lovesthem and pleads their cause. In the horror of famine, he prays to Godin their behalf. 

[Footnote 24: Ibid. , ch. Iv. V. 14. ]

[Illustration: JEREMIAH. _Sistine Chapel, Rome. _]

There are times even in the midst of disappointment when Jeremiah hassome gleam of hope for the future. He predicts the days when "a Kingshall reign and prosper, and shall execute judgment and justice in theearth. "[25] Such times he himself was never to enjoy. He lived to seethe Babylonian invasion, Jerusalem besieged and laid waste, and hispeople taken captive. The reward of his faithful warnings was to becast into prison by the ungrateful King Zedekiah. Finally he wascarried by the remnant of his people into Egypt, where he died in asad and lonely old age. 

[Footnote 25: Jeremiah, chapter xxiii. Verse 5. ]

Once in a moment of discouragement early in life, his grief had burstforth in words which might well express the feelings of his old age:"Oh that my head were waters, and mine eyes a fountain of tears, thatI might weep day and night for the slain of the daughter of mypeople!"[26]

[Footnote 26: Jeremiah, chapter ix. Verse 1. ]

All the pathos of these words is conveyed in Michelangelo's wonderfulfigure of Jeremiah. The story of his life is written in his face andattitude. He is an old man, with long gray beard, but he still has thesplendid vigor which comes from plain and simple living. He sits withbowed head, lost in thought, his long life passing in review beforehis mind's eye. His message is spoken, his race is run; he is wearyof life and longs to die. There is something inexpressibly moving inhis profound melancholy. 

The painter has placed just behind the prophet two little figureswhich are like attendant spirits. They seem to sympathize withJeremiah's sorrows. The figures ornamenting the sculptured nicheremind us of those in the background of the Holy Family and have asimilar decorative purpose. 

Those who have studied the history of the times in which Michelangelolived may find in this figure of Jeremiah an expression of theartist's own character. Like the old Hebrew prophet, he lived in themidst of a corruption which he was helpless to remedy, and whichsaddened his inmost soul. His own life was full of disappointments. Inhis lonely old age he wrote a sonnet, which is not unlike some ofJeremiah's utterances, and which is a clue to the meaning of thepicture:--

 "Borne to the utmost brink of life's dark sea, Too late thy joys I understand, O earth! How thou dost promise peace which cannot be, And that repose which ever dies at birth. The retrospect of life through many a day, Now to its close attained by Heaven's decree, Brings forth from memory, in sad array, Only old errors, fain forgot by me, -- Errors which e'en, if long life's erring day, To soul destruction would have led my way. For this I know--the greatest bliss on high Belongs to him called earliest to die. "

X

DANIEL

In striking contrast to the bowed and sorrowful old prophet Jeremiahis the alert and eager youth Daniel. The two men were contemporaries, though there was a difference in their ages. When, in the reign ofJehoiakim, the Jews were taken into captivity to Babylon, the youthDaniel went with them, while the old prophet Jeremiah was left behind. Daniel was chosen, with three companions, to be educated at the courtof the Babylonian king, Nebuchadnezzar. They were taught the Chaldeanlanguage and the sciences, and the king was delighted with theirprogress. 

An opportunity soon came for Daniel to be of service to his royalpatron. Nebuchadnezzar had a strange dream, which none of hismagicians could interpret, because, unfortunately, he had forgottenit. In his anger that no one could supply the lost memory, hecommanded to destroy all the wise men of Babylon. But Daniel prayed toGod that the secret might be revealed to him. 

His prayers were answered, and he related to the king not only justwhat the dream was, but the full meaning of it:[27] "Thou, O king, sawest, and behold a great image. This great image, whose brightnesswas excellent, stood before thee; and the form thereof was terrible. This image's head was of fine gold, his breast and his arms of silver, his belly and his thighs of brass, his legs of iron, his feet part ofiron and part of clay. Thou sawest till that a stone was cut outwithout hands, which smote the image upon his feet that were of ironand clay, and brake them to pieces.... And the stone that smote theimage became a great mountain, and filled the whole earth. "

[Footnote 27: Daniel, chapter ii. Verses 31-35. ]

In Daniel's interpretation the different portions of the imagerepresented the different kingdoms which should follow, one afteranother, in the future. The stone which brake the image in piecesreferred to the final kingdom which the God of heaven shall set up, "which shall never be destroyed, " but which shall stand forever. 

From this time forth Daniel became a seer. He had many wonderfulvisions in the night, and interpreted them with reference to futurehistorical events. He was also a statesman, the king having made himgovernor of the province as a reward for his services. In later yearshe acted as viceroy at a time when the king was insane. 

In the reign of Nebuchadnezzar's successor, Belshazzar, Daniel wasagain called into service as a seer. One night, during a great feast, a mysterious hand appeared to write some inscription on the wall, andDaniel alone could interpret it. The message was ominous, but theprophet spoke out boldly. "MENE, MENE, TEKEL, UPHARSIN, "ran the words, "Thou art weighed in the balances and art foundwanting. " Daniel condemned the king for his iniquities, and declaredthat his kingdom should be divided by the Medes and Persians. Thatvery night Belshazzar was slain, and Darius, the Median, took thekingdom. 

[Illustration: DANIEL. _Sistine Chapel, Rome. _]

Under the new dynasty Daniel was given so much power that some of theofficials, jealous of his preferment, plotted against him. Theycontrived to persuade King Darius to sign a decree that "whosoevershould ask a petition of any god or man for thirty days, save of theking himself, should be cast into the den of lions. " The officialswere right in supposing that this would entrap Daniel intolaw-breaking, for, faithful to his Hebrew training, he offered prayerto God three times a day. He was therefore cast into the lions' den, but no harm befell him, because, according to his own explanation, Godsent his angel to shut the lions' mouths. 

Daniel continued to hold office even in the reign of the next king, Cyrus the Persian. He lived to a great old age, but he was so youngwhen he first showed his prophetic gifts that it is natural to thinkof him in his youth as Michelangelo has represented him. It would seemthat the artist had in mind Daniel's early years of education atcourt. On his lap is a large open book supported on the back of a tinyfigure standing between his knees. This may represent a volume ofChaldean learning. His posture shows that he has been consulting thevolume, and now turns to his writing tablets to record his ownthoughts. 

His broad forehead shows him to be a student and a thinker. The wavinghair is brushed back to form an aureole about his face. It is the faceof a dreamer in a moment of inspiration. Eagerly he writes his wordsof mingled poetry and prophecy. He is full of youthful enthusiasm forhis work, a nature fitted for action as well as for vision. He hasalso the spirited bearing of one who fears neither the rage of a lionnor the wrath of a king. There is a breezy energy in his motions, asif thoughts came more swiftly than he could transcribe them. 

His expression of happy anticipation is in vivid contrast toJeremiah's sorrowful attitude of retrospection. The picture brings outclearly the fact that the keynote of Daniel's prophecy is hope. Looking into his rapt face, we may imagine that this is the message heis writing: "They that be wise shall shine as the brightness of thefirmament; and they that turn many to righteousness, as the starsforever and ever. "[28]

[Footnote 28: Daniel, chapter xii. Verse 3. ]

XI

THE DELPHIC SIBYL

In the rows of figures which Michelangelo painted along the archedportion of the ceiling of the Sistine Chapel, the prophets areassociated with sibyls. Hence, in the plan of decoration, there comesfirst the figure of a man, and then the figure of a woman. 

Now, as the Bible contains no allusion to sibyls, it may seem strangethat they should have a place in a series of Bible illustrations, andespecially that they should appear side by side with the prophets. Toexplain this, we must learn something about the sibyls. 

They were women of ancient times supposed to have supernatural giftsof foretelling the future. They devoted themselves to solitude andmeditation, and sometimes lived apart in caves or grottoes. Sometimesthey were connected with temples, and delivered what were supposed tobe the messages of the gods to the worshippers. These messages werecalled oracles, and were greatly revered by the people who consultedthe gods. 

Some of the sibyls' words of wisdom were committed to writing andpassed down to following generations. Though they lived in heathencountries, the tradition ran that they prophesied the advent ofChrist. There is a passage in one of Virgil's eclogues (the fourth)upon which the supposition is based. Early in the Christian era, whenmen were spreading the new faith, they made much of these sibyllineprophecies to add weight to their teachings. 

In former times, fact and fable were very often confused, and peopledid not take pains to distinguish the legends of the sibyls from thehistory of the prophets. When the Latin hymn "Dies Irae" was written, the sibyl was mentioned, with the prophet, as predicting the finaldestruction of the world. Many painters and sculptors gave the twoequal honor in the same way. In the prevailing opinion, the sibylsshared with the prophets an inspired foreknowledge of the Christianfaith. 

The nine main panels of Michelangelo's ceiling decoration show how manwas created, and how he was tempted and fell into sin. To carry onstill further the story of the human race, the painter shows thesuccession of men and women, prophets and sibyls, who, one afteranother, predicted the redemption of the world in Christ. On the sidewalls, below these figures, the story is carried to completion in aseries of pictures illustrating the life of Christ. The last namedfrescoes were painted by various artists some years beforeMichelangelo's work on the ceiling. 

The number of sibyls was given as ten or twelve, and of theseMichelangelo selected five. His idea here, as with the prophets, seemed to be to represent some in old age and some in youth. 

[Illustration: THE DELPHIC SIBYL. _Sistine Chapel, Rome. _]

The Delphic sibyl is the youngest and most beautiful of them all. Shepresided over the temple of Apollo in the Greek town of Delphi, whereit was long customary for the priestess, or _pythia_, as she wascalled, to be a young woman selected from some family of poor countrypeople. 

The temple at Delphi was one of great celebrity. In the centre was asmall opening in the ground, whence arose an intoxicating vapor, andover this sat the pythia, on a three-legged seat, or tripod, anddelivered the oracle communicated to her by the god. These oracleswere delivered in verse. 

The Delphic sibyl, or pythia, of Michelangelo's picture, has thesplendid stature of an Amazon. Her head is draped with a sort of Greekturban, beneath which her hair escapes in flying curls. Her face andexpression show her at once to be unlike an ordinary woman. She hasthe look of a startled fawn, which has suddenly heard the call of adistant voice. She turns her head in the attitude of one listening. She looks far away with eyes that see visions, but what those visionsare none can guess. There are other pictures of the same sibylcarrying a crown of thorns, showing that she predicted the sufferingsof Christ. Perhaps this is the meaning of the sorrowful expression inthese wide eyes. 

The scroll which she unrolls in her left hand is the scroll of herprophecy. The two little figures holding a book, just behind her rightshoulder, are genii, or spirits, symbolic of her inspiration. Onereads eagerly from the volume while the other listens with raptattention. 

The picture makes a very interesting study in the composition oflines. Starting from the topmost point of the turban, draw a line onthe right, coming across the shoulder along the outer edge of thedrapery to the toe. On the left, let the line connecting the same twopoints follow the outer curve of the scroll, along the slanting edgeof the mantle, and we get a beautiful pointed oval as the basis of thecomposition. 

The sibyl's left arm drops a curve across the upper part of thefigure, and this curve is repeated a little lower down by the creasesin the drapery across the lap. Such are the few strong, simple lineswhich compose the picture, producing an effect of grandeur which aconfusion of many lines would entirely spoil. 

XII

THE CUMÆAN SIBYL

Of all the sibyls, the one we hear most about is the Cumæan. Thelegend runs that, having asked a boon of Apollo, she gathered ahandful of sand and said, "Grant me to see as many birthdays as thereare sand grains in my hand. " The wish was gratified, but unluckily sheforgot to ask for enduring youth, so she was doomed to live a thousandyears in a withered old age. Thus we always think of her as an oldwoman, as Michelangelo has represented her. 

She is called the Cumæan sibyl because she is supposed to have livedin Cumæ, which was the oldest and one of the most important of theGreek colonies in Italy. Her real name, we are told, was Demos. Shelived in a great cavern, where the people came to consult her, and heranswers to their questions were regarded as oracles, or answers fromthe deities. She used to write on the leaves of trees the names andfates of different persons, arranging them in her cave to be read byher votaries. Sometimes the wind sweeping through the cavern scatteredthe leaves broadcast through the world. 

The manner of consulting her is fully described by the Latin poetVirgil in the sixth book of the Æneid. He tells how Æneas, arrivingwith his fellow voyagers at the town of Cumæ, immediately goes to thetemple of Apollo, "And seeks the cave of wondrous size, The sibyl's dread retreat, The sibyl, whom the Delian seer Inspires to see the future clear, And fills with frenzy's heat; The grove they enter, and behold Above their heads the roof of gold. 

 * * * * *

 "Within the mountain's hollow side, A cavern stretches high and wide; A hundred entries thither lead; A hundred voices thence proceed, Each uttering forth the sibyl's rede. The sacred threshold now they trod: 'Pray for an answer! pray! the god, ' She cries, 'the god is nigh!'

 "And as before the door in view She stands, her visage pales its hue, Her locks dishevelled fly, Her breath comes thick, her wild heart glows. Dilating as the madness grows, Her form looks larger to the eye; Unearthly peals her deep-toned cry, As, breathing nearer and more near, The god comes rushing on his seer. "

Æneas now begs a favor of the sibyl. He has heard that here the pathleads downward to the dead, and he desires to go thither to visit hisfather, Anchises. There are certain conditions to fulfil beforesetting forth, but when these are done the sibyl guides him on hisway, and the journey is safely made. 

[Illustration: THE CUMÆAN SIBYL. _Sistine Chapel, Rome. _]

Another legend of the Cumæan sibyl has to do with the Roman emperorTarquin. The sibyl came to him one day with nine books of oracles, which she wished him to buy. The price was exorbitant, and the emperorrefused her demand. She then went away, burned three of the books, and, returning with the remaining six, made the same demand. Again heroffer was refused, and again she burned three books and returned, still requiring the original price for the three that were left. Tarquin now consulted the soothsayers, and, acting upon their advice, bought the books, which were found to contain directions concerningthe religion and policy of Rome. 

For many years they were held sacred, and were carefully preserved inthe temple of Jupiter in the Capitol, under the care of officialguardians. At length the temple was destroyed by fire, and theoriginal sibylline books perished. In the following centuries theywere replaced by scattered papers, collected from time to time invarious parts of the empire, purporting to be the writings of thesibyl. These sibylline leaves, as they were called, contained passagessupposed to be prophetic of the coming of Christ, and this is why theCumæan sibyl is placed by Michelangelo among the prophets. 

The sibyl is reading aloud from one of her books of oracles. The twolittle genii standing behind her shoulder, and listening with absorbedattention, hold another book, not yet unclasped, ready for her. Shereads her prophecy with keen, searching eyes, and a manner that isalmost stern. We can see in the large, strong features thedetermination of her character. 

It is not a gentle face, and not pleasing, but it is full of meaning. We read there the record of the centuries which have passed over herhead, bringing her the deep secrets of life. Yet the prophecies arestill unfulfilled, and there is a look of unsatisfied longing in herwrinkled old face. 

You will notice that the outlines of the Cumæan sibyl are drawn in anoval figure similar to that inclosing the Delphic sibyl. Here, however, the oval is of a more elongated form, and the left side isbroken midway by the introduction of the book. 

The old writer Pausanias, writing his "Description of Greece, " in thesecond century, says that the people of Cumæ showed a small stone urnin the temple of Apollo containing the ashes of the sibyl. For manycenturies her cavern was pointed out to travellers in a rock under thecitadel of Cumæ. Finally the fortifications of the city wereundermined, but to this day a subterranean passage in the rock onwhich they were built is still shown as the entrance to the sibyl'scave. 

XIII

LORENZO DE' MEDICI

The statue of Lorenzo de' Medici is the central figure on the tomberected to the memory of this prince. He was the rather unworthynamesake of his illustrious grandfather, who was known as Lorenzo theMagnificent. The Medici family was for many generations the richestand most powerful in Florence. They were originally merchants, and, asthe name signifies, physicians, and, accumulating great wealth, theybecame powerful leaders, and really the rulers of the republic. 

Some of them were munificent patrons of art and literature. There wasone named Cosimo, who did so much to make his city famous that he wascalled _Pater Patriae_, the father of the country, as was, centuriesafterwards, our own Washington. His grandson Lorenzo won the title ofthe Magnificent for his lavish generosity and superb plans for theadvancement of art and learning. So much power could not safely be inthe hands of a single family. The Medici, from being benefactors, finally became tyrants. 

The Lorenzo of this statue was one of the more insignificant membersof the family. It is said that "he inherited the vices without thegenius of the family, and was ambitious, unscrupulous, anddissipated. His uncle, Pope Leo X. , after depriving the Duke of Urbinoof his hereditary domains, bestowed them, with the title of duke, onLorenzo, whom he also made general of the pontifical forces. "[29] In1518 Leo united him in marriage to a French princess, and theirdaughter was the afterwards celebrated Catharine de' Medici, queen ofthe French king, Henry II. These are the main facts in the life of aman who is remembered only because he had illustrious ancestors, afamous daughter, and a superb tomb. 

[Footnote 29: Susan and Joanna Horner's _Walks in Florence_, vol. I. P. 125. ]

It mattered nothing to Michelangelo that he had so poor a subject fora statue. It is supposed that he made no attempt at correctportraiture in the figure. The insignificant Lorenzo was transformedby the magic of his genius into a hero. 

He wears a suit of Roman armor, in accordance with his career as ageneral in the wars with the Duke of Urbino, whose title he took. Hishelmet is pulled well forward over the brow, the head is bent, thecheek rests upon the left hand, the elbow supported on a casket placedon the knee. With finger laid thoughtfully upon the lips, he isthinking intently. The right hand rests, palm out, against the knee ina characteristic position of inaction. 

[Illustration: LORENZO DE' MEDICI. _Church of S. Lorenzo, Florence. _]

His mood is not that of a dreamer lost to his present surroundings. Rather he seems to be keenly aware of what is going on; hismeditations have to do with the present. It is as if, having given anorder, he awaits its execution, his mind still intent upon hispurposes, satisfied with his decision, and calmly expectant of itssuccess. His affair is one of serious importance; no trifling matterabsorbs the thought of this grave man. "A king sits in this attitudewhen, in the midst of his army, he orders the execution of somejudicial act, like the destruction of a city. Frederic Barbarossa musthave appeared thus when he caused Milan to be ploughed up. "[30]

[Footnote 30: Taine, _Travels in Italy_. ]

The lack of resemblance in the statue to the original duke Lorenzomade it for a long time doubtful whether it was intended to be histomb. The Florentines, in their poetic way, fell into the habit ofcalling it _Il Pensiero_, that is, Thought, or Meditation, sometimes_Il Pensieroso_, The Thinker. These are, after all, the best names forthe statue, which is allegorical rather than historical in itsintention. The great English poet Milton has written a poem, which islike a companion piece to the statue, fitting it as words sometimesfit music. It begins in this way, in words which _Il Pensieroso_himself might speak:--

 "Hence, vain deluding Joys, The brood of Folly, without father bred! How little you bested, Or fill the fixèd mind with all your toys! Dwell in some idle brain, And fancies fond with gaudy shape possess, As thick and numberless As the gay motes that people the sunbeams, Or likest hovering dreams, The fickle pensioners of Morpheus' train. But hail! thou Goddess sage and holy, Hail, divinest Melancholy!"

Lorenzo's statue stands in a niche above the sarcophagus, or stonecoffin, in which his body was laid. On the top of the sarcophagus aretwo reclining figures called Dawn and Twilight. The tomb itself is ina chapel, or sacristy, called the New Sacristy (to distinguish it fromone still older), in the Church of S. Lorenzo, Florence. The entiresacristy is devoted to the memory of the Medici family, who had forseveral generations been benefactors of this church. 

Now Michelangelo had a great deal to do with this family first andlast, and his work on the tomb has an additional interest on thisaccount. It was to Lorenzo the Magnificent that he owed his firststart as a sculptor in an academy founded by this prince. He sopleased his patron that he was received into the duke's own household, and treated almost like a son. Years passed; Lorenzo had long beendead, when, one after another, two members of the same family came tothe papal throne, and they desired to honor their name by employingthe greatest sculptor of Italy in this monumental work. 

So Michelangelo began designs for the sacristy, the entire decorationof which was intrusted to him. The walls of the rooms were panelledwith marble, set with niches, in the form of windows, in which thestatues were to be placed. 

As the work proceeded, it was interrupted by some strange incidents, of which we shall hear later. The whole plan was never fully carriedout, but in spite of incompleteness the chapel is a grand andimpressive place. 

XIV

THE TOMB OF GIULIANO DE' MEDICI

The tomb of Giuliano de' Medici is the companion to the tomb ofLorenzo, and stands on the opposite side of the altar which separatesthem. Our illustration shows the entire work, the statue being in theniche above, and the sarcophagus standing below with two recliningfigures on it. 

Giuliano de' Medici, duke of Nemours, was the youngest son of Lorenzothe Magnificent, and consequently the uncle of the younger Lorenzo. Inreality he was greatly superior to his nephew, but curiously enoughhis appearance in Michelangelo's statue is more commonplace, thoughhis attitude is graceful. He was a thoughtful man, somewhat melancholyin disposition, and the author of a poem on suicide. He wears thecostume of a Roman general, but his small head and slender throat arenot those of a warrior. 

You will notice that the attitude of the duke Giuliano is somewhatsimilar to that of Moses. Both sit with left foot drawn back and rightknee extended. Both turn the head in profile, looking intently towardthe left. In either case it is easy to imagine the figure suddenlyspringing up. 

Now this fact emphasizes the difference we have already noted betweenthe sculpture of Michelangelo and that of the Greeks. The leading ideain Greek sculpture was that of repose, while, as we have seen in theDavid and the Cupid, Michelangelo chose for his figures a moment ofaction. To give this suggestion of motion to a seated figure is evenmore remarkable than in the case of one standing, for the sittingposture naturally has an effect of stability. 

The reclining figures on the sarcophagus of the Duke Giulianorepresent Night and Day, and are supposed to be symbolic of death andresurrection. Night is a woman lying with head sunk upon the breast ina deep sleep. She is crowned with a crescent moon and star, and an owlis placed at her feet. The mask beneath her pillow symbolizes the bodyfrom which the spirit has departed. Though the figure is not beautifulin the Greek sense, it is grand and queenly. Opposite is Day, anunfinished captive, his head half freed from the stone, the armsrigid, the body contorted. 

These two figures, together with Dawn and Twilight on Lorenzo's tomb, have an allegorical meaning which must be read in the light ofMichelangelo's own life history. "Life is a dream between twoslumbers; sleep is death's twin-brother; night is the shadow of death;death is the gate of life--such is the mysterious mythology wrought bythe sculptor. "[31]

[Footnote 31: Symonds, in _Renaissance in Italy: the Fine Arts_. ]

The work on the Medicean tombs covered a period of about twelve years. During this time the Medici family passed through varying fortunes, and in consequence the fate of the tombs, and indeed that of thesculptor himself, hung in the balance. Florence became weary oftyranny and rose in a revolution which drove the Medici from the cityin 1527. 

[Illustration: TOMB OF GIULIANO DE' MEDICI. _Church of S. Lorenzo, Florence. _]

Success was of short duration: the republic soon "found herselfstanding out against a world of foes, " the Pope, Clement VII. (himselfa Medici), "threatening fire and flame, " and all the Medici family"getting ready to return in double force. " The Florentines prepared tofight for their liberty, and Michelangelo was found among thepatriots. No sense of personal gratitude to the Medici could shake hislove of liberty. He forsook the monuments and turned his skill to thefortification of the city. 

For eleven months Florence was besieged, and in the end the city wascaptured. The Medici returned conquerors. Mercenaries now broke intothe houses, killing the best citizens. Had not Michelangelo been inhiding, he too would have perished. But the Pope could not afford tolose his best sculptor, and, calling him forth from his hiding-place, again set him to work in the Medici chapel. It is not strange that thesculptor's proud spirit rebelled at having to work on that which wasto honor the enemies of his beloved Florence. 

Thus it was that his sculpture told the story of "the tragedy ofFlorence: how hope had departed, how life had become a desert, and howit was hard to struggle with waking consciousness, but good to sleepand forget--nay, best of all, to be stone and feel no more. "

The old writer Vasari, who was once a pupil of Michelangelo, and tellsus many anecdotes of the sculptor, relates that when the statue ofNight was first shown to the public, it called forth a verse from acontemporary poet (Giovan Battista Strozzi). This is the verse:--

 "Night in so sweet an attitude beheld Asleep, was by an angel sculptured In this stone; and sleeping, is alive; Waken her, doubter; she will speak to thee. "[32]

To this Michelangelo replied in the following lines:[33]--

 "Welcome is sleep, more welcome sleep of stone Whilst crime and shame continue in the land; My happy fortune not to see or hear; Waken me not;--in mercy whisper low. "[32]

The artist's verse may be taken as a keynote to the solemn tragedy ofthe work. In fact, the monuments are not really to Lorenzo andGiuliano, but to Florence, to "the great city which had struggled anderred so long, which had gone astray and repented, and suffered anderred again, but always mightily, with full tide of life in her veinsand consciousness in her heart, until now the time had come when shewas dead and past, chained down by icy oppression in a livinggrave. "[34]

[Footnote 32: Both translations are from Horners' _Walks in Florence_. Symonds has also translated the verses, but less literally. ]

[Footnote 33: Swinburne in his lines, "In San Lorenzo, " answers theselines, "Is thine hour come to waken, slumbering Night?"]

[Footnote 34: This and the preceding quotations are from Mrs. Oliphant's _Makers of Florence_. ]

XV

CENTRAL FIGURES IN THE LAST JUDGMENT

There are in the Bible certain references to a great day when the Sonof Man shall be seen "coming in the clouds with great power andglory. " "And he shall send his angels with a great sound of a trumpet, and they shall gather together his elect from the four winds, from oneend of heaven to the other. "[35] St. Paul, in a letter which he wroteto the Christians in Corinth, speaks of this as a "mystery, " andsays:[36] "We shall not all sleep, but we shall all be changed, in amoment, in the twinkling of an eye, at the last trump: for the trumpetshall sound, and the dead shall be raised incorruptible, and we shallbe changed. "

[Footnote 35: Matthew, chapter xxiv. Verse 31. ]

[Footnote 36: 1 Corinthians, chapter xv. Verses 51, 52. ]

In the Middle Ages these passages were interpreted very literally andhad a great influence over the people. At that time the Christianreligion was a religion of fear rather than of love, and men werecontinually picturing in their minds God's angry separation of thegood from the wicked. 

How much such thoughts occupied them we may see from Dante's greatpoem describing a vision of the Inferno, Purgatory, and Paradise. This was written in the thirteenth century, and in the same periodappeared a short Latin lyric, or hymn, called "Dies Irae, " or the Dayof Wrath, from an expression used by the old Hebrew prophet Zephaniah. The author was a Franciscan monk named Thomas of Celano, and we maysee how deeply he felt from these verses:--

 "Ah! what terror is impending When the Judge is seen descending, And each secret veil is rending. 

 "To the throne, the trumpet sounding, Through the sepulchres resounding, Summons all, with voice astounding. 

 "Sits the Judge, the raised arraigning, Darkest mysteries explaining, Nothing unavenged remaining. "

This vivid word picture forms the subject of many great paintings bythe older Italian masters, known under the title of the Last Judgment. Michelangelo's was one of the last of these, and in generalarrangement his composition resembles those of his predecessors. 

From the upper air a company of angels descends, carrying a cross, acrown of thorns, and other instruments of the Saviour's sufferings. Below them is the Judge himself surrounded by the apostles and othersaints. Underneath are the archangels blowing their trumpets. Onearth, in the lowest part of the picture at the left, the dead risefrom their graves and ascend through the air to the Judge. At theright, opposite the ascending dead, are the condemned sinners, descending to the boat which will carry them over the river Styx intothe Inferno. 

[Illustration: CENTRAL FIGURES OF THE LAST JUDGMENT. _Sistine Chapel, Rome. _]

Our illustration gives only the central figures in this greatmultitude, the Divine Judge accompanied by his mother. He is a man ofmighty muscular power, young and handsome, with an expression ofimperious dignity. Enthroned on the clouds, he seems just rising froma sitting posture to execute his judgments. He lifts his arms in asweeping motion as if to part the multitudes pressing upon him on bothsides. In so doing he shows the wound in his right side made by thesoldier's spear at the crucifixion. Neither expression nor gesturemanifests anger; those beautiful hands with delicately extendedfingers will strike no blow. The gesture itself is a command. 

Beneath Christ's upraised arm, on his right side, sits his MotherMary. Each must interpret for himself her attitude and expression. Some think that because she turns her face away she is shrinking fromher son in terror. Yet her expression is so gentle that others say sheis nestling close to him for protection. This is certainly as weshould imagine the situation. When she was a young mother, she wasproud to take care of her child. And now on this great day she isequally proud to let him take care of her. As he clung to her, hismother, so she now clings to him, the Judge. 

Looking at the composition of the picture, we see that her figurecompletes a pyramid, whose apex is the uplifted hand of the Judge, and whose base lies along the cloud supporting his feet and hers. Thisgives proper stability to the figures which dominate the whole greatpicture. Considered in a larger way, the pyramid is itself the upperpart of a long oval which keeps the central group apart from thesurrounding host. 

The picture of the Last Judgment was painted by Michelangelo on theend wall of the Sistine Chapel, over the altar, nearly twenty yearsafter the completion of the ceiling frescoes. There is a greatdifference between the two works. The figures on the ceiling arestrong and powerful, their attitudes spirited and graceful. Those inthe Last Judgment are huge and cumbersome, their attitudes strainedand violent. The entire effect of the vast company of colossal figuresis awe-inspiring, but not pleasing. 

It is a relief to fix our eyes upon the central portion. Here thepainter expressed an idea at once noble and original. The figure ofthe Christ has not the delicate beauty of the dead Christ in thePietà, or the finished elegance of the Christ Triumphant, but he hasthe splendid vigor of a forceful character. The Mother, less grand andnoble than in the bereavement of the Pietà, less proud than in heryoung motherhood, is a gentle and lovely creature. Thus the intenselymasculine is completed by the delicately feminine, and the artistshows us ideal types of manhood and womanhood. 

XVI

PORTRAIT

In the pictures of this collection we have learned something of thework of Michelangelo as a sculptor and a painter. He was an artistwhose personality was so strongly impressed upon his work that we havecome thus to know, to a certain extent, the man himself. His, as wehave seen, was not a happy nature, and many of the circumstances ofhis life conspired against his happiness. 

In his early youth he seemed strangely aware of his own superior giftsand was often so overbearing that he made enemies. The story is toldof a quarrel he had with a young man named Torrigiano, in whosecompany he was copying some frescoes in a church in Florence. Stung bysome tormenting words of Michelangelo, Torrigiano retaliated with ablow of the fist, which crushed his companion's nose, and disfiguredhim for life. 

Michelangelo's real education began in the palace of Lorenzo theMagnificent, who discovered the lad's talent and made him a favorite. "He sat at the same table with Ficino, Pico, and Poliziano, listeningto dialogues on Plato, and drinking in the golden poetry of Greece. Greek literature and philosophy, expounded by the men who haddiscovered them, first moulded his mind to those lofty thoughts whichit became the task of his life to express in form. At the same time heheard the preaching of Savonarola. In the Duomo and the cloister of S. Marco another portion of his soul was touched, and he acquired thatdeep religious tone which gives its majesty and terror to theSistine. "[37] In the gardens of S. Marco he had Lorenzo's finecollection of antiquities to study, and learned from them the secretsof Greek sculpture. 

[Footnote 37: Symonds, in _Renaissance in Italy: The Fine Arts_. ]

In all these opportunities it would seem that Michelangelo was a mostfortunate person. Nor did he lack proper appreciation; the PietÃplaced him at once on a pinnacle of fame, and the David was heartilyadmired. 

It was when he entered the service of the Pope that his troublesbegan. He was never thereafter a free man. His genius was at thedisposition of a series of men, each ambitious for his own fame, andcaring little for the artist's personal aspirations. His proud naturewas bitterly humiliated by this sacrifice of his independence. Sometimes he openly rebelled, but in the end was always obliged toyield to papal authority. 

Michelangelo's sternly upright spirit found also much to sadden him inthe corruption of the times. He was a lover of righteousness as wellas a lover of liberty, and he greatly mourned the evils whichsurrounded him. 

One of the pleasantest traits in his character was his warm affectionfor the members of his family and for the few whom he honored with hisfriendship. One of the latter was Vittoria Colonna, a woman of strongand beautiful character, who brought much brightness into his life. 

Our portrait shows him somewhat past middle life when occupied withmany important concerns. We can read in the face something of thecharacter of the man. It is certainly not a handsome face, for anygood looks he might once have boasted were destroyed by his brokennose. It is nevertheless a face full of rugged strength, with not alittle kindliness in the expression. Here is a man whose enmity weshould avoid, but whose friendship we should value above rubies. 

It is the face of a lonely man. Michelangelo had to suffer theloneliness of genius. No one could fully understand him. He stoodapart, towering like a giant above his fellow men. 

On the four hundredth anniversary of Michelangelo's birthday, someverses were written by an American poet, Christopher Cranch, which oneshould read while looking at this portrait:--

 "This is the rugged face Of him who won a place Above all kings and lords; Whose various skill and power Left Italy a dower No numbers can compute, no tongue translate in words. 

 "Patient to train and school His genius to the rule Art's sternest laws required; Yet, by no custom chained, His daring hand disdained The academic forms by tamer souls admired. 

 "In his interior light Awoke those shapes of might Once known that never die; Forms of titanic birth, The elder brood of earth, That fill the mind more grandly than they charm the eye. 

 "Yet when the master chose, Ideal graces rose Like flowers on gnarled boughs; For he was nursed and fed At beauty's fountain head And to the goddess pledged his earliest warmest vows. "

The poet describes still further the artist's character, and thenenumerates some of his great works. Whatever occupied him--

 "Still proudly poised, he stepped The way his vision swept, And scorned the narrower view. He touched with glory all That pope or cardinal, With lower aim than his, allotted him to do. 

 * * * * *

 "So stood this Angelo Four hundred years ago; So grandly still he stands, Mid lesser worlds of art, Colossal and apart, Like Memnon breathing songs across the desert sands. "

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

The Diacritical Marks given are those found in the latest edition ofWebster's International Dictionary. 

EXPLANATION OF DIACRITICAL MARKS. 

A Dash (¯) above the vowel denotes the long sound, as in fāte, ēve, tīme, nōte, ūse. A Dash and a Dot (-̇) above the vowel denote the same sound, less prolonged. A Curve (˘) above the vowel denotes the short sound, as in ădd, ĕnd, ĭll, ŏdd, ŭp. A Dot ( ̇) above the vowel a denotes the obscure sound of a in pȧst, ȧbāte, Amĕricȧ. A Double Dot (¨) above the vowel a denotes the broad sound of a in fäther, älms. A Double Dot (.. ) below the vowel a denotes the sound of a in ba̤ll. A Wave (~) above the vowel e denotes the sound of e in hẽr. A Circumflex Accent (^) above the vowel o denotes the sound of o in bôrn. ç sounds like s. C̵ sounds like k. Ṣ̱ sounds like z. Ḡ is hard as in ḡet. Ġ is soft as in ġem. 

̇Ạdō´nĭs. Æneas (ē̇ nē´ăs); Æneid (ē̇ nē´ĭd). Ăm´ȧzŏn. Ăm´brōsṣe. Ăn´ȧthŏth. Anchises (ăn kī´sēz). Ăn´nō Dŏm´ĭnī. Ạpŏl´lō. Ăp´pĭȧn. Ărĭmȧthē´ȧ. 

Babylon (băb´ĭ lŭn); Băby̆lō´nĭȧn. Bärbärŏs´sä. Bärġ´lō. Beethoven (bā´tō vŭn). Bĕlshăz´zȧr. Bĕth´lēhĕm. Bĕth-pē´ôr. Bramante (brä män´tā̇). Bugiardini (bōō jär dē´nē̇). Buonarroti (bōō ō när rŏt´ē̇). 

Canaan (kā´nȧn _or_ kā´nā̇ ȧn). Cärrä´ra. Celano (chā̇ lä´nō). Cencio, Bernardo (bẽr när´dō̇ chĕn´chē ō̇). Chaldean (kăl dē´ȧn). Colonna, Vittoria (vē̇t tō´rē̇ ä kō lŏn´nä). Condivi (kō̇n dē´vē̇). Cosimo (kō̇´zē̇ mō). Cristo Risorto (krēs´tō̇ rē̇ zôr´tō̇). Cumæ (kū´mē). Cyrus (sī´rŭs). 

Daniel (dăn´yĕl _or_ dăn´ĭ ĕl). Dăn´tē̇. Daphne (dăf´nē). Dȧrĭ´ŭs. Dē´lĭȧn. Delphi (dĕl´fī). Dē´mŏs. Dies Iræ (dē´ās ē´rī _or_ dī´ēz ī´rē). Dionigi, di San (dē sän dē̇ ō̇ nē´jē̇). Domine, quo vadis (dō´mē nā̇, kwō wä´dĭs _or_ dŏm´ī nē̇, kwō vā´dĭs). Doni, Angelo (än´jā lō dō´nē̇). Douay (dōō ā´). Duomo (dōō ō´mō). 

E´rŏs. 

Febbre, della (dĕl´lä fēb´brā̇). Ficino (fē̇ chē'nō). Franciscan (frăn sĭs'kȧn). Frizzi, Federigo (fā̇ dā̇ rē'ḡō̇ frēt'sē̇). 

Gíovanní (jō̇ vän'nē̇). Giuliano (jōō lē̇ ä'nō). Gōlī'ȧthGotti (ḡŏt'tē̇). Gualfonda (gwäl fŏn'dä). 

Hĕl'lĕspŏnt. Huguenot (hū'ḡēnŏt). 

Infẽr'nō. Isaiah (ī zā'yȧ). Israel (ĭz'rā̇ ĕl). 

Jameson (jā'mĕ sŭn). Jēhoí'ȧkĭm. Jĕrē̇mī'ȧh. Jerome (jē̇ rōm' _or_ jĕr'ŏm). Jĕrū'sȧlĕm. Jē'thrō. Jōsī'ȧh. Judæa (jū̇ dē̇'ȧ). Jū'dȧh. Jū'pĭtẽr. 

Kugler (kōōg'lẽr). 

Lăz'ȧrŭs. Lē̇ăn'dẽr. Lŏm'bȧrdṣ̱

Măg'dā̇lē̇ne. Mē'dĭȧn. Medici (mā'dē̇ chē̇). Mĕm'nŏn. Mē'nē̇. Michelangelo (mē kĕl än'jā̇ lō). Mĭd'ĭȧn, Milan (mĭl'ȧn _or_ mĭ lăn'). Milanesi (mē̇ lä nā'zē̇). Mō'ăb. Morpheus (môr'fūs). 

Năz'ȧrĕth. Nē'bō. Nebuchadnezzar (nĕb ū kăd nĕz'zăr). Nemour (nĕ mōōr'). Nē'rō. 

Oliphant (ŏl'ĭ fȧnt). 

Palazzo Vecchio (pä lät'sō̇ vĕk'kē̇ ō̇). Păl'ĕstīne. Pater Patriæ (pä'tār pä'trē̇ ī _or_ pā'tẽr pā'trĭ ē). Pausanias (pa̤ā'nĭ ăs). Pensiero, Il (ēl pĕn sē̇ ā'rō̇);Pensieroso (pĕn sē̇ ā̇ rō'zō̇). Pharaoh (fā'rō̇). Phĭlĭs'tĭne. Piazza della Signoria (pē̇ ät'sä dĕl'lä sē̇n yō̇ rē'ä). Pico (pē'kō). Pietà (pē̇ ā̇ tä'). Pietro in Vincoli (pē̇ ā'trō̇ ēn vēn'kō̇ lē̇). Pitti, Bartolommeo (bär tō̇ lŏm mā'ō̇ pē̇t'tē̇). Plā'tō. Poliziano (pō̇ lē̇t sē̇ ä'nō̇)py̆th'ĭ ȧ. 

Raphael (rä'fā ĕl). Rucellai (rōō chĕl lä'ē̇). 

Săc'rĭsty̆. Santarelli (sän tä rĕl'lē̇). Savonarola (sä vō̇ nä rō'lä). Scappuci, Mario (mä'rē̇ ō̇ skäp pōō'chē̇). Sĕs'tŏs. Sĭb'y̆l. Sĭm'ē̇ŏn. Sistine (sĭs'tēn). Solari, Cristoforo (krē̇s tŏf'ō̇ rō̇ sō̇ lä'rē̇). Stabat Mater (stā'băt mā'tẽr _or_ stä'bät mä'tār). Strozzi, Giovan Battista (jō̇ vän' bät tēs'tä strŏt'sē̇). Sty̆x. Swĭn'bŭrne. Sy̆m'ŏndṣ̱. 

Tarquin (tär'kwĭn). Tē'kĕl. Terribilità (tĕr rē̇ bē̇ lē̇ tä'). Torrigiano (tôr rē̇ jä'nō̇). 

Uffizi (ōōf fēt'sē̇). Upharsin (ū̇ fär'sĭn). Urbano, Pietro (pē̇ ā'trō̇ ōōr bä'nō̇). Urbino (ōōr bē'nō̇). 

Varj dei Porcari, Metello (mā̇ tĕl'lō̇ vä'rē̇ dā' ē̇ pôr kä'rē̇). Vasari (vä sä'rē̇). Vatican (văt'ĭ kȧn). Virgil (vẽr'jĭl). Vŭl'gāte. 

Zĕdē̇kī'ȧh. Zephaniah (zĕf ȧ nī'ȧ). 

AUTHORS' PORTRAITS

FOR SCHOOL USE

_Sample of the portraits in "Masterpieces of American Literature" and"Masterpieces of British Literature, " described on the second page ofthis circular. _

[Illustration: Oliver Wendell Holmes. ]

PORTRAITS OF AUTHORS

AND PICTURES OF THEIR HOMES

_FOR THE USE OF PUPILS IN THE STUDY OF LITERATURE_

We have received so many calls for portraits of authors and picturesof their homes suitable for class and note-book use in the study ofreading and literature, that we have decided to issue separately thetwenty-nine portraits contained in "Masterpieces of AmericanLiterature" and "Masterpieces of British Literature, " and the homes ofeight American authors as shown in the Appendix to the _newly revised_edition of "Richardson's Primer of American Literature. "

PORTRAITS

_AMERICAN. _

BRYANT. EMERSON. EVERETT. FRANKLIN. HAWTHORNE. HOLMES. IRVING. LONGFELLOW. LOWELL. O'REILLY. THOREAU. WEBSTER. WHITTIER. 

_BRITISH. _

ADDISON. BACON. BROWN. BURNS. BYRON. COLERIDGE. COWPER. DICKENS. GOLDSMITH. GRAY. LAMB. MACAULAY. MILTON. RUSKIN. TENNYSON. WORDSWORTH. 

HOMES OF AUTHORS

BRYANT. EMERSON. HAWTHORNE. HOLMES. LONGFELLOW. LOWELL. STOWE. WHITTIER. 

_Sold only in lots of ten or more, assorted as desired. _

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Each additional one in the same package, 1 cent. 

In lots of 100 or more, assorted, 1 cent each, postpaid. 

_For mutual convenience please send a remittance with each order. Postage stamps taken. _

HOUGHTON, MIFFLIN & CO. 

4 PARK STREET, BOSTON; 11 EAST 17TH STREET, NEW YORK:

378-388 WABASH AVENUE, CHICAGO. 

ORNAMENTSFOR SCHOOL-ROOMS

_THE ATLANTIC LIFE-SIZE PORTRAITS_

Of Whittier, Lowell, Emerson, Hawthorne, Longfellow, Holmes, Bryant. Size, 24 by 30 inches. Lithographs, $1. 00, _net_, each, postpaid. Teachers' price, 85 cents, _net_, each, postpaid. 

_MASTERPIECES PORTRAITS. _

For descriptions and prices see other pages of this circular. 

_HOMES OF AMERICAN AUTHORS_. 

For descriptions and prices see other pages of this circular. 

_LONGFELLOW'S RESIDENCE_. 

A colored lithograph of the historic mansion ("Washington'sHeadquarters") at Cambridge, in which Mr. Longfellow lived for fortyyears. Size, 12 by 16 inches. Price, 50 cents, _net_, postpaid. 

_FINE STEEL PORTRAITS_

(The size of cabinet photographs) of over ninety of the mostcelebrated American and European Authors. The 25-cent portraits andthe 75-cent portraits are printed on paper measuring 9 by 12 inches, and the $1. 00 portraits 11 by 14 inches. _A list with prices toteachers may be had on application. _

HOUGHTON, MIFFLIN & CO. 

4 PARK STREET, BOSTON; 11 EAST 17TH STREET, NEW YORK;

378-388 WABASH AVENUE, CHICAGO. 

AUTHORS' HOMES, FOR SCHOOL USE. 

_Sample of the pictures of authors' homes in the newly revised editionof Richardson's Primer of American Literature, described on the secondpage of this circular. _

THE RIVERSIDE ART SERIES

In the Riverside Literature Series the reader's attention is fixed ona great work of art in letters, with only such help as will make itmore intelligible; in like manner in the Riverside Art Series thepicture is the object of study, and the text is its interpretation. 

Each book contains pictures which are representative of the work of afamous painter, and the most faithful reproductions of the originalshave been secured. Valuable suggestions also are given by the editoras aids for further study. The editor of the Series, Miss Estelle M. Hurll, is well known by her recent valuable edition of the works ofMrs. Jameson, and her Life of Our Lord in Art. 

The books of this Series will have a value as texts in art classes, assupplementary readers in schools, as guides to the best pictures ingalleries both abroad and in this country, and as handy books ofreference to the general reader in regard to matters pertaining to thebest art. 

Four numbers are assigned for publication each school year in October, December, February, and April. 

_1899-1900. _

1. RAPHAEL. 2. REMBRANDT. 3. MICHELANGELO. 4. JEAN FRANÇOIS MILLET. 

_1900-1901. _

5. SIR JOSHUA REYNOLDS. 6. MURILLO. 7. GREEK SCULPTURE. 8. TITIAN. 

_Other numbers in preparation. _

Each volume is 12mo in size, of about 100 pages. 

_Price in paper, 30 cents, net; in cloth, 40 cents, net. _

SPECIAL SUBSCRIPTION OFFER. 

Any four consecutive numbers, in paper, $1. 00, _net_; in cloth $1. 50, _net_. 

HOUGHTON, MIFFLIN AND COMPANY

4 PARK ST. , BOSTON; 11 EAST 17TH ST. , NEW YORK;

378-388 WABASH AVENUE, CHICAGO.