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So Michael Angelo arose； and revived the imperishable models of the
classical ages；to be applied not merely to churches but to
palaces； civic halls； theatres； libraries； museums； banks；all of
which have mundane purposes。 The material world had need of
conveniences； as much as the Mediaeval age had need of shrines。
Humanity was to be developed as well as the Deity to be worshipped。
The artist took the broadest views； looking upon Gothic
architecture as but one division of art；even as truth is greater
than any system； and Christianity wider than any sect。 O； how this
Shakspeare of art would have smiled on the vague and transcendental
panegyrics of Michelet or Ruskin； and other sentimental admirers of
an age which never can return！ And how he might have laughed at
some modern enthusiasts； who trace religion to the disposition of
stones and arches； forgetting that religion is an inspiration which
comes from God； and never from the work of man's hands； which can
be only a form of idolatry。
Michael Angelo found that the ornamentations of the ancient temples
were as rich and varied as those of Mediaeval churches。 Mouldings
were discovered of incomparable elegance； the figures on
entablatures were found to be chiselled accurately from nature； the
pillars were of matchless proportions； the capitals of graceful
curvatures。 He saw beauty in the horizontal lines of the
Parthenon； as much as in the vertical lines of Cologne。 He would
not pull down the venerable monuments of religious zeal； but he
would add to them。 〃Because the pointed arch was sacred； he would
not despise the humble office of the lintel。〃 And in southern
climates especially there was no need of those steep Gothic roofs
which were intended to prevent a great weight of rain and snow； and
where the graceful portico of the Greeks was more appropriate than
the heavy tower of the Lombards。 He would seize on everything that
the genius of past ages had indorsed； even as Christianity itself
appropriates everything human；science； art； music； poetry；
eloquence； literature；sanctifies it； and dedicates it to the
Lord； not for the pride of builders； but the improvement of
humanity。 Civilization may exist with Paganism； but only performs
its highest uses when tributary to Christianity。 And Christianity
accepts the tribute which even Pagan civilization offers for the
adornment of our race；expelled from Paradise； and doomed to hard
and bitter toils；without abdicating her more glorious office of
raising the soul to heaven。
Nor was Michael Angelo responsible for the vile mongrel
architecture which followed the Renaissance； and which disfigures
the modern capitals of Europe； any more than for the perversion of
painting in the hands of Titian。 But the indiscriminate adoption
of pillars for humble houses； shops with Roman arches； spires and
towers erected on Grecian porticoes； are no worse than schoolhouses
built like convents； and chapels designed for preaching as much as
for choral chants made dark and gloomy； where the voice of the
preacher is lost and wasted amid vaulted roofs and useless pillars。
Michael Angelo encouraged no incongruities； he himself conceived
the beautiful and the true； and admired it wherever found； even
amid the excavations of ruined cities。 He may have overrated the
buried monuments of ancient art； but how was he to escape the
universal enthusiasm of his age for the remains of a glorious and
forgotten civilization？ Perhaps his mind was wearied with the
Middle Ages； from which he had nothing more to learn； and sought a
greater fulness and a more perfect unity in the expanding forces of
a new and grander era than was ever seen by Pagan heroes or by
Gothic saints。
But I need not expatiate on the new ideas which Michael Angelo
accepted； or the impulse he gave to art in all its forms； and to
the revival of which civilization is so much indebted。 Let us turn
and give a parting look at the man；that great creative genius who
had no superior in his day and generation。 Like the greatest of
all Italians； he is interesting for his grave experiences； his
dreary isolations； his vast attainments； his creative imagination；
and his lofty moral sentiments。 Like Dante； he stands apart from；
and superior to； all other men of his age。 He never could sport
with jesters； or laugh with buffoons； or chat with fools； and
because of this he seemed to be haughty and disdainful。 Like
Luther； he had no time for frivolities； and looked upon himself as
commissioned to do important work。 He rejoiced in labor； and knew
no rest until he was eighty…nine。 He ate that he might live； not
lived that he might eat。 For seventeen years after he was seventy…
two he worked on St。 Peter's church； worked without pay； that he
might render to God his last earthly tribute without alloy；as
religious as those unknown artists who erected Rheims and
Westminster。 He was modest and patient； yet could not submit to
the insolence of little men in power。 He even left the papal
palace in disdain when he found his labors unappreciated。 Julius
II。 was forced to bend to the stern artist； not the artist to the
Pope。 Yet when Leo X。 sent him to quarry marbles for nine years；
he submitted without complaint。 He had no craving for riches like
Rubens； no love of luxury like Raphael； no envy like Da Vinci。 He
never over…tasked his brain； or suffered himself； like Raphael；
who died exhausted at thirty…seven；to crowd three days into one；
knowing that over…work exhausts the nervous energies and shortens
life。 He never attempted to open the doors which Providence had
plainly shut against him； but waited patiently for his day； knowing
it would come； yet whether it came or not； it was all the same to
him；a man with all the holy rapture of a Kepler； and all the
glorious self…reliance of a Newton。 He was indeed jealous of his
fame； but he was not greedy of admiration。 He worked without the
stimulus of praise；one of the rarest things；urged on purely by
love of art。 He loved art for its own sake； as good men love
virtue； as Palestrina loved music； as Bacon loved truth； as Kant
loved philosophy；satisfied with itself as its own reward。 He
disliked to be patronized； but always remembered benefits； and
loved the tribute of respect and admiration； even as he scorned the
empty flatterer of fashion。 He was the soul of sincerity as well
as of magnanimity； and hence had great capacity for friendship； as
well as great power of self…sacrifice。 His friendship with
Vittoria Colonna is as memorable as that of Jerome and Paula； or
that of Hildebrand and The Countess Matilda。 He was a great
patriot； and clung to his native Florence with peculiar affection。
Living in habits of intimacy with princes and cardinals； he never
addressed them in adulatory language； but talked and acted like a
nobleman of nature； whose inborn and superior greatness could be
tested only by the ages。 He placed art on the highest pinnacle of
the temple of humanity； but dedicated that temple to the God of
heaven in whom he believed。 His person was not commanding； but
intelligence radiated from his features； and his earnest nature
commanded respect。 In childhood he was feeble； but temperance made
him strong。 He believed that no bodily decay was incompatible with
intellectual improvement。 He continued his studies until he died；
and felt that he had mastered nothing。 He was always dissatisfied
with his own productions。 Excelsior was his motto； as Alp on Alp
arose upon his view。 His studies were diversified and vast。 He
wrote poetry as well as carved stone； his sonnets especially
holding a high rank。 He was engineer as well as architect； and
fortified Florence against her enemies。 When old he showed all the
fire of youth； and his eye； like that of Moses； never became dim；
since his strength and his beauty were of the soul；ever
expanding； ever adoring。 His temper was stern； but affectionate。
He had no mercy on a fool or a dunce； and turned in disgust from
those who loved trifles and lies。 He was guilty of no immoralities
like Raphael and Titian； being universally venerated for his stern
integrity and allegiance to duty；as one who believes that there
really is a God to whom he is personally responsible。 He gave away
his riches； like Ambrose and Gregory； valuing money only as a means
of usefulness。 Sickened with the world； he still labored for the
world； and died in 1564； over eighty…nine years of age； in the full
assurance of eternal blessedness in heaven。
His marbles may crumble down； in spite of all that we can do to
preserve them as models of hopeless imitation； but the exalted
ideas he sought to represent by them； are imperishable and divine；
and will be subjects of contemplation when
〃Seas shall waste； the skies to smoke decay；
Rocks fall to dust； and mountains melt away。〃
AUTHORITIES。
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