,illustration3 ,,michelangelo           
,,buonarotti 7,,attributed ,,to         
,,bugiardini7    ,uffizi ,gallery1      
,florence                         ,the  
,riverside ,art ,series                 
,,michelangelo                     ,a   
,,collection ,,of ,,fifteen ,,pictures  
,,and ,a ,,portrait ,,of ,,the ,,master 
,,with ,,introduction ,,and             
,,interpretation                        
,,by                                    
,,estelle ,m4 ,,hurll                   
,,boston ,,and ,,new ,,york             
,,houghton1 ,,mifflin ,,and ,,company   
,the ,riverside ,press1 ,cambridge      
#aijj                 ,,copyright1      
#aijj1 ,,by ,,houghton1 ,,mifflin  ,,co4
     ,,preface   ,in making a collection
 of prints from the works of            
,michelangelo1 it is impossible to      
secure any wide variety1 either in      
subject or method of treatment4 ,we are 
dealing here with a master whose import 
is always serious1 and whose artistic   
individuality is strongly impressed on  

all his works1 either in sculpture or   
painting4 ,our selections represent his 
best work in both arts4 ,these are      
arranged1 not in chronological order1   
but in a way which will lead the student
 from the subjects most familiar and    
easily understood to those which are    
more abstract and difficult4  ,,estelle 
,m4 ,,hurll4 ,,new ,,bedford1 ,,mass4   
,january1 #aijj4     ,,contents ,,and   
,,list ,,of ,,pictures   ,,portrait ,,of
 ,,michelangelo4 ,,attributed ,,to      
,,bugiardini4                           
,frontispiece4  ,,introduction      ,i4 
,,on ,,michelangelo',s ,,character ,,as 
,,an ,,artist    ,,ii4 ,,on ,,books ,,of
 ,,reference   ,,iii4 ,,historical      
,,directory ,,of ,,the ,,works ,,of     
,,art ,,in ,,this ,,collection    ,,iv4 
,,collateral ,,readings ,,from          
,,literature     ,v4 ,,outline ,,table  
,,of ,,the ,,principal ,,events ,,in    
,,michelangelo',s ,,life    ,,vi4 ,,some
 ,,of ,,michelangelo',s ,,famous        
,,italian ,,contemporaries     ,i4      

,,madonna ,,and ,,child   ,,ii4 ,,david 
,,iii4 ,,cupid   ,,iv4 ,,moses    ,v4   
,,the ,,holy ,,family   ,,vi4 ,,the     
,,pieta  ,,vii4 ,,christ ,,triumphant   
,,viii4 ,,the ,,creation ,,of ,,man     
,,ix4 ,,jeremiah    ,x4 ,,daniel   ,,xi4
 ,,the ,,delphic ,,sibyl  ,,xii4 ,,the  
,,cumaean ,,sibyl ,,xiii4 ,,lorenzo     
,,de' ,,medici  ,,xiv4 ,,tomb ,,of      
,,giuliano ,,de' ,,medici   ,,xv4       
,,central ,,figures ,,from ,,the ,,last 
,,judgment  ,,xvi4 ,,portrait ,,of      
,,michelangelo 7,see ,frontispiece7     
,,pronouncing ,,vocabulary ,,of ,,proper
 ,,names ,,and ,,foreign ,,words        
,,note3 ,all the pictures with the      
exception of the ,cupid were made from  
photographs by ,fratelli ,alinari4 ,the 
,cupid was photographed from the statue 
in the ,south ,kensington ,museum1      
,london4     ,,introduction   ,i4 ,,on  
,,michelangelo',s ,,character ,,as ,,an 
,,artist4  ,michelangelo's place in the 
world of art is altogether unique4 ,his 
supremacy is acknowledged by all1 but is

 understood by a few only4 ,in the      
presence of his works none can stand    
unimpressed1 yet few dare to claim any  
intimate knowledge of his art4 ,the     
quality so vividly described in the     
,italian word terribilita is his        
predominant trait4 ,he is one to awe    
rather than to attract1 to overwhelm    
rather than to delight4 ,the spectator  
must needs exclaim with humility1 ,such 
knowledge is too wonderful for me2 it is
 high1 ,i cannot attain unto it4 ,yet   
while ,michelangelo can never be a      
popular artist in the ordinary sense of 
the word1 the powerful influence which  
he exercises seems constantly           
increasing4 ,year by year there are more
 who1 drawn by the strange fascination  
of his genius1 seek to read the meaning 
of his art4  ,his subjects are all      
profoundly serious in intention4 ,life  
was no holiday to this strenuous spirit2
 it was a stern conflict with the powers
 of darkness in which such heroes as    
,david and ,moses were needed4 ,like the

 old ,hebrew prophets1 the artist poured
 out his soul in a vehement protest     
against evil1 and a stirring call to    
righteousness4  ,considered both as a   
sculptor and a painter1 ,michelangelo's 
one vehicle of expression was the human 
body4 ,his works are form-poems1 through
 which he uttered his message to        
mankind4 ,as he writes in one of his own
 sonnets1      ,nor hath ,god deigned to
 show himself elsewhere     ,more       
clearly than in human forms sublime4    
,in his art1 says the critic ,symonds1 a
 well-shaped hand1 or throat1 or head1 a
 neck superbly poised on an athletic    
chest1 the sway of the trunk above the  
hips1 the starting of the muscles on the
 flank1 the tendons of the ankle1 the   
outline of the shoulder when the arm is 
raised1 the backward bending of the     
loins1 the curves of a woman's breast1  
the contours of a body careless in      
repose or strained for action1 were all 
words pregnant with profoundest meaning1
 whereby fit utterance might be given to

 thoughts that raise man near to ,god4  
,learning his first lessons in art of   
the ,greeks1 he soon possessed himself  
of the great principles of classic      
sculpture4 ,then he boldly struck out   
his own path2 his was a spirit to lead1 
not to follow4 ,with the subtle ,greek  
sense of line and form1 he united an    
entirely new motif4 ,in contrast to the 
ideal of repose which was the leading   
canon of the ,greeks1 his chosen ideal  
was one of action4 ,moreover1 he        
invariably fixed upon some decisive     
moment in the action he had to          
represent1 a moment which suggests both 
the one preceding and the one following1
 and which gives us the whole story in  
epitome4 ,thus in the ,david we see     
preparation1 aim1 and action4 ,it was a 
far cry from the elegant calm of the    
,greek god to the restless energy of    
this rugged youth4  ,even with seated   
figures he followed the same principle4 
,moses and the ,duke ,giuliano are ready
 to rise to their feet if need be4 ,in  

his frescoes we again find the same     
motif1--,adam rising to his feet in     
obedience to the ,creator's summons1 and
 ,christ the ,judge sweeping asunder the
 multitudes4  ,in his love of action and
 his passion for the human form lay the 
elements of his art most easily lending 
themselves to exaggeration4 ,that the   
master did indeed permit himself to be  
carried beyond due limits in these      
matters is seen by comparing the        
grandeur of the ,sistine ceiling with   
the mannerisms of the ,last ,judgment4  
,the interval between was the time of   
his best technical and spiritual        
creativeness1 when he produced the      
statues of the ,sacristy of ,s4         
,lorenzo4  ,it was characteristic of    
,michelangelo's impetuous nature to     
spend his enthusiasm upon the early     
stages of his work1 and leave it        
unfinished4 ,this unfinished effect of  
many of his marbles seems to bring us in
 closer touch with his methods as a     
sculptor4 ,nor is a rough surface here  

and there inharmonious with the rugged  
character of his conceptions4 ,moreover1
 as a critic#a has pointed out1 the     
polished and rough portions enhance each
 other1 giving a variety in the light   
and shadow which is pictorial in effect4
  ,footnote #a3 ,see notes on the ,life 
of ,michelangelo ,buonarotti in the     
,blashfield-,hopkins edition of ,vasari4
  ,to a man of ,michelangelo's austere  
temperament1 intensely masculine in his 
predilections1 the beauty of womanhood  
was not fully revealed4 ,his sibyls can 
scarcely be counted as women2 they      
belong to a world of their own1 neither 
human nor divine4 ,it was only in his   
few ,madonnas that we can trace his     
feminine ideal1 an ideal noble and      
dignified1 rather than beautiful4 ,the  
,madonna of the bas-relief is proud     
rather than tender1 the ,virgin of the  
,pieta is grand rather than lovely4     
,these were works of his youth4 ,later  
in life1 when he had known the blessing 
of a good woman's friendship1 he        

developed a new ideal in the gentle and 
delicate womanhood of the ,virgin of the
 ,last ,judgment4  ,michelangelo has    
been compared to two great masters of   
dissimilar arts1 ,milton and ,beethoven4
 ,there are striking points of          
similarity in the men themselves1 in    
stern uprightness of character1 in scorn
 of the low and trivial1 in lofty       
idealism4 ,the art of all three is too  
far above the common level to be        
popular2 it requires too much thinking  
to attract the superficial4 ,in poetry1 
in music1 and in sculpture1 all three   
utter the profoundest truths of human   
experience1 expressed in grand and      
solemn harmonies4     ,,ii4 ,,on ,,books
 ,,of ,,reference4   ,the original      
materials for the study of              
,michelangelo's life and work are the   
two biographies by his contemporaries1  
,vasari and ,condivi4 ,vasari's was the 
first of these 7#aeej71 and like the    
other portions of his ,lives of the     
,painters contained many inaccuracies4  

,it was to correct these that ,condivi  
published his little book a few years   
later4 ,this rival effort aroused       
,vasari's wrath1 and after              
,michelangelo's death he issued an      
enlarged edition of his own book1       
unscrupulously incorporating all that   
was valuable in ,condivi's work1 and    
adding thereto many reminiscences of the
 master's life4 ,the fame of ,vasari's  
monumental work caused ,condivi's little
 book to be entirely forgotten for long 
years1 and it has been one of the tasks 
of modern scholarship to restore it to  
its true place4 ,even now1 however1     
there is no available form of ,condivi's
 biography for ,american readers1 though
 ,vasari's ,lives in ,mrs4 ,foster's    
translation is found in most libraries4 
,the latest edition of ,vasari1         
published in #ahig1 contains annotations
 by ,mr4 and ,mrs4 ,e4,h4 ,blashfield1  
and ,a4,a4 ,hopkins1 which correct all  
the statements in the light of recent   
authorities4  ,far more valuable even   

than the early biographies is the mass  
of existing documents of the ,buonarotti
 family1 including contracts1 letters1  
poems1 and memoranda1 and containing    
data for a full and exact biography of  
the master4 ,unfortunately1 however1    
this great storehouse of material has   
been for all these centuries a sealed   
treasure1 given up only little by       
little1 to successive generations of    
scholars4 ,when ,hermann ,grimm wrote   
his celebrated ,life of ,michael ,angelo
 7in #ahfj71 the only original material 
accessible to him was the collection of 
letters in the ,british ,museum4 ,his   
volumes are still read with interest and
 profit1 though it is to be regretted   
that they should be reprinted without   
any editorial comments to connect       
formerly received opinions with later   
conclusions4 ,john ,s4 ,harford's ,life 
of ,michael ,angelo ,buonarotti was     
published at about the same time as     
,grimm's work1 that is1 in #aheg4 ,it   
was in two volumes1 and contained       

translations of many of ,michelangelo's 
poems1 as well as material about        
,savonarola1 ,vittoria ,colonna1 and    
,raphael4 ,the work is found in the     
older libraries1 and is well worth      
studying1 as the latter portion is still
 valuable for all that refers to the    
architecture of ,st4 ,peter's4  ,signor 
,gotti's ,vita1 in #ahge1 was the first 
to profit to any considerable degree by 
documentary researches4 ,the conclusions
 of this book are best known to the     
,english-reading public through ,charles
 ,heath ,wilson's ,life and ,works of   
,michelangelo ,buonarotti 7#ahgf and    
#ahha71 consisting of compilations from 
,gotti1 to which are added original     
investigations of the ,sistine frescoes1
 which are very valuable4  ,more        
privileged than any of his predecessors 
was ,john ,addington ,symonds1 who1 by  
special favor of the ,italian           
government1 was allowed to examine the  
,buonarotti collection in ,florence1 so 
long debarred to others4 ,his ,life of  

,michelangelo ,buonarotti is therefore  
unique in being1 as the sub-title       
announces1 based on studies in the      
archives of the ,buonarotti family at   
,florence4 ,it was published in #ahic in
 two large1 finely illustrated volumes1 
and is taken as the latest authoritative
 word on the subject1 a word singularly 
independent of others' conclusions1 and 
influenced by an artistic and literary  
nature of rare sensitiveness4  ,to those
 who wish briefer notices of            
,michelangelo's life and work than any  
of these full biographies are           
recommended the chapters on             
,michelangelo in ,kugler's ,handbook of 
the ,italian ,schools1 in ,mrs4         
,jameson's ,memoirs of the ,italian     
,painters1 in ,frank ,preston ,stearns's
 ,midsummer of ,italian ,art1 in ,mrs4  
,oliphant's ,makers of ,florence1 and in
 ,symonds's volume on ,fine ,arts in the
 series ,renaissance in ,italy4  ,to    
understand more fully the character of  
the man ,michelangelo1 the student      

should read his sonnets4 ,there is a    
complete collection translated by ,j4,a4
 ,symonds1 while both ,wordsworth and   
,longfellow have translated a few4  ,the
 life of ,michelangelo has furnished    
material for two long poems by ,american
 writers1--,longfellow's drama1 and the 
poem by ,stuart ,sterne4 ,the former1   
which is annotated1 is a well-balanced  
study of the great artist's career and  
ideals4     ,,iii4 ,,historical         
,,directory ,,of ,,the ,,works ,,of     
,,art ,,in ,,this ,,collection4         
,portrait frontispiece4 ,an oil painting
 in ,the ,hall of the ,portraits of ,old
 ,masters1 ,uffizi ,gallery1 ,florence4 
,the authorship of the painting is not  
certainly known4 ,symonds says that it  
may perhaps be ascribed with some show  
of probability to ,bugiardini4          
,bugiardini was a friend of             
,michelangelo's youth and a fellow      
student in the gardens of the ,medici4  
,that later in life he painted a        
portrait of his distinguished friend we 

know from ,vasari4 ,vasari tells us that
 the portrait showed a peculiarity in   
the right eye1 and this fact lends      
probability to the identification of the
 ,uffizi portrait with ,bugiardini's    
work4  #a4 ,madonna and ,child1 an      
unfinished bas-relief medallion1 made1  
according to ,vasari1 during            
,michelangelo's residence in ,florence  
in #aeja-aeje4 ,it was made for         
,bartolommeo ,pitti4 ,it is now in the  
,national ,museum 7,bargello71          
,florence4  #b4 ,david1 a statue made   
from a block of ,carrara marble which   
had been spoiled by an unskilled        
sculptor4 ,after it had lain useless in 
,florence for a century1 a sculptor     
applied to the board of works of the    
cathedral for permission to use it4 ,the
 board consulted ,michelangelo and      
offered him the marble4 ,he undertook to
 cut from it a single figure which would
 exactly use the block4 ,the contract to
 make the statue of ,david was drawn up 
in #aeja1 and the statue was completed  

in #aejd4 ,forty men were employed four 
days to remove it from the cathedral    
works to the ,piazza della ,signoria1   
where it was placed on the platform of  
the palace 7,palazzo ,vecchio71         
remaining in the open air more than     
three centuries4 ,the weather was       
beginning to injure it1 and it was      
removed in #ahgc to the ,academy of     
,fine ,arts in ,florence1 where it now  
stands4  #c4 ,cupid4 ,symonds gives the 
following account of the statue in the  
,life of ,michelangelo1 published in    
#ahic3 ,discovered some forty years ago1
 hidden away in the cellars of the      
,gualfonda 7,ruccellai7 ,gardens1       
,florence1 by ,professor ,milanesi and  
the famous ,florentine sculptor1        
,santarelli4 ,on a cursory examination  
they both declared it to be a genuine   
,michelangelo4 ,the left arm was broken1
 the right hand damaged1 and the hair   
had never received the sculptor's final 
touches4 ,santarelli restored the arm1  
and the ,cupid passed by purchase into  

the possession of the ,english nation4  
,it is now in the ,museum of ,south     
,kensington4  #d4 ,moses1 a statue on   
the tomb commemorative of ,julius       
,,ii41#b in the church of ,s4 ,pietro in
 ,vincoli1 ,rome4 ,at the beginning of  
,michelangelo's connection with ,julius 
,,ii41 he made plans for a magnificent  
monumental tomb for this pope1 to be    
ornamented with more than forty statues 
and to be of great size 7#cd-a_/b x #bc 
feet74 ,the fickleness of the ,pope     
caused a continual series of            
disappointments in the progress of the  
work1 which was finally abandoned for   
the frescoes of the ,sistine ,chapel4   
,after the death of the ,pope1 his      
executors were even less zealous for the
 completion of the tomb4 ,a succession  
of contracts were made and broken1 each 
one reducing the size and importance of 
the design4 ,the artist was continually 
in demand for other work4 ,finally1 in  
#aedb1 to leave him free for the        
services of the ,pope1 the completion of

 the tomb was put into other hands4 ,the
 statue of ,moses1 with those of ,rachel
 and ,leah1 is all that ,michelangelo   
contributed to a work which had occupied
 his thoughts for nearly forty years4   
,the setting of the ,moses is in every  
way exceedingly unfavorable to a proper 
appreciation of the work4  ,footnote #b3
 ,the ,pope1 ,julius ,,ii41 is buried at
 ,st4 ,peter's4  #e4 ,holy ,family1 an  
oil painting belonging to the           
,florentine period #aeja-aeje1 and      
painted for ,angelo ,doni4 ,it is now in
 the ,uffizi ,gallery1 ,florence4  #f4  
,the ,pieta1 a marble group executed by 
the order of the ,cardinal di ,san      
,dionigi according to a contract drawn  
up ,august #bh1 #adih4 ,it was placed in
 the old basilica of ,st4 ,peter's      
7,rome71 in a chapel dedicated to ,our  
,lady of the ,fever 7,madonna della     
,febbre74 ,in the present church of ,st4
 ,peter's it occupies a side chapel1 to 
which it gives its name1 where it is    
placed so high that it is impossible to 

see it well1 and where its beauty is    
disfigured by the bronze cherubs        
fastened above1 holding a crown over the
 ,virgin's head4  #g4 ,christ           
,triumphant1 a marble statue ordered by 
,bernardo ,cencio 7a canon of ,st4      
,peter's71 ,mario ,scappuci1 and        
,metello ,varj dei ,porcari for the     
church of ,s4 ,maria sopra ,minerva1    
,rome1 where it still stands4 ,the deed 
was executed in #aead1 specifying that  
the statue should be of marble1 life    
sized1 naked1 erect1 with a cross in his
 arms4 ,it appears from ,michelangelo's 
correspondence that the work was        
finished by apprentices1 first by       
,pietro ,urbano1 who did so badly that  
he was discharged and replaced by       
,federigo ,frizzi4 ,it was completed in 
#aeba1 when ,michelangelo offered to    
make a new statue if it was not         
satisfactory4 ,varj1 however1 declared  
that the sculptor had already made what 
could not be surpassed and was          
incomparable1 so the statue was placed  

in position4  #h-ab4 ,the ,creation of  
,man1 ,jeremiah1 ,daniel1 ,the ,delphic 
,sibyl1 the ,cumaean ,sibyl1 frescoes on
 the ceiling of the ,sistine ,chapel1   
,rome1 begun in #aejh at the order of   
the ,pope ,julius ,,ii4 ,michelangelo   
undertook the work reluctantly1 as      
sculpture was his chosen art4 ,the      
architect ,bramante first made a        
scaffolding for the work1 so clumsily   
constructed that ,michelangelo replaced 
it by one of his own invention4 ,several
 ,florentine painters were engaged as   
assistants1 but1 failing to satisfy the 
painter1 returned4 ,julius ,,ii4 often  
visited the chapel during the work1     
climbing to the scaffolding to see how  
it progressed4 ,impatient to see it1 he 
gave orders to have the ceiling         
uncovered when but half finished4 ,the  
first uncovering took place ,november   
#a1 #aeji4 ,the work was completed      
,october1 #aeab4  #ac-ad4 ,lorenzo de'  
,medici1 ,tomb of ,giuliano de' ,medici1
 marble tombs first projected in #aebj  

or #aeba1 during the pontificate of ,leo
 ,x4 7formerly ,giovanni de' ,medici74  
,the order was renewed by ,clement      
,,vii41 another ,medici pope1 in #aebc4 
,the work was carried on intermittently 
a number of years during which occurred 
the revolution1 siege1 and recapture of 
,florence4 ,from #aecj-aecc             
,michelangelo carried them to the point 
of completion in which they are now     
seen3 they were never fully finished4   
,the identity of the tombs was long a   
matter of doubt4 ,though ,vasari had    
called the helmeted figure ,lorenzo and 
the other ,giuliano1 there were critics1
 notably ,grimm1 who took the opposite  
view4 ,in #ahge the sarcophagus of the  
helmeted figure was opened and evidence 
found proving it to be unquestionably   
the tomb of ,lorenzo1 as ,vasari had    
said4 ,both tombs remain as originally  
placed in the new sacristy of the church
 of ,san ,lorenzo1 ,florence4  #ae4     
,central ,figures of the ,last          
,judgment1 a fresco painting on the wall

 of the ,sistine ,chapel1 executed by   
the order of the ,pope ,paul ,,iii41 who
 in #aece appointed ,michelangelo chief 
architect1 sculptor1 and painter at the 
,vatican4 ,the work occupied several    
years and was completed in #aeda4       
,,iv4 ,,collateral ,,readings ,,from    
,,literature4  ,,in ,,connection ,,with 
,,the ,,several ,,works ,,here          
,,represented4   ,the ,madonna and      
,child and the ,holy ,family3--         
,the ,latin hymn1 ,mater ,speciosa1 by  
,jacobus de ,benedictis1      translated
 by ,dr4 ,neale4   ,david3--            
,arthur ,penrhyn ,stanley4 ,history of  
the ,jewish ,church1 ,part      ,,ii4   
,lectures ,,xxii4-,,xxv43 ,david4       
,robert ,browning4 ,poem1 ,saul4        
,psalm ,twenty-three4   ,cupid3--       
,richard ,crashaw4 ,poem1 ,cupid's      
,cryer2 out of the ,greek4       ,edmund
 ,gosse4 ,poem1 ,cupido ,crucifixus4    
,moses3--       ,arthur ,penrhyn        
,stanley4 ,history of the ,jewish       
,church1 ,part      ,i1 ,lectures       

,v4-,,viii43 ,moses4       ,mrs4        
,a4,d4,t4 ,whitney4 ,the ,open ,mystery3
 ,a ,reading of the      ,mosaic ,story1
 ,part ,,iv4       ,the ,song of ,moses3
 ,deuteronomy1 chapter xxxii4       ,the
 ,prayer of ,moses3 ,psalm ,ninety4     
,cecil ,frances ,alexander4 ,poem1 ,the 
,burial of ,moses4       ,sonnet on the 
statue of ,moses by ,giovanni ,battista 
,felice      ,zappi1 translated by      
,j4,a4 ,symonds 7in ,life of            
,michelangelo      ,buonarotti74   ,the 
,pieta3--       ,latin hymn1 ,stabat    
,mater1 by ,jacobus de ,benedictis1     
translated by ,lord ,lindsay1 by        
,general ,dix or by ,dr4 ,coles4        
,christ ,triumphant3--       ,henryk    
,sienkiewicz4 ,quo ,vadis1 chapter lxix4
   ,frescoes of the ,sistine ,chapel1   
general impressions3--       ,symonds4  
,renaissance in ,italy1 volume on the   
,fine ,arts1      chapter viii43 ,life  
of ,michael ,angelo4       ,taine4      
,italy1 book iii41 chapter ix43 ,michael
 ,angelo4       ,andersen4 ,the         

,improvisatore1 chapter xii43 ,allegri's
      ,miserere1 in the ,sistine        
,chapel4   ,the ,creation of ,man3--    
,milton4 ,paradise ,lost1 book ,,viii41 
lines #ejj-ebh4   ,jeremiah3--          
,lucy ,larcom4 ,poem1 ,the ,weeping     
,prophet4   ,daniel3--       ,sir ,edwin
 ,arnold4 ,poem1 ,the ,feast of         
,belshazzar4   ,the ,delphic ,sibyl3--  
,lord ,houghton4 ,delphi1 a poem        
included in ,longfellow's               
collection of ,poems of ,places1 volume 
on ,greece4   ,the ,cumaean ,sibyl3--   
,virgil4 ,a,eneid1 sixth book1          
translated by ,c4,p4 ,cranch or by      
,john ,conington4   ,the ,medicean      
,tombs1 general impressions3--          
,symonds4 ,the ,renaissance in ,italy1  
volume on the ,fine ,arts1      chapter 
viii43 ,life of ,michael ,angelo4       
,taine4 ,italy1 book iii41 chapter v43  
,the ,florentine ,school      of ,art4  
,mrs4 ,oliphant4 ,the ,makers of        
,florence1 chapter xv43 ,michael        
,angelo4       ,rogers4 ,italy3 poem on 

,florence4   ,lorenzo de' ,medici3--    
,milton4 ,il ,penseroso4   ,tomb of     
,giuliano de' ,medici3--       ,charles 
,algernon ,swinburne4 ,poem1 ,in ,san   
,lorenzo4   ,the ,last ,judgment3--     
,the ,latin hymn1 ,dies ,irae1 by       
,thomas de ,celano1 translated      by  
,general ,john ,e4 ,dix4                
,alexander ,dumas4 ,les ,trois ,maitres3
 ,description of ,last      ,judgment1  
translated by ,esther ,singleton in the 
compilation      ,great ,pictures       
described by ,great ,writers4   ,the    
portrait of ,michelangelo3--            
,c4,p4 ,cranch4 ,michael ,angelo        
,buonarotti1 a poem read at a           
celebration of the #djjth anniversary of
 his birth1 included      in            
,longfellow's collection of ,poems of   
,places1 volume on      ,italy4     ,v4 
,,outline ,,table ,,of ,,the ,,principal
 ,,events ,,in ,,michelangelo',s ,,life4
  7,based on ,symonds' ,life of         
,michelangelo ,buonarotti1 to which the 
accompanying notes on pages refer47     

#adge4 ,born at ,caprese1 ,march #f 7p4 
#d74  #adhh4 ,apprenticed to ,domenico  
and ,david ,ghirlandajo1 ,april #a 7p4  
#ab74  #adhi-adib4 ,under the patronage 
of ,lorenzo the ,magnificent1 in the    
,casa ,medici 7p4 #bc74  #adid1 #adie4  
,in ,bologna1 work on the tomb of ,st4  
,dominick 7pp4 #dg1 #dh74  #adie4       
,return to ,florence1 the ,sleeping     
,cupid 7pp4 #ej-eb74  #adif-adih4 ,in   
,rome3--     ,the ,bacchus 7p4 #eh74    
,the ,south ,kensington ,cupid 7p4 #fb74
     ,the ,pieta 7p4 #fi74  #aejj4 ,a   
second visit to ,rome 7p4 #hj74         
#aeja-aeje4 ,in ,florence 7p4 #hg74     
#aejd4 ,statue of ,david 7p4 #if7 taken 
from workshop1 ,may #ad2   arrived at   
,piazza ,signoria1 ,may #ah2   set in   
place1 ,june #h4  ,commissioned in      
,august to prepare cartoons for         
decoration of ,hall in      ,palazzo    
,vecchio1 on wall opposite to that      
assigned to ,leonardo da      ,vinci 7p4
 #aai74  #aeje4 ,arrival in ,rome to    
work under patronage of the ,pope       

,julius ,,ii4 7p4 #abf74  ,preparations 
begun for work on tomb of ,julius and   
trip to ,carrara to      select marbles 
7p4 #abi74  #aejf4 ,his angry flight    
from ,rome 7p4 #aee74  ,visit in        
,florence and completion of competitive 
cartoon 7,battle of ,pisa7      for     
,palazzo ,vecchio 7p4 #afa74            
,reconciliation with the ,pope at       
,bologna1 ,november 7p4 #ahf74          
#aejf-aejh4 ,residence in ,bologna1 and 
statue of ,julius ,,ii4      7pp4 #ahg  
and #aie74  #aejh4 ,return to ,florence1
 ,march 7p4 #aig74  ,thence to ,rome by 
order of ,julius ,,ii4 7p4 #aih74       
,frescoes of the ,sistine ,chapel begun 
7p4 #bjf74  #aeji4 ,first uncovering of 
the ,sistine ,chapel ceiling1 showing   
frescoes      in the central space 7pp4 
#bji1 #baa74  #aeab4 ,sistine frescoes  
completed1 ,october 7p4 #bag74  #aeac4  
,death of ,michelangelo's patron1       
,julius ,,ii41 ,feb4 #ba4  ,new contract
 for tomb1 dated ,may #f 7p4 #cjb74     
#aead4 ,contract for life size marble   

statue of ,christ4 ,date of deed1       
,june #ad 7p4 #cje74  #aeaf4 ,reduced   
plan for tomb of ,julius ,,ii4 7p4      
#cbj74  ,visit to ,carrara to quarry    
marble4  ,suspension of work on tomb to 
make facade of church of ,s4 ,lorenzo   
7,florence7 for ,pope ,leo ,x4 7p4      
#cbc74  #aeah4 ,contract for facade of  
,s4 ,lorenzo1 ,jan4 #ai 7p4 #cbh74      
#aeah1 #aeai4 ,to and from ,florence and
 ,carrara for marble 7pp4 #cca1 #cci1   
#cda1 #cdb74  #aebj4 ,facade of ,s4     
,lorenzo abandoned 7p4 #cdi74  #aeba4   
,work begun on tombs in sacristy of ,s4 
,lorenzo 7p4 #ceg74  ,statue of ,christ 
finished 7pp4 #cjf1 #cei74  ,death of   
,michelangelo's patron1 ,leo ,x41 ,dec4 
#a4  #aebc4 ,fresh beginning of project 
of the ,medicean tombs in sacristy of   
,s4 ,lorenzo 7p4 #cgb74  #aebd4         
,vasari's apprenticeship with           
,michelangelo 7p4 #chi74  #aebe4 ,work  
in ,florence on ,medicean tombs 7p4     
#cia74  #aebf4 ,work begun on           
,laurentian ,library 7p4 #cig74  #aebg1 

#aebh4 ,uneventful years in ,florence   
7p4 #djd74  #aebi4 ,his services on the 
fortifications of ,s4 ,miniato1 to      
defend      ,florence against the       
,medici 7pp4 #dji1 #dab74  ,flight from 
,florence to ,venice1 ,sept4 #ba 7p4    
#daf74  #aecj4 ,capitulation of         
,florence 7p4 #dce74  ,michelangelo in  
hiding 7p4 #dcg74  ,resumption of work  
on ,medicean tombs 7p4 #dch74           
#aecj-aecc4 ,work on ,medicean tombs 7p4
 #ddg74  #aecb4 ,new contract for tomb  
of ,julius ,,ii4 7p4 #dee74  #aecd4     
,death of ,clement ,,vii4  #aece4       
,appointed chief architect1 sculptor1   
and painter at the ,vatican      by     
,pope ,paul ,,iii41 ,sept4 #a 7vol4 ii4 
p4 #dj74  #aecf-aecg4 ,work on the ,last
 ,judgment 7vol4 ii4 p4 #dc74           
#aech-aedg4 ,friendship with ,vittoria  
,colonna 7vol4 ii4 pp4 #ic1 #aag1       
#abe74  #aeda4 ,last ,judgment shown to 
the public1 ,christmas day 7vol4 ii4 p4 
#eh74  #aedb4 ,work assigned by ,paul   
,,iii4 for frescoes in the ,paulien     

,chapel      7vol4 ii4 p4 #fi74         
,michelangelo's last contract for tomb  
of ,julius ,,ii4 7vol4 ii4 pp4 #dj1     
#fi1 #gc74  #aedd4 ,illness 7vol4 ii4   
pp4 #ahc1 #ahg74  #aedf4 ,michelangelo  
succeeds ,antonio da ,gallo as          
architect-in-chief at      ,st4 ,peter's
 7vol4 ii4 p4 #bac74  #aeeb4 ,invitation
 of ,duke ,cosimo de' ,medici to return 
to ,florence declined      7vol4 ii4 pp4
 #bhi-bia74  #aeef4 ,excursion to       
,spoleto 7vol4 ii4 p4 #cjc74  #aeeg4    
,model for cupola of ,st4 ,peter's 7vol4
 ii4 p4 #bcb74  #aefd4 ,death in ,rome1 
,feb4 #ag 7vol4 ii4 p4 #cbj74     ,,vi4 
,,some ,,of ,,michelangelo',s ,,famous  
,,italian ,,contemporaries4   ,,rulers4 
,florentine ,dukes3--  ,lorenzo de'     
,medici1 #adfi-adib4  ,piero de' ,medici
 succeeded ,lorenzo #adib1 expelled from
 ,florence #adic4  ,alessandro de'      
,medici1 made first hereditary duke of  
,florence #aeca1      assassinated      
#aecg4  ,cosimo de' ,medici succeeded   
,alessandro1 #aecg-aegd4   ,popes3--    

,sixtus ,,iv41 #adga-adhd4  ,innocent   
,,viii41 #adhd-adib4  ,alexander ,,vi41 
#adib-aejc4  ,pius ,,iii41 #aejc-aejc4  
,julius ,,ii41 #aejc-aeac4  ,leo ,x41   
#aeac-aebb4  ,hadrian ,,vi41 #aebb-aebc4
  ,clement ,,vii41 #aebc-aecd4  ,paul   
,,iii41 #aecd-aeej4  ,marcellus ,,ii41  
#aeej-aeee4  ,paul ,,iv41 #aeee-aeee4   
,pius ,,iv41 #aeee-aeei4  ,pius ,v41    
#aeei-aeff4   ,,men ,,of ,,letters4     
,boiardo1 #adcd-adid1 poet 7,orlando    
,innamorato74  ,ariosto1 #adgd-aecc1    
poet 7,orlando ,furioso74  ,aretino     
7,venetian7 #adib-aeeg1 poet4           
,francesco ,berni1 #adif-aece1 burlesque
 poet4  ,bandello1 #adhj-aefb1          
novelliero4  ,sannazaro1 #adeh-aecj1    
poet 7,arcadia74  ,niccolo ,machiavelli1
 #adfi-aebg1 author of ,the ,prince4    
,gucciardini1 #adhc-aedj1 historian4    
,tasso1 #aedd-aeie1 poet 7,gerusalemme  
,liberata74   ,group centring about     
,lorenzo the ,magnificent in ,florence4 
,cristoforo ,landino1 #adbd-aejd1 tutor 
of ,lorenzo1 and professor of           

,latin ,literature4  ,bartolommeo       
,scala1 #adcj-adig1 chancellor of       
,florence4  ,luigi ,pulci1 #adca-adhg1  
writer of burlesque epic ,il ,morgante  
,maggiore1      and intimate friend of  
,lorenzo and ,poliziano4  ,marsilio     
,ficino1 #adcc-adii1 president of       
,academy in #adfc1 translator of        
,plato and ,plotinus4  ,angelo          
,poliziano1 #aded-adid1 tutor of        
,lorenzo's children1 and professor      
of ,greek and ,latin ,literature in     
,university of ,florence4  ,giovanni    
,pico della ,mirandola1 #adfc-adid1     
published #ijj theses at ,rome      in  
defence of ,platonic mysticism4   ,group
 in ,rome3--  ,pietro ,bembo1           
#adgj-aedg1 made cardinal in #aeci1     
master of ,latin style      and also    
writer in ,italian4  ,jacopo ,sadoleto1 
#adgg-aedg1 made cardinal in #aecf1     
writer of ,latin verses1      moral     
treatises1 and commentary on ,romans4   
,egidio ,canisio1 #adgj-aecb1 made      
cardinal in #adeg1 ,latin orator and    

writer      on philosophy1 history1 and 
theology4  ,paolo ,giovio1 #adhc-aeeb1  
bishop of ,nocera #aebh1 historian and  
biographer4  ,baldassare ,castiglione1  
#adgh-aebi1 diplomatist and scholar4    
,gian ,francesco ,pico della ,mirandola1
 #adgj-aecc1 author of life of          
,savonarola4  ,jerome ,aleander1        
#adhj-aedb1 made cardinal in #aecf1     
librarian at ,vatican4  ,marcus         
,musurus1 #adgj-aeag1 lecturer in       
,gymnasium ,caballini ,montis4  ,joannes
 ,lascaris1 #adde-aece1 superintendent  
of ,greek press established      in     
,rome by ,leo ,x4  ,riario1 ,giulio de' 
,medici1 ,bibbiena1 ,petrucci1 ,farnese1
 ,alidosi1 ,gonzaga1      cardinals and 
patrons of literature4   ,,painters4    
,ghirlandajo1 #addi-adie8               
,florentine ,verrocchio1 #adce-adhh     
,leonardo da ,vinci1 #adeb-aeai         
,bartolommeo1 #adge-aeag                
,francesco ,granacci1 #adgg-aedc 7friend
 of ,michelangelo7   ,giuliano          
,bugiardini1 #adge-aeed 7friend of      

,michelangelo7  ,raphael1 #adhc-aebj    
,andrea del ,sarto1 #adhf-aeca          
,sebastiano del ,piombo1 #adhe-aedg     
,giorgio ,vasari1 #aeab-aegd            
,giovanni ,bellini1 #adbh-aeaf          
,venetian ,giorgione1 #adgg-aeaj        
,titian1 #adgg-aegf                     
,tintoretto1 #aeah-aeid                 
,paolo ,veronese1 #aebh-aehh            
,perugino1 #addf-aebc                   
,umbrian ,bazzi1 #adgg-aedi             
,sienese ,baldassare ,peruzzi1          
#adha-aecf 7also architect7             
,domenico ,beccafumi1 #adhf-aeea        
,mantegna1 #adca-aejf                   
,mantuan ,francia1 #adej-aeah           
,bolognese ,correggio1 #adid-aecd       
,emilian   ,,miscellaneous4             
,savonarola1 #adeb-adih1 prior of       
monastery of ,s4 ,marco1 ,florence1     
preacher1 reformer1 martyr4 ,marc'      
,antonio1 #adhg-aeci1 engraver4         
,bramante1 #addd-aead1 architect of ,st4
 ,peter's4 ,antonio da ,san ,gallo1     
#adhe-aedf1 architect of ,st4 ,peter's4 

,christopher ,columbus1 #adcf or        
#addf-aejf1 discoverer4 ,aldo ,manuzio  
7,teobaldo ,mannucci71 #adej-aeae1      
printer1 established press      at      
,venice #adij4 ,vittoria ,colonna1      
#adij-aedg1 poet4     ,i  ,,the         
,,madonna ,,and ,,child   ,about two    
thousand years ago a babe was born in   
the little ,judaean village of          
,bethlehem whose life was to change all 
history4 ,his name was ,jesus1 and every
 ,christian country now takes his birth 
as a standard from which to reckon time4
 ,when we speak of the year #aijj1 we   
are counting the number of years that   
have passed since that event4#c ,to make
 this clear we sometimes add the        
initials ,a4,d41 standing for the ,latin
 words1 ,anno ,domini1 meaning in the   
year of our ,lord4 ,to go still farther 
back we speak of an event as so many    
years ,b4,c4 or ,before ,christ4        
,footnote #c3 ,to be perfectly exact we 
must always add four years to a date to 
get the full length of time passed since

 the birth of ,christ1 as a mistake has 
been made in the calculation4  ,the     
infant ,jesus came to his mother ,mary  
as a peculiar treasure4 ,before his     
birth she had had a vision of an angel  
telling her that her son was to reign   
over a great kingdom4 ,she felt that    
there was a great and solemn mystery in 
his life4  ,at the time he was born1    
,bethlehem happened to be crowded with  
people who had come there to pay their  
taxes4 ,when ,mary and her husband      
,joseph went to the inn1 there was no   
room for them1 and the baby was laid in 
a manger used to feed cattle4 ,this was 
a humble cradle for one destined to be a
 king2 but the mother did not think too 
much of outward things4 ,her confidence 
in her son's greatness was not to be    
shaken by trifles like this4  ,the      
new-born babe was soon sought out4      
,first came some shepherds asking to see
 him1 because1 while watching their     
sheep at night1 they had had a vision of
 angels telling them that a ,saviour was

 born in ,bethlehem4 ,still stranger    
visitors were some wise men from the    
,east1 who said they had seen a star    
which signified to them the birth of a  
king4 ,they brought the babe royal gifts
 of gold and frankincense and myrrh1 and
 returned on their way well pleased with
 the success of their journey4  ,when   
the babe was about a month old he was   
carried up to the great city of         
,jerusalem1 where1 according to the     
religious custom of the ,jews1 he was to
 be offered or presented to the ,lord1  
in the temple4 ,here a saintly old man  
named ,simeon took him in his arms1 with
 some strange words of prophecy of the  
salvation which this child was to bring 
to the world4  ,all these things made a 
deep impression upon ,mary1 and she was 
a proud and devoted mother4 ,day by day 
she watched her child grow strong in    
spirit1 filled with wisdom2 and the     
grace of ,god was upon him4 ,it is said 
that      ,all mothers worship little   
feet1     ,and kiss the very ground     

they've trod1  and this mother had      
special cause for child worship4        
,illustration3 ,,madonna ,,and ,,child4 
,national ,museum1 ,florence4  ,the     
,italians always refer to the mother of 
,jesus as the ,madonna1 which is the old
 ,italian way of addressing a lady4     
,this representation of the ,madonna and
 ,child makes us understand better what 
the two were to each other4 ,the        
confiding way in which the boy leans    
against his mother's knee shows the love
 between them4 ,the mother looks like a 
queen2 on her well-poised head she wears
 a headdress something like a crown4 ,as
 the mother of a prince she bears her   
honors proudly4  ,on her lap is the book
 from which she has been reading4 ,the  
child seems dreaming of the wonderful   
words he has heard1 as he rests his     
cheek on his little hand1 his elbow bent
 across the open page4 ,a thoughtful    
mood is upon them both1 and there is    
something wistful in the boy's attitude4
 ,the message they have read must indeed

 be a solemn one4 ,perhaps it is        
something which recalls to the mother   
the promise of the angel in foretelling 
the birth of ,jesus4 ,she thinks of the 
great honors that are to be his1 and    
also of the sacrifices by which they    
must be won4 ,the book may be open at   
the words of one of those old ,hebrew   
prophets who longed for the coming of   
the ,redeemer4 ,there is a verse in the 
prophecy of ,isaiah1 which speaks of a  
child upon whose shoulders the          
government shall rest4#d ,the writer    
tells some of the many names by which he
 shall be called1 and we may imagine    
this mother and child going over        
together these strange titles3          
,wonderful1 ,counsellor1 ,the ,mighty   
,god1 ,the ,everlasting ,father1 ,the   
,prince of ,peace4  ,footnote #d3       
,isaiah1 chapter ix4 verse #f4  ,our    
illustration is from a bas-relief by    
,michelangelo1 and as we examine it     
closely we discover that the sculptor's 
work was left unfinished4 ,the rough    

marks of the chisel are still seen on   
the surface of the marble4 ,a child's   
figure in the background is quite       
indistinct4 ,probably it was intended   
for the boy ,st4 ,john the ,baptist1 the
 cousin of ,jesus4 ,the child ,jesus    
himself is by no means completed2 his   
right arm is only faintly indicated4    
,as we shall learn from other examples  
of sculpture in this book1#e            
,michelangelo often neglected to carry  
his work to completion4 ,he was so      
possessed with his ideas that he could  
not work fast enough in sketching them  
on the marble1 but after this1 it did   
not matter so much to him about the     
finishing4 ,he had done enough to show  
his meaning4  ,footnote #e3 ,note       
particularly the ,cupid on page #ae1 and
 the tomb of ,giuliano de' ,medici on   
page #ha4  ,there are reasons for liking
 such work all the better for being     
unfinished4 ,some of the most delightful
 stories ever written1 like those of    
,hawthorne1 leave something at the end  

still unexplained4 ,the reader's        
imagination is then free to go on       
forever exploring the mystery1 and      
inventing new situations4 ,so in this   
bas-relief1 the great sculptor does not 
work out the details1 but allows us to  
exercise our own fancy upon them4 ,he   
sketches his thought in a few noble     
lines1 and each may round out for       
himself the completed ideal4     ,,ii   
,,david   ,long ago in the country of   
,palestine lived a lad named ,david1 who
 kept his father's sheep4 ,his free life
 out of doors made him strong and manly 
beyond his years4 ,the ,israelites were 
at this time at war with the            
,philistines1 and ,david's quick wit and
 indomitable courage fitted him to play 
an important part in the issue of the   
war4  ,the ,philistine army contained a 
giant named ,goliath1 described as six  
cubits and a span in height4 ,that is   
over ten feet2 but perhaps his terrible 
appearance1 in all his armor1 made him  
taller than he really was4  ,one day    

this giant came out from his army and   
made a proposal to the ,israelites3#f   
,choose you a man for you1 and let him  
come down to me4 ,if he be able to fight
 with me1 and to kill me1 then will we  
be your servants3 but if ,i prevail     
against him and kill him1 then shall ye 
be our servants1 and serve us4 ,every   
day1 morning and evening for forty days1
 the ,philistine stood forth and        
repeated his challenge1 yet in vain4    
,saul1 the king1 and all ,israel1 were  
dismayed and greatly afraid4  ,footnote 
#f3 #a ,samuel1 chapter xvii4 verses #h1
 #i4  ,now it happened that ,david's    
three elder brothers were in the        
,israelite army1 and one day their      
father sent him to them with a present  
of some provisions4 ,while the lad was  
talking with his brothers1 ,goliath came
 out with his usual call of defiance4   
,david listened with wonder and         
indignation4 ,who is this ,philistine8  
he asked scornfully1 that he should defy
 the armies of the living ,god8 ,the    

brothers were angry at what they thought
 foolish bravado on the part of ,david2 
but there were others who reported his  
words to ,saul1 who forthwith sent for  
the lad4 ,then ,david amazed the king by
 boldly offering to go and fight with   
the ,philistine4  ,and ,saul said to    
,david1 ',thou art not able to go       
against this ,philistine to fight with  
him3 for thou art but a youth1 and he a 
man of war from his youth4' ,and ,david 
said unto ,saul1 ',thy servant kept his 
father's sheep1 and there came a lion1  
and a bear1 and took a lamb out of the  
flock3 ,and ,i went out after him1 and  
smote him1 and delivered it out of his  
mouth3 and when he arose against me1 ,i 
caught him by his beard1 and smote him1 
and slew him4 ,thy servant slew both the
 lion and the bear4444 ,the ,lord that  
delivered me out of the paw of the lion1
 and out of the paw of the bear1 he will
 deliver me out of the hand of this     
,philistine4' ,and ,saul said unto      
,david1 ',go1 and the ,lord be with     

thee4'  ,illustration3 ,,david4 ,academy
 of ,fine ,arts1 ,florence4  ,and ,saul 
armed ,david with his armour1 and he put
 an helmet of brass upon his head2 also 
he armed him with a coat of mail4 ,and  
,david girded his sword upon his armour1
 and he assayed to go2 for he had not   
proved it4 ,and ,david said unto ,saul1 
',i cannot go with these2 for ,i have   
not proved them4' ,and ,david put them  
off him4 ,and he took his staff in his  
hand and chose him five smooth stones   
out of the brook1444 and his sling was  
in his hand3 and he drew near to the    
,philistine4444  ,and when the          
,philistine looked about1 and saw       
,david1 he disdained him3 for he was but
 a youth1 and ruddy1 and of a fair      
countenance4444 ,and the ,philistine    
said to ,david1 ',come to me1 and ,i    
will give thy flesh unto the fowls of   
the air1 and to the beasts of the       
field4' ,then said ,david to the        
,philistine1 ',thou comest to me with a 
sword1 and with a spear1 and with a     

shield3 but ,i come to thee in the name 
of the ,lord of hosts1 the ,god of the  
armies of ,israel1 whom thou hast       
defied4 ,this day will the ,lord deliver
 thee into mine hand2 and ,i will smite 
thee1 and take thine head from thee4'   
444  ,and it came to pass1 when the     
,philistine arose1 and came and drew    
nigh to meet ,david1 that ,david hasted1
 and ran toward the army to meet the    
,philistine4 ,and ,david put his hand in
 his bag1 and took thence a stone1 and  
slang it1 and smote the ,philistine in  
his forehead1 that the stone sunk into  
his forehead2 and he fell upon his face 
to the earth4 ,so ,david prevailed over 
the ,philistine with a sling and with a 
stone1 and smote the ,philistine1 and   
slew him2 but there was no sword in the 
hand of ,david4 ,therefore ,david ran1  
and stood upon the ,philistine1 and took
 his sword1 and drew it out of the      
sheath thereof1 and slew him1 and cut   
off his head therewith4 ,and when the   
,philistines saw their champion was     

dead1 they fled4#g  ,footnote #g3 #a    
,samuel1 chapter xvii4 verses #cc-ea4   
,this heroic adventure of ,david is the 
subject of ,michelangelo's statue4 ,the 
shepherd1 having thrown off the king's  
armor1 advances naked and unhampered1   
carrying only the sling flung across his
 back4 ,the large muscular hand hanging 
by his side holds the piece of wood on  
which the sling is hung4 ,it is the hand
 that wrenched the lamb from the lion's 
mouth and then seized the king of beasts
 himself by the beard4 ,the left hand1  
poised on the shoulder1 holds the centre
 of the sling where it bulges with the  
pebble4 ,the youth scans the enemy      
keenly1 marking the spot at which to    
aim4 ,in another moment the pebble will 
be speeding on its way4 ,his air of     
confidence makes us sure of the victory4
 ,determination like this must win the  
day4  ,critics of sculpture tells us    
that the statue of ,david must have been
 studied from a model of the age which  
,michelangelo imagined as that of the   

shepherd lad at this time4 ,the figure  
is that of a growing youth1 and although
 it is therefore not so beautiful as a  
type of perfectly developed manhood1 it 
has a rugged strength which makes it one
 of the sculptor's most interesting     
works4     ,,iii  ,,cupid   ,in the     
mythology of ancient ,greece there is no
 more popular figure than the little god
 of love1 ,eros1 more commonly known by 
the ,latin name ,cupid4 ,he was supposed
 to be the son of ,venus1 the goddess of
 love and beauty1 whom he attended4 ,he 
was never without his bow and quiver of 
arrows4 ,whoever was hit by one of his  
magic darts straightway fell in love4   
,the wound was at once a pain and a     
delight4 ,some traditions say that he   
shot blindfolded1--his aim seemed often 
so at random4 ,sometimes the one whom he
 wounded was apparently least           
susceptible to love4 ,indeed1 ,cupid had
 the reputation of being rather a       
mischievous fellow1 fond of pranks4     
,one of these was at the expense of     

,apollo1 the great sun god4 ,apollo was 
himself a mighty archer1 and had slain  
with his arrows the python of ,delphi4  
,proud of his victory1 he mocked at the 
little god of love1 advising him to     
leave his arrows for the warlike1 and   
content himself with the torch of love4 
,cupid1 vexed at the taunt1 replied     
threateningly1 ,thine arrows may strike 
all things else1 ,apollo1 but mine shall
 strike thee4 ,so saying he drew from   
his quiver two arrows1 one of gold1 to  
excite love1 and one of lead1 to repel  
it4 ,with the golden one he shot ,apollo
 through the heart1 with the leaden he  
shot the nymph ,daphne4 ,so ,apollo     
became nearly mad with love for ,daphne1
 but the maid fled from him with horror4
 ,he pursued her1 and when he was close 
upon her1 she turned into a laurel-tree4
  ,cupid continued to work havoc with   
his arrows4 ,even his mother ,venus     
could not escape their power4 ,one day1 
when frolicking with her boy1 she was   
wounded by one of the darts1 and before 

the wound healed she saw and loved      
,adonis4 ,when that youth was killed in 
a struggle with a wild boar1 she was    
inconsolable4  ,another romantic tragedy
 for which ,cupid was responsible was   
the love between ,hero and ,leander4    
,these two young people lived in towns  
on opposite sides of the ,hellespont4   
,leander was one day worshipping in the 
temple of ,venus1 in ,hero's town1      
,sestos1 when he saw ,hero1 and was at  
that moment shot by ,cupid's arrow4 ,his
 love was returned1 and every night he  
swam across the channel to see his lady 
love1 until one night a tempest arose1  
and he was drowned4 ,the waves bore his 
body to the shore1 where ,hero found    
him1 and in her despair threw herself   
into the sea and was also drowned4      
,illustration3 ,,cupid4 ,south          
,kensington ,museum1 ,london4  ,such    
legends as these were dear to the hearts
 of the ,greeks4 ,their poets and       
artists were very fond of the subject of
 ,cupid4 ,now ,michelangelo's early     

artistic training was under the         
influence of the ,greek culture4 ,he was
 an inmate of the household of ,lorenzo 
de' ,medici1 who was an ardent lover of 
all that was beautiful in ,greek art and
 literature4 ,at the table of the prince
 the youth must often have heard the old
 ,greek myths related1 and in the       
gardens he saw splendid ,greek marbles4 
,it was natural1 then1 that among his   
early works in sculpture he should      
choose the subject of ,cupid4 ,his idea 
was1 however1 his own1 and was not at   
all such as a ,greek would have         
imagined4 ,classic art always           
represented the god of love as a merry  
little winged boy1 while in this statue 
he is seen as a well-grown youth4 ,his  
face is strong and masterful1 instead of
 innocently gay4  ,he has dropped on one
 knee to take an arrow from the ground4 
,in his raised left hand he holds the   
bow1 of which we see only a portion4    
,his left leg is bent in position to    
rise again4 ,like ,david1 he has an     

abundance of bushy hair crowning his    
handsome head2 his straight brows and   
set mouth show the same determination of
 character4 ,he stands for love which is
 determined to win1 for love which      
conquers every obstacle1 for love which 
is unerring in aim4 ,it is a much nobler
 conception than the mere passing fancy 
of which the old myth speaks4           
,michelangelo was one who believed that 
,love betters what is best1     ,even   
here below1 but more in heaven above4#h 
,so he put into a pagan fancy a new and 
higher meaning4  ,footnote #h3 one of   
,michelangelo's sonnets translated by   
,wordsworth4  ,to understand fully the  
qualities of this work of art1 one ought
 to see it from many points of view1 and
 study the lines4 ,the long curve of the
 right arm follows the curve of the     
right leg from hip to knee4 ,the bend of
 the left arm repeats the line made by  
the bend of the left leg4 ,the two      
extended arms together form a long line 
arching like the curve of a bow4  ,from 

every standpoint all the lines are      
beautiful and harmonious4 ,this was the 
secret the ,greeks had taught the young 
,italian sculptor4 ,in other respects he
 was entirely original4 ,cupid1 like    
,david1 is in an attitude of action4 ,in
 another moment he will move4 ,this was 
quite different from the ,greek         
sculpture1 which always gives an        
impression of repose4                   
,,note4--,there is a difference of      
opinion among      critics as to the    
subject of the statue at ,south         
,kensington4      ,heath ,wilson        
considered it an ,apollo4 ,the writer   
has      followed ,symonds in calling it
 ,cupid4       ,the size of the statue  
may be calculated from the foot rule    
which lies across the pedestal in the   
picture4     ,,iv  ,,moses   ,in        
,michelangelo's statue of ,moses the    
great ,hebrew leader is represented at  
the height of his career4 ,he was a     
prophet1 a poet1 a military commander1  
and a statesman4 ,the story of his life 

will show how all these qualities could 
be combined in one person4  ,at the time
 of his birth his people were in slavery
 to the ,egyptians1 who cruelly         
oppressed them4 ,their numbers were     
increasing so rapidly that it was feared
 they would soon outnumber their        
masters4 ,so the command went forth to  
drown every boy baby4 ,now the mother of
 ,moses had no mind to lose her boy1 and
 when she could not longer hide him1 she
 took for him an ark of bulrushes1 and  
daubed it with slime and with pitch1 and
 she put the child therein and laid it  
in the flags by the river's brink4 ,and 
his sister stood afar off1 to know what 
would be done to him4#i  ,footnote #i3  
,exodus1 chapter ii4 verses #c1 #d1     
,revised ,version4  ,then a strange     
thing happened4 ,the princess came to   
the river with her maids for a bath1 and
 finding the babe1 was touched by his   
cries4 ,the sister came up as if by     
chance1 and asked if she should seek a  
,hebrew nurse for the child1 and when   

the princess said ,yes1 she went        
straight for her mother4  ,so ,moses was
 adopted by an ,egyptian princess1 yet  
he was nurtured in infancy by his own   
mother4 ,this explains why1 with all the
 ,egyptian learning acquired at court1  
he had still the religious training of a
 ,jew1 and when he grew to manhood he   
was full of sympathy for the wrongs of  
his people4 ,one day he saw an ,egyptian
 smiting a ,hebrew1 and in his wrath he 
slew the ,egyptian on the spot4 ,news of
 the deed came to ,pharaoh the king1 and
 ,moses fled into a place called        
,midian4 ,here for forty years he lived 
a quiet pastoral life as a shepherd for 
,jethro1 whose daughter he had married4 
,then came the divine call4 ,he was     
alone with his sheep on the             
mountain-side1 when he heard a voice    
saying1 ,come now and ,i will send thee 
unto ,pharaoh1 that thou mayest bring   
forth my people the children of ,israel 
out of ,egypt1444 and ,i will bring you 
up out of the affliction of ,egypt unto 

the land of the ,canaanites 444 unto a  
land flowing with milk and honey4#aj    
,thus ,moses became the leader of his   
people in their exodus1 or departure    
from ,egypt4  ,footnote #aj3 ,exodus1   
chapter iii verses #aj and #ag4         
,illustration3 ,,moses4 ,church of ,s4  
,pietro in ,vincoli1 ,rome4  ,after many
 strange experiences1 the great company 
of emigrants made the passage of the    
,red ,sea in safety1 and ,moses showed  
his poetic gifts in a song of triumph4  
,many years of slavery had taken the    
spirit out of the ,hebrews1 and they    
needed a wise head and a firm hand to   
govern them4 ,moses had both1 and he    
was1 besides1 a man of ,god4 ,going     
apart from them for a season of divine  
communion on the mountain1 he spent     
forty days in preparation for a system  
of government4 ,on his return he brought
 with him two tables of stone1 inscribed
 with the ten great commandments1 which 
are at the foundation of right          
character4 ,he had also detailed        

directions for their daily conduct1 and 
for their religious ceremonial4  ,the   
people for whose good all these plans   
were made were in the mean time         
discouraged by the long absence of their
 leader4 ,they had no idea how much he  
was doing for them1 and in their folly  
they forgot his teachings1 and began to 
practise the idolatrous customs they had
 seen in ,egypt4 ,on descending the     
mountain1 ,moses found them worshipping 
the golden image of a calf4 ,it is not  
to be wondered at that1 as the historian
 says1#aa ,moses' anger waxed hot1 and  
he cast the tables out of his hands1 and
 brake them beneath the mount4          
,footnote #aa3 ,exodus1 chapter xxxii4  
verse #ai4  ,again ,moses went up into  
the mount for communion with ,god1 and  
again two tables of stone were inscribed
 with the ten commandments1 to replace  
those which had been destroyed4 ,again1 
also1 he was gone forty days1 and this  
time he was given a mysterious          
revelation of the goodness of ,god4     

,thus it was that when he came down the 
people were afraid to come near1 for#ab 
the skin of his face shone1 or put forth
 beams1 as the expression reads in some 
,bible translations4 ,in the old ,latin 
version made by ,jerome in the fifth    
century1 and known as the ,vulgate1     
translated into what is now called the  
,douay ,bible1 we read that ,moses' face
 was horned4 ,this is why all the old   
artists1 who were guided by the         
,vulgate1 represented ,moses with horns4
 ,these horns became1 as it were1       
symbols of ,moses' inspiration as a     
prophet4  ,footnote #ab3 ,ibid41 chapter
 xxxiv4 verse #cj4 ,see ,revised        
,version4  ,michelangelo followed the   
prevailing custom in using these curious
 symbols4 ,the long curling beard gives 
his hero the aspect of a poet4 ,the     
tables of stone show him to be a        
law-giver4 ,but of all the qualities of 
this many-sided man seen in the great   
statue1 the most conspicuous are his    
qualities of leadership1--the keen      

glance1 the commanding air1 the alert   
attitude1 the determined look4 ,he seems
 ready to spring to his feet if occasion
 demands4 ,we see also something of his 
faults1 of the impulsive anger which    
slew the ,egyptian1 and dashed in pieces
 the tables of stone1 and of the        
arrogance which cost him the privilege  
of entering ,canaan4  ,he was not       
permitted to see his labors carried to  
completion1 but on the borders of       
,canaan went up into the mountain of    
,nebo1444 and died there in the land of 
,moab1 according to the word of the     
,lord4 ,and he buried him in a valley   
444 over against ,beth-peor2 but no man 
knoweth of his sepulchre unto this day4 
,v  ,,the ,,holy ,,family   ,the        
pictures we have thus far studied in    
this collection are reproductions of    
works of sculpture4 ,this is the art    
which ,michelangelo loved best4 ,he was1
 however1 a painter also1 and in the    
later years of his life he was even     
drawn into architecture4 ,painting was  

the first art he studied1 but he soon   
laid it aside for sculpture1 and after  
that returned to it from time to time   
throughout his life4  ,this picture of  
the ,holy ,family is from an oil        
painting4 ,it shows us a glimpse of the 
home life of the child ,jesus4 ,we have 
already seen in the bas-relief of the   
,madonna and ,child how thoughtful a    
mood was sometimes upon the mother and  
her boy4 ,in this picture they are      
making merry together4 ,the mother1     
seated on the ground1 tosses the boy    
with her strong arms1 for her husband   
,joseph to catch4 ,she is a beautiful   
woman1 large1 and full of life and      
vigor4 ,the boy is a healthy1 happy     
child1 with perfect confidence in his   
mother4 ,he rests his fat little hands  
on her head to steady himself4  ,joseph1
 bald and gray1 takes the play a little 
more seriously1 as he gently lifts the  
boy from the mother's arms4 ,he has a   
special care for the child4 ,it was he  
who was warned by an angel in a dream   

that it was dangerous to remain in      
,judaea4 ,it was he who took the young  
child and his mother by night and       
departed into ,egypt4#ac ,it was he     
again who duly brought them back to     
their native country when the cruel king
 was dead who had threatened the child's
 life4 ,after the return from ,egypt    
,joseph and his family settled in the   
little town of ,nazareth1 where he      
followed the trade of a carpenter4      
,footnote #ac3 ,matthew1 chapter ii4    
verses #ac1 #ad4  ,now ,jesus had a     
cousin1 a boy who was not far from the  
same age4 ,his name was ,john1 and his  
mission in life was closely connected   
with that of ,jesus4 ,he was to grow up 
a great preacher1 and finally to lead   
people to ,jesus himself4 ,his parents  
knew before his birth1 from an angelic  
visitation1 that he was to be a prophet4
 ,his mother ,elizabeth1 and ,mary the  
mother of ,jesus1 used to talk together1
 before their children were born1 of the
 strange future in store for them4 ,we  

like to think that the two boys grew up 
as companions and playmates4  ,it is    
this little boy ,john who is seen in the
 back of the picture1 at the right1     
coming up as if to join the child ,jesus
 in his romp4 ,we see his eager little  
face1 with the long hair blown back from
 it1 just above the coping stone        
surrounding the garden inclosure which  
the ,holy ,family occupy4 ,he carries   
over his left shoulder a slender reed   
cross1 such as is given him in all the  
old works of art as a symbol of his     
prophetic character4  ,illustration3    
,,the ,,holy ,,family4 ,uffizi ,gallery1
 ,florence4  ,you may say when you look 
at the picture that this is such a group
 as you might see any day in some       
,tuscan village4 ,the people are indeed 
very plainly of the peasant class1 and  
the artist did not go far out of his way
 to find his figures4 ,perhaps he       
thought this was after all the best way 
to show that the ,holy ,family was not  
unlike other families in enjoying the   

simple pleasures of home life4 ,we may  
feel a closer sense of kinship with them
 on that account4  ,in studying the     
artistic qualities of this picture we   
have to remember that ,michelangelo was 
more of a sculptor than a painter1 and  
that he went to work upon a painting    
with the same methods he used in marble4
 ,the central figures are grouped in a  
solid mass as if for a bas-relief1 as we
 may see by comparing this illustration 
with that of the ,madonna and ,child4   
,the mother's arms are so modelled1 to  
use a critical term1 that they seem to  
start out from the canvas in the round1 
just as if cut from marble4 ,the folds  
of her dress1 as well as those of       
,joseph's garment1 are arranged in the  
long beautiful lines artists call       
sculpturesque4  ,the sculptor's methods 
are also plainly seen in the peculiarity
 of his background4 ,in a picture of    
this kind most painters would have      
painted there a landscape1 but          
,michelangelo did nothing of the kind4  

,instead there is a semicircular parapet
 upon which five slender unclothed      
youths are playing together4 ,three sit 
upon the wall and two lean against it4  
,the figures bear no relation to the    
story of the picture4 ,they are         
introduced merely for the sake of       
decoration4 ,to ,michelangelo there was 
nothing so beautiful in decoration as   
the human form4 ,the lines made by      
different positions of the body trace   
patterns more beautiful1 he thought1    
than any arabesques4 ,the ,greeks had   
the same idea when they decorated the   
pediments of their temples with         
bas-reliefs of nude figures4 ,applying  
this principle of sculpture to his      
painting1 ,michelangelo arranged these  
boys so that their slender limbs        
intertwine in graceful patterns1 making 
a decorative background to fill in the  
picture4 ,the lightness and delicacy of 
the design heighten the effect of       
solidity in the figures of the          
foreground1 giving them the prominence  

of figures in relief4     ,,vi  ,,the   
,,pieta   ,in the busy years of         
,christ's ministry we do not read of his
 often being with his mother ,mary4 ,he 
was going about the country preaching   
and healing1 and gave himself wholly to 
his mission4 ,yet we know that the love 
between mother and son was constant and 
unchanging4 ,from beginning to end she  
always had confidence in his power1 and 
his tender care for her was among his   
last thoughts4  ,on the dreadful day of 
the ,crucifixion1 the mother was found  
standing by the cross1 with her sister  
and ,mary ,magdalene4 ,when ,jesus      
therefore saw his mother1 and the       
disciple standing by1 whom he loved that
 is1 ,st4 ,john1 he saith unto his      
mother1 ,woman1 behold thy son6 ,then   
saith he to the disciple1 ,behold thy   
mother6 ,and from that hour that        
disciple took her unto his own home4#ad 
,footnote #ad3 ,john1 chapter xix4      
verses #bf1 #bg4  ,we can imagine the   
mother's anguish in seeing her son      

suffer this cruel and ignominious death4
 ,he had lived only to do good1 and now 
he was dying an innocent sacrifice to   
his enemies4 ,at such a moment the      
mother might truly feel that a sword was
 piercing her soul1 as the old man      
,simeon#ae had once prophesied of her1  
many years before4  ,footnote #ae3      
,luke1 chapter ii4 verse #ce4           
,wearied was her heart with grieving1   
,worn her breast with sorrow heaving1   
,through her soul the sword had passed4 
,ah6 how sad and broken-hearted     ,was
 that blessed mother1 parted     ,from  
the ,god-begotten ,one6      ,how her   
loving heart did languish     ,when she 
saw the mortal anguish     ,which       
o'erwhelmed her peerless ,son4#af       
,footnote #af3 ,from ,stabat ,mater4    
,time passed1 and ,jesus now being dead1
 his friends were permitted by the      
governor to remove him from the cross4  
,joseph of ,arimathea took the lead1 as 
he was to lay the body in a new         
sepulchre recently made in his garden4  

,nicodemus was also there1 bringing     
linen and spices for the burial1 and the
 loving women lingered to see these     
preparations4  ,we can imagine how they 
might all stand aside to make room for  
the mother ,mary4 ,perhaps1 indeed1 they
 would withdraw a little way to leave   
her for a moment alone with her son4    
,the years seem to melt away1 and again 
she gathers him in her lap as when he   
was a babe4 ,all the motherly tenderness
 which she has had long pent up in her  
heart now overflows4 ,if she has        
sometimes felt a little lonely that in  
his manhood he no longer needed her     
care1 she forgets it now4 ,he is still  
her child4  ,the marble group by        
,michelangelo interprets such a moment  
for us4 ,the ,italians call the subject 
the ,pieta1 which means compassion1 but 
the name scarcely expresses all the     
emotions of the mother4 ,she seems as   
strong and young as when she brooded    
over her babe in the ,bethlehem manger4 
,purity enjoys eternal youth was the    

sculptor's explanation to those who     
objected4  ,illustration3 ,,the ,,pieta4
 ,st4 ,peter's1 ,rome4  ,across her     
capacious1 motherly lap lies the        
slender1 youthful figure of the dead    
,christ4 ,the head falls back1 and the  
limbs are relaxed in death4 ,suffering  
has left no trace on his face4 ,the nail
 prints in hands and feet1 and the scar 
in the side1 are the only signs of his  
crucifixion4 ,the delicately moulded    
body is beautiful in repose4  ,the      
mother seems to find mysterious comfort 
in gazing upon her son4 ,perhaps his    
death has opened her eyes to the meaning
 of his life4 ,if this is so1 she cannot
 grieve4 ,he has finished the work given
 him to do1 and death is the beginning  
of immortality4 ,so sorrow gives place  
to resignation4 ,she is again the proud 
mother4 ,the fond hopes with which she  
watched his childhood have been more    
than fulfilled4 ,she extends her hand in
 a gesture which seems to say1 ,behold  
and see4  ,it is said that certain      

,lombards1 passing through the church   
where the ,pieta stood1 ascribed the    
work to a ,milanese sculptor named      
,cristoforo ,solari4 ,michelangelo1     
having overheard them1 shut himself up  
in the chapel1 and chiselled his name   
upon the girdle which crosses the       
,madonna's breast and supports her      
flowing garments4 ,his name is not found
 on any of his other works1 and we can  
understand why he felt proud of such a  
masterpiece4 ,though made when on the   
very threshold of his career1 it was    
never surpassed even in his later years4
 ,some other artist afterwards designed 
the two little bronze cherubs who hold a
 crown over the ,madonna's head4 ,they  
are quite out of harmony with the       
impressive dignity of the figures below4
  ,michelangelo's early love of ,greek  
sculpture taught him many lessons1 which
 were worked out in this group4 ,it has1
 first of all1 that perfect repose which
 was the leading trait in classic art4  
,there is nothing strained or violent in

 the positions4 ,besides this1 the      
figures are so arranged that on all     
sides1 as in a ,greek statue1 the lines 
are beautiful and harmonious4  ,but the 
subject itself is one which would have  
been too sad for the pleasure-loving    
,greek4 ,to the pagan the thought of    
death was something to be avoided4      
,michelangelo's statue teaches the      
highest lesson of religious faith1--the 
beauty of resigned sorrow and the       
sublimity of sacrificing love4     ,,vii
  ,,christ ,,triumphant  7,cristo       
,risorto7   ,the character of ,christ is
 so many-sided that when trying to fancy
 how he looked while he lived in the    
world1 everyone has probably a different
 thought uppermost4 ,the business man   
and the lawyer may imagine the keen1    
searching glance which he turned upon   
those who tried to entangle him with    
hard questions4 ,a loving woman thinks  
rather of the compassionate look with   
which he greeted the sisters of ,lazarus
 when they came to tell him that their  

brother was dead4 ,the physician may    
wonder how he looked when he spoke the  
commanding words to those whom he       
healed4  ,others dwell upon his         
sufferings as the ,man of ,sorrows1 and 
often think how sad he looked when he   
referred to the disciple who should     
betray him4 ,lovers of nature like to   
imagine the look of pleasure on his face
 in seeing the lilies growing in the    
field1 or the expression of eager       
inquiry with which he asked the         
fishermen what luck they had had4 ,every
 boy and girl likes best to think of him
 smiling upon the children1 whom he     
called to him and took in his arms4     
,now when an artist makes an ideal      
representation of ,christ1 he tries to  
show us as many as possible of these    
elements of character combined in one   
figure4 ,so we may test the success of  
,michelangelo's statue of ,christ by    
searching out these various elements in 
it4 ,we must also know what incident the
 artist had in mind of which the work is

 an illustration1 so to speak4  ,the    
statue is called in ,italian ,cristo    
,risorto1 that is1 ,christ ,risen or    
,triumphant1 because the reference is to
 a circumstance not recorded of his     
earthly career1 but belonging to the    
time following his resurrection4 ,it is 
connected with a story told by ,st4     
,ambrose about the apostle ,peter4 ,st4 
,peter1 it is believed1 spent the latter
 part of his life in ,rome1 where the   
cruel emperor1 ,nero1 was doing his best
 to exterminate the ,christians4  ,after
 the burning of ,rome1 ,nero threw upon 
the ,christians the accusation of having
 fired the city4 ,this was the origin of
 the first persecution1 in which many   
perished by terrible and hitherto       
unheard-of deaths4 ,the ,christian      
converts besought ,peter not to expose  
his life1 which was dear and necessary  
to the well-being of all2 and at length 
he consented to depart from ,rome4 ,but 
as he fled along the ,appian ,way1 about
 two miles from the gates1 he was met by

 a vision of our ,saviour1 travelling   
towards the city4 ,struck with          
amazement1 he exclaimed1 ',lord6 whither
 goest thou8' 7,domine1 quo vadis87 to  
which the ,saviour1 looking upon him    
with a mild sadness1 replied1 ',i go to 
,rome to be crucified a second time1'   
and vanished4 ,peter1 taking this for a 
sign that he was to submit himself to   
the sufferings prepared for him1        
immediately turned back1 and reentered  
the city4#ag  ,footnote #ag3 ,from ,mrs4
 ,jameson's ,sacred and ,legendary ,art1
 pages #bjj1 #bja4  ,illustration3      
,,christ ,,triumphant4 ,church of ,s4   
,maria sopra ,minerva1 ,rome4  ,it is   
this visionary figure of the ,christ1   
appearing and disappearing before the   
eyes of ,peter1 that ,michelangelo      
represents in the statue4 ,he carries a 
cross not large enough for an actual    
crucifixion1 as that would be out of    
place here1 but tall enough to show its 
real purpose4 ,he has also the long reed
 and the sponge which the soldier used  

to give him a drink of vinegar and gall 
when he thirsted on the cross4 ,a bit of
 rope is a reminder of the scourging    
given him by the governor4  ,all these  
things he carries with him to ,rome for 
a fresh martyrdom4 ,it is as if in      
walking along the way he suddenly meets 
,peter1 and1 at the apostle's astonished
 question1 he pauses1 leaning a moment  
on the cross1 as he turns gently to     
reply4  ,now as this is the ,christ     
risen1 or triumphant1 the ,christ who   
has conquered death and the grave1      
,michelangelo wanted to do all he could 
to make a noble-looking figure4 ,the    
face is of the handsome type1 with      
regular features1 which the ,italians   
like to give to their ideal of ,christ4 
,the expression of reproach is so gentle
 that one deserving rebuke may well feel
 ashamed before it4  ,the sorrow in the 
face is such as ,jesus might have shown 
as he turned to ,judas at the ,last     
,supper4 ,the gentleness in it is of the
 quality so attractive to children4     

,there is1 too1 something of the        
sympathetic element in it which ,mary   
and ,martha found4  ,the countenance is 
not without intellectuality1 though it  
scarcely shows the keenness which the   
lawyers found it hard to outwit4 ,it has
 rather the refinement of a lover of all
 that is beautiful4 ,nor is there much  
in expression or attitude to suggest the
 more commanding qualities of ,jesus4   
,these stronger elements the statue     
seems to lack4  ,it is rather puzzling  
to one who is trying to form standards  
of taste to learn that critics are      
divided in their opinion about this     
statue4 ,it is1 therefore1 well to know 
that ,michelangelo is not wholly        
responsible for the work as we now see  
it4 ,though he designed and began it1 he
 left it to some unskilful apprentices  
to finish4 ,the effect of the lines is  
injured by the bronze drapery which was 
added later4 ,a bronze sandal has also  
been put on the right foot to protect   
it1 as it had become much worn by       

kisses4  ,in criticising a statue one   
must always remember that it is best    
seen in the surroundings for which it is
 designed4 ,it is said1 even by one who 
does not greatly admire ,michelangelo's 
,christ1 that in the dim light of the   
church where it stands1 it diffuses a   
grace and sweetness which no            
reproduction renders4#ah  ,footnote #ah3
 ,symonds1 in ,life of ,michelangelo    
,buonarotti4     ,,viii  ,,the          
,,creation ,,of ,,man   ,science has    
long been trying to solve the problem of
 the origin of the human race4 ,great   
books are published by learned men to   
explain how the being called man came to
 be what he is4 ,but centuries before   
the beginnings of science a wonderful   
poem was written on the same subject of 
the creation4 ,this poem is called      
,genesis1 that is1 the ,birth or ,origin
 of things1 and it forms a part of the  
first book of our ,bible4 ,ever since it
 was written it has been one of the     
sacred books of many people4  ,this     

story of creation was once the favorite 
subject of artists4 ,in the period      
before the invention of printing1 people
 depended for their instruction upon    
pictures about as much as we now do upon
 books4 ,painters sometimes covered the 
walls and ceiling of churches with      
illustrations of the book of ,genesis1  
transforming them into huge             
picture-books1 from which the           
worshippers could learn the ,bible      
stories which they were unable to read  
in books4  ,michelangelo was one of the 
last ,italian painters to do this1 and  
he profited by all the work that had    
been done before to make the grandest   
series of ,genesis illustrations ever   
produced4 ,it is from this series that  
our illustration is taken1 representing 
the subject of the ,creation of ,man4   
,the painter did not try to follow the  
text very literally4 ,in the book of    
,genesis we read3#ai--  ,footnote #ai3  
,genesis1 chapter i verses #bf-bg2      
chapter ii verse #g4  ,and ,god said1   

,let us make man in our image1 after our
 likeness3 and let them have dominion   
over the fish of the sea1 and over the  
fowl of the air1 and over the cattle1   
and over all the earth1 and over every  
creeping thing that creepeth upon the   
earth4  ,so ,god created man in his own 
image1 in the image of ,god created he  
him4444 ,and the ,lord ,god formed man  
of the dust of the ground1 and breathed 
into his nostrils the breath of life2   
and man became a living soul4           
,michelangelo takes these words1 and    
expresses1 in his own way1 the supreme  
creative moment when man became a living
 soul4  ,the man ,adam lies on a jutting
 promontory of the newly made land4     
,though his body is formed1 he lacks as 
yet the inner force to use it2 he is not
 yet alive4 ,the ,creator is borne along
 on a swirling cloud of cherubs1 moving 
forward through space like a rushing    
mighty wind4 ,perhaps the painter was   
thinking of the psalmist's beautiful    
description of ,god's coming3#bj ,he    

rode upon a cherub1 and did fly3 yea1 he
 did fly upon the wings of the wind4    
,footnote #bj3 ,psalm xviii1 verse #aj4 
,illustration3 ,,the ,,creation ,,of    
,,man4 ,sistine ,chapel1 ,rome4  ,in    
,his fatherly face is expressed the good
 purpose to create a son in his own     
image4 ,the cherubic host accompanying  
him are full of joy and awe4 ,we are    
reminded of that time of which the poet 
,milton wrote1#ba when                  
,all     ,the multitude of angels1 with 
a shout     ,loud as from numbers       
without number1 sweet     ,as from blest
 voices1 uttering joy1--,heaven rung    
,with jubilee1 and loud hosannas filled 
,the eternal regions4  ,footnote #ba3   
,paradise ,lost1 book iii4 lines        
#cdd-cdi4  ,the sign of the ,almighty's 
creative power is the outstretched arm  
extended towards ,adam with a superb    
gesture of command4 ,as if in answer to 
the divine summons1 the lifeless figure 
begins to stir1 rising slowly to a      
sitting posture4 ,the face turns towards

 the source of life as the flower turns 
to the sun4 ,the eyes are lifted to the 
,creator's with a wistful yearning4 ,it 
is the look we sometimes see in the eyes
 of a woodland creature appealing for   
mercy4 ,it is such a look as might      
belong to that imaginary being of the   
,greek mythology1 the faun1 half beast1 
half human4 ,thus ,adam1 still but half 
created1 begins to feel the thrill of   
life in his members1 and is aroused to  
action4 ,he lifts his hand to meet the  
,creator's outstretched finger4 ,the    
current of life is established1 the     
vital spark is communicated1 and in     
another moment ,adam will rise in his   
full dignity as a human soul4  ,this    
picture was painted long before there   
was any knowledge of electricity1 of    
electric sparks1 and electric currents4 
,yet1 if we did not know otherwise1 we  
might fancy that ,michelangelo had some 
of these wonderful ideas of modern      
science in mind1 as the symbols of the  
great thoughts he was trying to express4

  ,the picture suggests to our latter   
day scientific imagination that ,god's  
currents of power move as silently1 as  
swiftly1 as invisibly and mysteriously  
as the currents of electricity4 ,the    
painter meant to show that the work of  
creation was not a mechanical effort of 
the ,almighty1 but that with him a      
gesture1 a word1 even a thought1 brings 
something into being4  ,the series of   
which this picture forms a part is      
painted in fresco on the ceiling of the 
,sistine ,chapel1 in the ,pope's palace 
of the ,vatican1 ,rome4 ,to break up the
 monotony of the long plain surface he  
had to decorate1 the painter divided the
 strip of space in the centre into nine 
compartments4 ,these are separated from 
each other by a painted architectural   
framework1 so cunningly represented that
 it seems to project from the ceiling   
like a solid structure of beams4  ,our  
illustration shows a portion of the     
simulated framework which incloses the  
picture4 ,on what appears to be a       

pedestal at each corner is a seated     
figure representing a statue4 ,one is a 
beautiful youth with a horn of plenty1  
and the other is a faun-like creature   
capering gayly4 ,the purpose of these   
figures is decorative1 like those in the
 background of the ,holy ,family4       
,,ix  ,,jeremiah   ,michelangelo's      
decoration of the ,sistine ,chapel      
ceiling did not stop with the series of 
panels running along the flat space in  
the centre4 ,on either side1 where the  
ceiling arches to meet the side walls1  
he painted a row of figures1 which seem 
to be seated in sculptured niches4      
,there are twelve of these figures in   
all1 and seven of them are ,hebrew      
prophets4  ,the prophets were holy men  
of old1 who walked with ,god1 and       
carried his messages among men4 ,they   
were men of great courage and           
conviction1 fearlessly denouncing the   
sins of their times4 ,sometimes they    
were great reformers1 bringing about by 
their preaching an improved condition of

 things4 ,often their mission was to    
arouse hope in discouragement1 to       
strengthen faith in a happier time to   
come4 ,they looked forward to a future  
day1 when the ,prince of ,peace should  
reign in the earth4  ,jeremiah was a    
prophet of ,judah during the corrupt and
 troublous times in the reigns of       
,josiah1 ,jehoiakim1 and ,zedekiah4 ,he 
has been compared by a recent writer#bb 
to a ,puritan living in the age of the  
,stuarts1 to a ,huguenot living in the  
age of the ,medici1 or a ,savonarola    
living in the age of ,pope ,alexander   
,,vi4 ,he was born in ,anathoth1 a      
little village of ,judaea1 and being the
 son of a priest was consecrated to the 
priesthood from birth4  ,footnote #bb3  
,lyman ,abbott in ,hebrew ,prophets and 
,american ,problems4  ,he was still very
 young when it was borne in upon him    
that to be loyal to ,god he must stand  
forth and speak the truth more boldly   
than other priests were doing4          
,shrinking from such a task1 he besought

 ,god to spare him4 ,ah1 ,lord ,god6    
behold1 ,i cannot speak3 for ,i am a    
child4  ,and this1 writes ,jeremiah1 is 
the answer he received3#bc ,say not1 ,i 
am a child3 for thou shalt go to all    
that ,i shall send thee1 and whatsoever 
,i command thee thou shalt speak4 ,be   
not afraid of their faces3 for ,i am    
with thee to deliver thee1 saith the    
,lord4 ,then the ,lord put forth his    
hand1 and touched my mouth4 ,and the    
,lord said unto me1 ,behold1 ,i have put
 my words in thy mouth4 ,see1 ,i have   
this day set thee over the nations and  
over the kingdoms1 to root out1 and to  
pull down1 and to destroy1 and to throw 
down1 to build1 and to plant4  ,footnote
 #bc3 ,jeremiah1 chapter i4 verses      
#f-aj4  ,thus ,jeremiah became a        
prophet1 and from that time on his life 
was one long1 hopeless protest against  
folly and crime4 ,earnestly he besought 
his people to return to ,god before it  
was too late3 ,o ,jerusalem1 wash thine 
heart from wickedness1 that thou mayest 

be saved2#bd but prayers and threats    
were alike of no avail1 and misfortunes 
began to afflict the land4 ,then        
,jeremiah shows himself a true patriot4 
,though his people refused to hear him1 
he still loves them and pleads their    
cause4 ,in the horror of famine1 he     
prays to ,god in their behalf4          
,footnote #bd3 ,ibid41 ch4 iv4 v4 #ad4  
,illustration3 ,,jeremiah4 ,sistine     
,chapel1 ,rome4  ,there are times even  
in the midst of disappointment when     
,jeremiah has some gleam of hope for the
 future4 ,he predicts the days when a   
,king shall reign and prosper1 and shall
 execute judgment and justice in the    
earth4#be ,such times he himself was    
never to enjoy4 ,he lived to see the    
,babylonian invasion1 ,jerusalem        
besieged and laid waste1 and his people 
taken captive4 ,the reward of his       
faithful warnings was to be cast into   
prison by the ungrateful ,king          
,zedekiah4 ,finally he was carried by   
the remnant of his people into ,egypt1  

where he died in a sad and lonely old   
age4  ,footnote #be3 ,jeremiah1 chapter 
xxiii4 verse #e4  ,once in a moment of  
discouragement early in life1 his grief 
had burst forth in words which might    
well express the feelings of his old    
age3 ,oh that my head were waters1 and  
mine eyes a fountain of tears1 that ,i  
might weep day and night for the slain  
of the daughter of my people6#bf        
,footnote #bf3 ,jeremiah1 chapter ix4   
verse #a4  ,all the pathos of these     
words is conveyed in ,michelangelo's    
wonderful figure of ,jeremiah4 ,the     
story of his life is written in his face
 and attitude4 ,he is an old man1 with  
long gray beard1 but he still has the   
splendid vigor which comes from plain   
and simple living4 ,he sits with bowed  
head1 lost in thought1 his long life    
passing in review before his mind's eye4
 ,his message is spoken1 his race is    
run2 he is weary of life and longs to   
die4 ,there is something inexpressibly  
moving in his profound melancholy4  ,the

 painter has placed just behind the     
prophet two little figures which are    
like attendant spirits4 ,they seem to   
sympathize with ,jeremiah's sorrows4    
,the figures ornamenting the sculptured 
niche remind us of those in the         
background of the ,holy ,family and have
 a similar decorative purpose4  ,those  
who have studied the history of the     
times in which ,michelangelo lived may  
find in this figure of ,jeremiah an     
expression of the artist's own          
character4 ,like the old ,hebrew        
prophet1 he lived in the midst of a     
corruption which he was helpless to     
remedy1 and which saddened his inmost   
soul4 ,his own life was full of         
disappointments4 ,in his lonely old age 
he wrote a sonnet1 which is not unlike  
some of ,jeremiah's utterances1 and     
which is a clue to the meaning of the   
picture3--      ,borne to the utmost    
brink of life's dark sea1     ,too late 
thy joys ,i understand1 ,o earth6       
,how thou dost promise peace which      

cannot be1     ,and that repose which   
ever dies at birth4     ,the retrospect 
of life through many a day1     ,now to 
its close attained by ,heaven's decree1 
,brings forth from memory1 in sad array1
     ,only old errors1 fain forgot by   
me1--     ,errors which e'en1 if long   
life's erring day1     ,to soul         
destruction would have led my way4      
,for this ,i know--the greatest bliss on
 high     ,belongs to him called        
earliest to die4     ,x  ,,daniel   ,in 
striking contrast to the bowed and      
sorrowful old prophet ,jeremiah is the  
alert and eager youth ,daniel4 ,the two 
men were contemporaries1 though there   
was a difference in their ages4 ,when1  
in the reign of ,jehoiakim1 the ,jews   
were taken into captivity to ,babylon1  
the youth ,daniel went with them1 while 
the old prophet ,jeremiah was left      
behind4 ,daniel was chosen1 with three  
companions1 to be educated at the court 
of the ,babylonian king1                
,nebuchadnezzar4 ,they were taught the  

,chaldean language and the sciences1 and
 the king was delighted with their      
progress4  ,an opportunity soon came for
 ,daniel to be of service to his royal  
patron4 ,nebuchadnezzar had a strange   
dream1 which none of his magicians could
 interpret1 because1 unfortunately1 he  
had forgotten it4 ,in his anger that no 
one could supply the lost memory1 he    
commanded to destroy all the wise men of
 ,babylon4 ,but ,daniel prayed to ,god  
that the secret might be revealed to    
him4  ,his prayers were answered1 and he
 related to the king not only just what 
the dream was1 but the full meaning of  
it3#bg ,thou1 ,o king1 sawest1 and      
behold a great image4 ,this great image1
 whose brightness was excellent1 stood  
before thee2 and the form thereof was   
terrible4 ,this image's head was of fine
 gold1 his breast and his arms of       
silver1 his belly and his thighs of     
brass1 his legs of iron1 his feet part  
of iron and part of clay4 ,thou sawest  
till that a stone was cut out without   

hands1 which smote the image upon his   
feet that were of iron and clay1 and    
brake them to pieces4444 ,and the stone 
that smote the image became a great     
mountain1 and filled the whole earth4   
,footnote #bg3 ,daniel1 chapter ii4     
verses #ca-ce4  ,in ,daniel's           
interpretation the different portions of
 the image represented the different    
kingdoms which should follow1 one after 
another1 in the future4 ,the stone which
 brake the image in pieces referred to  
the final kingdom which the ,god of     
heaven shall set up1 which shall never  
be destroyed1 but which shall stand     
forever4  ,from this time forth ,daniel 
became a seer4 ,he had many wonderful   
visions in the night1 and interpreted   
them with reference to future historical
 events4 ,he was also a statesman1 the  
king having made him governor of the    
province as a reward for his services4  
,in later years he acted as viceroy at a
 time when the king was insane4  ,in the
 reign of ,nebuchadnezzar's successor1  

,belshazzar1 ,daniel was again called   
into service as a seer4 ,one night1     
during a great feast1 a mysterious hand 
appeared to write some inscription on   
the wall1 and ,daniel alone could       
interpret it4 ,the message was ominous1 
but the prophet spoke out boldly4       
,,mene1 ,,mene1 ,,tekel1 ,,upharsin1 ran
 the words1 ,thou art weighed in the    
balances and art found wanting4 ,daniel 
condemned the king for his iniquities1  
and declared that his kingdom should be 
divided by the ,medes and ,persians4    
,that very night ,belshazzar was slain1 
and ,darius1 the ,median1 took the      
kingdom4  ,illustration3 ,,daniel4      
,sistine ,chapel1 ,rome4  ,under the new
 dynasty ,daniel was given so much power
 that some of the officials1 jealous of 
his preferment1 plotted against him4    
,they contrived to persuade ,king       
,darius to sign a decree that whosoever 
should ask a petition of any god or man 
for thirty days1 save of the king       
himself1 should be cast into the den of 

lions4 ,the officials were right in     
supposing that this would entrap ,daniel
 into law-breaking1 for1 faithful to his
 ,hebrew training1 he offered prayer to 
,god three times a day4 ,he was         
therefore cast into the lions' den1 but 
no harm befell him1 because1 according  
to his own explanation1 ,god sent his   
angel to shut the lions' mouths4        
,daniel continued to hold office even in
 the reign of the next king1 ,cyrus the 
,persian4 ,he lived to a great old age1 
but he was so young when he first showed
 his prophetic gifts that it is natural 
to think of him in his youth as         
,michelangelo has represented him4 ,it  
would seem that the artist had in mind  
,daniel's early years of education at   
court4 ,on his lap is a large open book 
supported on the back of a tiny figure  
standing between his knees4 ,this may   
represent a volume of ,chaldean         
learning4 ,his posture shows that he has
 been consulting the volume1 and now    
turns to his writing tablets to record  

his own thoughts4  ,his broad forehead  
shows him to be a student and a thinker4
 ,the waving hair is brushed back to    
form an aureole about his face4 ,it is  
the face of a dreamer in a moment of    
inspiration4 ,eagerly he writes his     
words of mingled poetry and prophecy4   
,he is full of youthful enthusiasm for  
his work1 a nature fitted for action as 
well as for vision4 ,he has also the    
spirited bearing of one who fears       
neither the rage of a lion nor the wrath
 of a king4 ,there is a breezy energy in
 his motions1 as if thoughts came more  
swiftly than he could transcribe them4  
,his expression of happy anticipation is
 in vivid contrast to ,jeremiah's       
sorrowful attitude of retrospection4    
,the picture brings out clearly the fact
 that the keynote of ,daniel's prophecy 
is hope4 ,looking into his rapt face1 we
 may imagine that this is the message he
 is writing3 ,they that be wise shall   
shine as the brightness of the          
firmament2 and they that turn many to   

righteousness1 as the stars forever and 
ever4#bh  ,footnote #bh3 ,daniel1       
chapter xii4 verse #c4     ,,xi  ,,the  
,,delphic ,,sibyl   ,in the rows of     
figures which ,michelangelo painted     
along the arched portion of the ceiling 
of the ,sistine ,chapel1 the prophets   
are associated with sibyls4 ,hence1 in  
the plan of decoration1 there comes     
first the figure of a man1 and then the 
figure of a woman4  ,now1 as the ,bible 
contains no allusion to sibyls1 it may  
seem strange that they should have a    
place in a series of ,bible             
illustrations1 and especially that they 
should appear side by side with the     
prophets4 ,to explain this1 we must     
learn something about the sibyls4  ,they
 were women of ancient times supposed to
 have supernatural gifts of foretelling 
the future4 ,they devoted themselves to 
solitude and meditation1 and sometimes  
lived apart in caves or grottoes4       
,sometimes they were connected with     
temples1 and delivered what were        

supposed to be the messages of the gods 
to the worshippers4 ,these messages were
 called oracles1 and were greatly       
revered by the people who consulted the 
gods4  ,some of the sibyls' words of    
wisdom were committed to writing and    
passed down to following generations4   
,though they lived in heathen countries1
 the tradition ran that they prophesied 
the advent of ,christ4 ,there is a      
passage in one of ,virgil's eclogues    
7the fourth7 upon which the supposition 
is based4 ,early in the ,christian era1 
when men were spreading the new faith1  
they made much of these sibylline       
prophecies to add weight to their       
teachings4  ,in former times1 fact and  
fable were very often confused1 and     
people did not take pains to distinguish
 the legends of the sibyls from the     
history of the prophets4 ,when the      
,latin hymn ,dies ,irae was written1 the
 sibyl was mentioned1 with the prophet1 
as predicting the final destruction of  
the world4 ,many painters and sculptors 

gave the two equal honor in the same    
way4 ,in the prevailing opinion1 the    
sibyls shared with the prophets an      
inspired foreknowledge of the ,christian
 faith4  ,the nine main panels of       
,michelangelo's ceiling decoration show 
how man was created1 and how he was     
tempted and fell into sin4 ,to carry on 
still further the story of the human    
race1 the painter shows the succession  
of men and women1 prophets and sibyls1  
who1 one after another1 predicted the   
redemption of the world in ,christ4 ,on 
the side walls1 below these figures1 the
 story is carried to completion in a    
series of pictures illustrating the life
 of ,christ4 ,the last named frescoes   
were painted by various artists some    
years before ,michelangelo's work on the
 ceiling4  ,the number of sibyls was    
given as ten or twelve1 and of these    
,michelangelo selected five4 ,his idea  
here1 as with the prophets1 seemed to be
 to represent some in old age and some  
in youth4  ,illustration3 ,,the         

,,delphic ,,sibyl4 ,sistine ,chapel1    
,rome4  ,the ,delphic sibyl is the      
youngest and most beautiful of them all4
 ,she presided over the temple of       
,apollo in the ,greek town of ,delphi1  
where it was long customary for the     
priestess1 or pythia1 as she was called1
 to be a young woman selected from some 
family of poor country people4  ,the    
temple at ,delphi was one of great      
celebrity4 ,in the centre was a small   
opening in the ground1 whence arose an  
intoxicating vapor1 and over this sat   
the pythia1 on a three-legged seat1 or  
tripod1 and delivered the oracle        
communicated to her by the god4 ,these  
oracles were delivered in verse4  ,the  
,delphic sibyl1 or pythia1 of           
,michelangelo's picture1 has the        
splendid stature of an ,amazon4 ,her    
head is draped with a sort of ,greek    
turban1 beneath which her hair escapes  
in flying curls4 ,her face and          
expression show her at once to be unlike
 an ordinary woman4 ,she has the look of

 a startled fawn1 which has suddenly    
heard the call of a distant voice4 ,she 
turns her head in the attitude of one   
listening4 ,she looks far away with eyes
 that see visions1 but what those       
visions are none can guess4 ,there are  
other pictures of the same sibyl        
carrying a crown of thorns1 showing that
 she predicted the sufferings of        
,christ4 ,perhaps this is the meaning of
 the sorrowful expression in these wide 
eyes4  ,the scroll which she unrolls in 
her left hand is the scroll of her      
prophecy4 ,the two little figures       
holding a book1 just behind her right   
shoulder1 are genii1 or spirits1        
symbolic of her inspiration4 ,one reads 
eagerly from the volume while the other 
listens with rapt attention4  ,the      
picture makes a very interesting study  
in the composition of lines4 ,starting  
from the topmost point of the turban1   
draw a line on the right1 coming across 
the shoulder along the outer edge of the
 drapery to the toe4 ,on the left1 let  

the line connecting the same two points 
follow the outer curve of the scroll1   
along the slanting edge of the mantle1  
and we get a beautiful pointed oval as  
the basis of the composition4  ,the     
sibyl's left arm drops a curve across   
the upper part of the figure1 and this  
curve is repeated a little lower down by
 the creases in the drapery across the  
lap4 ,such are the few strong1 simple   
lines which compose the picture1        
producing an effect of grandeur which a 
confusion of many lines would entirely  
spoil4     ,,xii  ,,the ,,cumaean       
,,sibyl   ,of all the sibyls1 the one we
 hear most about is the ,cumaean4 ,the  
legend runs that1 having asked a boon of
 ,apollo1 she gathered a handful of sand
 and said1 ,grant me to see as many     
birthdays as there are sand grains in my
 hand4 ,the wish was gratified1 but     
unluckily she forgot to ask for enduring
 youth1 so she was doomed to live a     
thousand years in a withered old age4   
,thus we always think of her as an old  

woman1 as ,michelangelo has represented 
her4  ,she is called the ,cumaean sibyl 
because she is supposed to have lived in
 ,cumae1 which was the oldest and one of
 the most important of the ,greek       
colonies in ,italy4 ,her real name1 we  
are told1 was ,demos4 ,she lived in a   
great cavern1 where the people came to  
consult her1 and her answers to their   
questions were regarded as oracles1 or  
answers from the deities4 ,she used to  
write on the leaves of trees the names  
and fates of different persons1         
arranging them in her cave to be read by
 her votaries4 ,sometimes the wind      
sweeping through the cavern scattered   
the leaves broadcast through the world4 
,the manner of consulting her is fully  
described by the ,latin poet ,virgil in 
the sixth book of the ,a,eneid4 ,he     
tells how ,a,eneas1 arriving with his   
fellow voyagers at the town of ,cumae1  
immediately goes to the temple of       
,apollo1      ,and seeks the cave of    
wondrous size1     ,the sibyl's dread   

retreat1     ,the sibyl1 whom the       
,delian seer     ,inspires to see the   
future clear1     ,and fills with       
frenzy's heat2     ,the grove they      
enter1 and behold     ,above their heads
 the roof of gold4         99       99  
99       99       99      ,within the   
mountain's hollow side1     ,a cavern   
stretches high and wide2     ,a hundred 
entries thither lead2     ,a hundred    
voices thence proceed1     ,each        
uttering forth the sibyl's rede4        
,the sacred threshold now they trod3    
',pray for an answer6 pray6 the god1'   
,she cries1 'the god is nigh6'      ,and
 as before the door in view     ,she    
stands1 her visage pales its hue1       
,her locks dishevelled fly1     ,her    
breath comes thick1 her wild heart      
glows4     ,dilating as the madness     
grows1     ,her form looks larger to the
 eye2     ,unearthly peals her          
deep-toned cry1     ,as1 breathing      
nearer and more near1     ,the god comes
 rushing on his seer4  ,a,eneas now begs

 a favor of the sibyl4 ,he has heard    
that here the path leads downward to the
 dead1 and he desires to go thither to  
visit his father1 ,anchises4 ,there are 
certain conditions to fulfil before     
setting forth1 but when these are done  
the sibyl guides him on his way1 and the
 journey is safely made4  ,illustration3
 ,,the ,,cumaean ,,sibyl4 ,sistine      
,chapel1 ,rome4  ,another legend of the 
,cumaean sibyl has to do with the ,roman
 emperor ,tarquin4 ,the sibyl came to   
him one day with nine books of oracles1 
which she wished him to buy4 ,the price 
was exorbitant1 and the emperor refused 
her demand4 ,she then went away1 burned 
three of the books1 and1 returning with 
the remaining six1 made the same demand4
 ,again her offer was refused1 and again
 she burned three books and returned1   
still requiring the original price for  
the three that were left4 ,tarquin now  
consulted the soothsayers1 and1 acting  
upon their advice1 bought the books1    
which were found to contain directions  

concerning the religion and policy of   
,rome4  ,for many years they were held  
sacred1 and were carefully preserved in 
the temple of ,jupiter in the ,capitol1 
under the care of official guardians4   
,at length the temple was destroyed by  
fire1 and the original sibylline books  
perished4 ,in the following centuries   
they were replaced by scattered papers1 
collected from time to time in various  
parts of the empire1 purporting to be   
the writings of the sibyl4 ,these       
sibylline leaves1 as they were called1  
contained passages supposed to be       
prophetic of the coming of ,christ1 and 
this is why the ,cumaean sibyl is placed
 by ,michelangelo among the prophets4   
,the sibyl is reading aloud from one of 
her books of oracles4 ,the two little   
genii standing behind her shoulder1 and 
listening with absorbed attention1 hold 
another book1 not yet unclasped1 ready  
for her4 ,she reads her prophecy with   
keen1 searching eyes1 and a manner that 
is almost stern4 ,we can see in the     

large1 strong features the determination
 of her character4  ,it is not a gentle 
face1 and not pleasing1 but it is full  
of meaning4 ,we read there the record of
 the centuries which have passed over   
her head1 bringing her the deep secrets 
of life4 ,yet the prophecies are still  
unfulfilled1 and there is a look of     
unsatisfied longing in her wrinkled old 
face4  ,you will notice that the        
outlines of the ,cumaean sibyl are drawn
 in an oval figure similar to that      
inclosing the ,delphic sibyl4 ,here1    
however1 the oval is of a more elongated
 form1 and the left side is broken      
midway by the introduction of the book4 
,the old writer ,pausanias1 writing his 
,description of ,greece1 in the second  
century1 says that the people of ,cumae 
showed a small stone urn in the temple  
of ,apollo containing the ashes of the  
sibyl4 ,for many centuries her cavern   
was pointed out to travellers in a rock 
under the citadel of ,cumae4 ,finally   
the fortifications of the city were     

undermined1 but to this day a           
subterranean passage in the rock on     
which they were built is still shown as 
the entrance to the sibyl's cave4       
,,xiii  ,,lorenzo ,,de' ,,medici   ,the 
statue of ,lorenzo de' ,medici is the   
central figure on the tomb erected to   
the memory of this prince4 ,he was the  
rather unworthy namesake of his         
illustrious grandfather1 who was known  
as ,lorenzo the ,magnificent4 ,the      
,medici family was for many generations 
the richest and most powerful in        
,florence4 ,they were originally        
merchants1 and1 as the name signifies1  
physicians1 and1 accumulating great     
wealth1 they became powerful leaders1   
and really the rulers of the republic4  
,some of them were munificent patrons of
 art and literature4 ,there was one     
named ,cosimo1 who did so much to make  
his city famous that he was called      
,pater ,patriae1 the father of the      
country1 as was1 centuries afterwards1  
our own ,washington4 ,his grandson      

,lorenzo won the title of the           
,magnificent for his lavish generosity  
and superb plans for the advancement of 
art and learning4 ,so much power could  
not safely be in the hands of a single  
family4 ,the ,medici1 from being        
benefactors1 finally became tyrants4    
,the ,lorenzo of this statue was one of 
the more insignificant members of the   
family4 ,it is said that he inherited   
the vices without the genius of the     
family1 and was ambitious1 unscrupulous1
 and dissipated4 ,his uncle1 ,pope ,leo 
,x41 after depriving the ,duke of       
,urbino of his hereditary domains1      
bestowed them1 with the title of duke1  
on ,lorenzo1 whom he also made general  
of the pontifical forces4#bi ,in #aeah  
,leo united him in marriage to a ,french
 princess1 and their daughter was the   
afterwards celebrated ,catharine de'    
,medici1 queen of the ,french king1     
,henry ,,ii4 ,these are the main facts  
in the life of a man who is remembered  
only because he had illustrious         

ancestors1 a famous daughter1 and a     
superb tomb4  ,footnote #bi3 ,susan and 
,joanna ,horner's ,walks in ,florence1  
vol4 i4 p4 #abe4  ,it mattered nothing  
to ,michelangelo that he had so poor a  
subject for a statue4 ,it is supposed   
that he made no attempt at correct      
portraiture in the figure4 ,the         
insignificant ,lorenzo was transformed  
by the magic of his genius into a hero4 
,he wears a suit of ,roman armor1 in    
accordance with his career as a general 
in the wars with the ,duke of ,urbino1  
whose title he took4 ,his helmet is     
pulled well forward over the brow1 the  
head is bent1 the cheek rests upon the  
left hand1 the elbow supported on a     
casket placed on the knee4 ,with finger 
laid thoughtfully upon the lips1 he is  
thinking intently4 ,the right hand      
rests1 palm out1 against the knee in a  
characteristic position of inaction4    
,illustration3 ,,lorenzo ,,de' ,,medici4
 ,church of ,s4 ,lorenzo1 ,florence4    
,his mood is not that of a dreamer lost 

to his present surroundings4 ,rather he 
seems to be keenly aware of what is     
going on2 his meditations have to do    
with the present4 ,it is as if1 having  
given an order1 he awaits its execution1
 his mind still intent upon his         
purposes1 satisfied with his decision1  
and calmly expectant of its success4    
,his affair is one of serious           
importance2 no trifling matter absorbs  
the thought of this grave man4 ,a king  
sits in this attitude when1 in the midst
 of his army1 he orders the execution of
 some judicial act1 like the destruction
 of a city4 ,frederic ,barbarossa must  
have appeared thus when he caused ,milan
 to be ploughed up4#cj  ,footnote #cj3  
,taine1 ,travels in ,italy4  ,the lack  
of resemblance in the statue to the     
original duke ,lorenzo made it for a    
long time doubtful whether it was       
intended to be his tomb4 ,the           
,florentines1 in their poetic way1 fell 
into the habit of calling it ,il        
,pensiero1 that is1 ,thought1 or        

,meditation1 sometimes ,il ,pensieroso1 
,the ,thinker4 ,these are1 after all1   
the best names for the statue1 which is 
allegorical rather than historical in   
its intention4 ,the great ,english poet 
,milton has written a poem1 which is    
like a companion piece to the statue1   
fitting it as words sometimes fit music4
 ,it begins in this way1 in words which 
,il ,pensieroso himself might speak3--  
,hence1 vain deluding ,joys1     ,the   
brood of ,folly1 without father bred6   
,how little you bested1     ,or fill the
 fixed mind with all your toys6         
,dwell in some idle brain1     ,and     
fancies fond with gaudy shape possess1  
,as thick and numberless     ,as the gay
 motes that people the sunbeams1     ,or
 likest hovering dreams1     ,the fickle
 pensioners of ,morpheus' train4        
,but hail6 thou ,goddess sage and holy1 
,hail1 divinest ,melancholy6  ,lorenzo's
 statue stands in a niche above the     
sarcophagus1 or stone coffin1 in which  
his body was laid4 ,on the top of the   

sarcophagus are two reclining figures   
called ,dawn and ,twilight4 ,the tomb   
itself is in a chapel1 or sacristy1     
called the ,new ,sacristy 7to           
distinguish it from one still older71 in
 the ,church of ,s4 ,lorenzo1 ,florence4
 ,the entire sacristy is devoted to the 
memory of the ,medici family1 who had   
for several generations been benefactors
 of this church4  ,now ,michelangelo had
 a great deal to do with this family    
first and last1 and his work on the tomb
 has an additional interest on this     
account4 ,it was to ,lorenzo the        
,magnificent that he owed his first     
start as a sculptor in an academy       
founded by this prince4 ,he so pleased  
his patron that he was received into the
 duke's own household1 and treated      
almost like a son4 ,years passed2       
,lorenzo had long been dead1 when1 one  
after another1 two members of the same  
family came to the papal throne1 and    
they desired to honor their name by     
employing the greatest sculptor of      

,italy in this monumental work4  ,so    
,michelangelo began designs for the     
sacristy1 the entire decoration of which
 was intrusted to him4 ,the walls of the
 rooms were panelled with marble1 set   
with niches1 in the form of windows1 in 
which the statues were to be placed4    
,as the work proceeded1 it was          
interrupted by some strange incidents1  
of which we shall hear later4 ,the whole
 plan was never fully carried out1 but  
in spite of incompleteness the chapel is
 a grand and impressive place4     ,,xiv
  ,,the ,,tomb ,,of ,,giuliano ,,de'    
,,medici   ,the tomb of ,giuliano de'   
,medici is the companion to the tomb of 
,lorenzo1 and stands on the opposite    
side of the altar which separates them4 
,our illustration shows the entire work1
 the statue being in the niche above1   
and the sarcophagus standing below with 
two reclining figures on it4  ,giuliano 
de' ,medici1 duke of ,nemours1 was the  
youngest son of ,lorenzo the            
,magnificent1 and consequently the uncle

 of the younger ,lorenzo4 ,in reality he
 was greatly superior to his nephew1 but
 curiously enough his appearance in     
,michelangelo's statue is more          
commonplace1 though his attitude is     
graceful4 ,he was a thoughtful man1     
somewhat melancholy in disposition1 and 
the author of a poem on suicide4 ,he    
wears the costume of a ,roman general1  
but his small head and slender throat   
are not those of a warrior4  ,you will  
notice that the attitude of the duke    
,giuliano is somewhat similar to that of
 ,moses4 ,both sit with left foot drawn 
back and right knee extended4 ,both turn
 the head in profile1 looking intently  
toward the left4 ,in either case it is  
easy to imagine the figure suddenly     
springing up4  ,now this fact emphasizes
 the difference we have already noted   
between the sculpture of ,michelangelo  
and that of the ,greeks4 ,the leading   
idea in ,greek sculpture was that of    
repose1 while1 as we have seen in the   
,david and the ,cupid1 ,michelangelo    

chose for his figures a moment of       
action4 ,to give this suggestion of     
motion to a seated figure is even more  
remarkable than in the case of one      
standing1 for the sitting posture       
naturally has an effect of stability4   
,the reclining figures on the           
sarcophagus of the ,duke ,giuliano      
represent ,night and ,day1 and are      
supposed to be symbolic of death and    
resurrection4 ,night is a woman lying   
with head sunk upon the breast in a deep
 sleep4 ,she is crowned with a crescent 
moon and star1 and an owl is placed at  
her feet4 ,the mask beneath her pillow  
symbolizes the body from which the      
spirit has departed4 ,though the figure 
is not beautiful in the ,greek sense1 it
 is grand and queenly4 ,opposite is     
,day1 an unfinished captive1 his head   
half freed from the stone1 the arms     
rigid1 the body contorted4  ,these two  
figures1 together with ,dawn and        
,twilight on ,lorenzo's tomb1 have an   
allegorical meaning which must be read  

in the light of ,michelangelo's own life
 history4 ,life is a dream between two  
slumbers2 sleep is death's twin-brother2
 night is the shadow of death2 death is 
the gate of life--such is the mysterious
 mythology wrought by the sculptor4#ca  
,footnote #ca3 ,symonds1 in ,renaissance
 in ,italy3 the ,fine ,arts4  ,the work 
on the ,medicean tombs covered a period 
of about twelve years4 ,during this time
 the ,medici family passed through      
varying fortunes1 and in consequence the
 fate of the tombs1 and indeed that of  
the sculptor himself1 hung in the       
balance4 ,florence became weary of      
tyranny and rose in a revolution which  
drove the ,medici from the city in      
#aebg4  ,illustration3 ,,tomb ,,of      
,,giuliano ,,de' ,,medici4 ,church of   
,s4 ,lorenzo1 ,florence4  ,success was  
of short duration3 the republic soon    
found herself standing out against a    
world of foes1 the ,pope1 ,clement      
,,vii4 7himself a ,medici71 threatening 
fire and flame1 and all the ,medici     

family getting ready to return in double
 force4 ,the ,florentines prepared to   
fight for their liberty1 and            
,michelangelo was found among the       
patriots4 ,no sense of personal         
gratitude to the ,medici could shake his
 love of liberty4 ,he forsook the       
monuments and turned his skill to the   
fortification of the city4  ,for eleven 
months ,florence was besieged1 and in   
the end the city was captured4 ,the     
,medici returned conquerors4            
,mercenaries now broke into the houses1 
killing the best citizens4 ,had not     
,michelangelo been in hiding1 he too    
would have perished4 ,but the ,pope     
could not afford to lose his best       
sculptor1 and1 calling him forth from   
his hiding-place1 again set him to work 
in the ,medici chapel4 ,it is not       
strange that the sculptor's proud spirit
 rebelled at having to work on that     
which was to honor the enemies of his   
beloved ,florence4  ,thus it was that   
his sculpture told the story of the     

tragedy of ,florence3 how hope had      
departed1 how life had become a desert1 
and how it was hard to struggle with    
waking consciousness1 but good to sleep 
and forget--nay1 best of all1 to be     
stone and feel no more4  ,the old writer
 ,vasari1 who was once a pupil of       
,michelangelo1 and tells us many        
anecdotes of the sculptor1 relates that 
when the statue of ,night was first     
shown to the public1 it called forth a  
verse from a contemporary poet 7,giovan 
,battista ,strozzi74 ,this is the       
verse3--      ,night in so sweet an     
attitude beheld     ,asleep1 was by an  
angel sculptured     ,in this stone2 and
 sleeping1 is alive2     ,waken her1    
doubter2 she will speak to thee4#cb  ,to
 this ,michelangelo replied in the      
following lines3#cc--      ,welcome is  
sleep1 more welcome sleep of stone      
,whilst crime and shame continue in the 
land2     ,my happy fortune not to see  
or hear2     ,waken me not2--in mercy   
whisper low4#cb  ,the artist's verse may

 be taken as a keynote to the solemn    
tragedy of the work4 ,in fact1 the      
monuments are not really to ,lorenzo and
 ,giuliano1 but to ,florence1 to the    
great city which had struggled and erred
 so long1 which had gone astray and     
repented1 and suffered and erred again1 
but always mightily1 with full tide of  
life in her veins and consciousness in  
her heart1 until now the time had come  
when she was dead and past1 chained down
 by icy oppression in a living grave4#cd
  ,footnote #cb3 ,both translations are 
from ,horners' ,walks in ,florence4     
,symonds has also translated the verses1
 but less literally4  ,footnote #cc3    
,swinburne in his lines1 ,in ,san       
,lorenzo1 answers these lines1 ,is thine
 hour come to waken1 slumbering ,night8 
,footnote #cd3 ,this and the preceding  
quotations are from ,mrs4 ,oliphant's   
,makers of ,florence4     ,,xv          
,,central ,,figures ,,in ,,the ,,last   
,,judgment   ,there are in the ,bible   
certain references to a great day when  

the ,son of ,man shall be seen coming in
 the clouds with great power and glory4 
,and he shall send his angels with a    
great sound of a trumpet1 and they shall
 gather together his elect from the four
 winds1 from one end of heaven to the   
other4#ce ,st4 ,paul1 in a letter which 
he wrote to the ,christians in ,corinth1
 speaks of this as a mystery1 and       
says3#cf ,we shall not all sleep1 but we
 shall all be changed1 in a moment1 in  
the twinkling of an eye1 at the last    
trump3 for the trumpet shall sound1 and 
the dead shall be raised incorruptible1 
and we shall be changed4  ,footnote #ce3
 ,matthew1 chapter xxiv4 verse #ca4     
,footnote #cf3 #a ,corinthians1 chapter 
xv4 verses #ea1 #eb4  ,in the ,middle   
,ages these passages were interpreted   
very literally and had a great influence
 over the people4 ,at that time the     
,christian religion was a religion of   
fear rather than of love1 and men were  
continually picturing in their minds    
,god's angry separation of the good from

 the wicked4  ,how much such thoughts   
occupied them we may see from ,dante's  
great poem describing a vision of the   
,inferno1 ,purgatory1 and ,paradise4    
,this was written in the thirteenth     
century1 and in the same period appeared
 a short ,latin lyric1 or hymn1 called  
,dies ,irae1 or the ,day of ,wrath1 from
 an expression used by the old ,hebrew  
prophet ,zephaniah4 ,the author was a   
,franciscan monk named ,thomas of       
,celano1 and we may see how deeply he   
felt from these verses3--      ,ah6 what
 terror is impending     ,when the      
,judge is seen descending1     ,and each
 secret veil is rending4      ,to the   
throne1 the trumpet sounding1           
,through the sepulchres resounding1     
,summons all1 with voice astounding4    
,sits the ,judge1 the raised arraigning1
     ,darkest mysteries explaining1     
,nothing unavenged remaining4  ,this    
vivid word picture forms the subject of 
many great paintings by the older       
,italian masters1 known under the title 

of the ,last ,judgment4 ,michelangelo's 
was one of the last of these1 and in    
general arrangement his composition     
resembles those of his predecessors4    
,from the upper air a company of angels 
descends1 carrying a cross1 a crown of  
thorns1 and other instruments of the    
,saviour's sufferings4 ,below them is   
the ,judge himself surrounded by the    
apostles and other saints4 ,underneath  
are the archangels blowing their        
trumpets4 ,on earth1 in the lowest part 
of the picture at the left1 the dead    
rise from their graves and ascend       
through the air to the ,judge4 ,at the  
right1 opposite the ascending dead1 are 
the condemned sinners1 descending to the
 boat which will carry them over the    
river ,styx into the ,inferno4          
,illustration3 ,,central ,,figures ,,of 
,,the ,,last ,,judgment4 ,sistine       
,chapel1 ,rome4  ,our illustration gives
 only the central figures in this great 
multitude1 the ,divine ,judge           
accompanied by his mother4 ,he is a man 

of mighty muscular power1 young and     
handsome1 with an expression of         
imperious dignity4 ,enthroned on the    
clouds1 he seems just rising from a     
sitting posture to execute his          
judgments4 ,he lifts his arms in a      
sweeping motion as if to part the       
multitudes pressing upon him on both    
sides4 ,in so doing he shows the wound  
in his right side made by the soldier's 
spear at the crucifixion4 ,neither      
expression nor gesture manifests anger2 
those beautiful hands with delicately   
extended fingers will strike no blow4   
,the gesture itself is a command4       
,beneath ,christ's upraised arm1 on his 
right side1 sits his ,mother ,mary4     
,each must interpret for himself her    
attitude and expression4 ,some think    
that because she turns her face away she
 is shrinking from her son in terror4   
,yet her expression is so gentle that   
others say she is nestling close to him 
for protection4 ,this is certainly as we
 should imagine the situation4 ,when she

 was a young mother1 she was proud to   
take care of her child4 ,and now on this
 great day she is equally proud to let  
him take care of her4 ,as he clung to   
her1 his mother1 so she now clings to   
him1 the ,judge4  ,looking at the       
composition of the picture1 we see that 
her figure completes a pyramid1 whose   
apex is the uplifted hand of the ,judge1
 and whose base lies along the cloud    
supporting his feet and hers4 ,this     
gives proper stability to the figures   
which dominate the whole great picture4 
,considered in a larger way1 the pyramid
 is itself the upper part of a long oval
 which keeps the central group apart    
from the surrounding host4  ,the picture
 of the ,last ,judgment was painted by  
,michelangelo on the end wall of the    
,sistine ,chapel1 over the altar1 nearly
 twenty years after the completion of   
the ceiling frescoes4 ,there is a great 
difference between the two works4 ,the  
figures on the ceiling are strong and   
powerful1 their attitudes spirited and  

graceful4 ,those in the ,last ,judgment 
are huge and cumbersome1 their attitudes
 strained and violent4 ,the entire      
effect of the vast company of colossal  
figures is awe-inspiring1 but not       
pleasing4  ,it is a relief to fix our   
eyes upon the central portion4 ,here the
 painter expressed an idea at once noble
 and original4 ,the figure of the       
,christ has not the delicate beauty of  
the dead ,christ in the ,pieta1 or the  
finished elegance of the ,christ        
,triumphant1 but he has the splendid    
vigor of a forceful character4 ,the     
,mother1 less grand and noble than in   
the bereavement of the ,pieta1 less     
proud than in her young motherhood1 is a
 gentle and lovely creature4 ,thus the  
intensely masculine is completed by the 
delicately feminine1 and the artist     
shows us ideal types of manhood and     
womanhood4     ,,xvi  ,,portrait   ,in  
the pictures of this collection we have 
learned something of the work of        
,michelangelo as a sculptor and a       

painter4 ,he was an artist whose        
personality was so strongly impressed   
upon his work that we have come thus to 
know1 to a certain extent1 the man      
himself4 ,his1 as we have seen1 was not 
a happy nature1 and many of the         
circumstances of his life conspired     
against his happiness4  ,in his early   
youth he seemed strangely aware of his  
own superior gifts and was often so     
overbearing that he made enemies4 ,the  
story is told of a quarrel he had with a
 young man named ,torrigiano1 in whose  
company he was copying some frescoes in 
a church in ,florence4 ,stung by some   
tormenting words of ,michelangelo1      
,torrigiano retaliated with a blow of   
the fist1 which crushed his companion's 
nose1 and disfigured him for life4      
,michelangelo's real education began in 
the palace of ,lorenzo the ,magnificent1
 who discovered the lad's talent and    
made him a favorite4 ,he sat at the same
 table with ,ficino1 ,pico1 and         
,poliziano1 listening to dialogues on   

,plato1 and drinking in the golden      
poetry of ,greece4 ,greek literature and
 philosophy1 expounded by the men who   
had discovered them1 first moulded his  
mind to those lofty thoughts which it   
became the task of his life to express  
in form4 ,at the same time he heard the 
preaching of ,savonarola4 ,in the ,duomo
 and the cloister of ,s4 ,marco another 
portion of his soul was touched1 and he 
acquired that deep religious tone which 
gives its majesty and terror to the     
,sistine4#cg ,in the gardens of ,s4     
,marco he had ,lorenzo's fine collection
 of antiquities to study1 and learned   
from them the secrets of ,greek         
sculpture4  ,footnote #cg3 ,symonds1 in 
,renaissance in ,italy3 ,the ,fine      
,arts4  ,in all these opportunities it  
would seem that ,michelangelo was a most
 fortunate person4 ,nor did he lack     
proper appreciation2 the ,pieta placed  
him at once on a pinnacle of fame1 and  
the ,david was heartily admired4  ,it   
was when he entered the service of the  

,pope that his troubles began4 ,he was  
never thereafter a free man4 ,his genius
 was at the disposition of a series of  
men1 each ambitious for his own fame1   
and caring little for the artist's      
personal aspirations4 ,his proud nature 
was bitterly humiliated by this         
sacrifice of his independence4          
,sometimes he openly rebelled1 but in   
the end was always obliged to yield to  
papal authority4  ,michelangelo's       
sternly upright spirit found also much  
to sadden him in the corruption of the  
times4 ,he was a lover of righteousness 
as well as a lover of liberty1 and he   
greatly mourned the evils which         
surrounded him4  ,one of the pleasantest
 traits in his character was his warm   
affection for the members of his family 
and for the few whom he honored with his
 friendship4 ,one of the latter was     
,vittoria ,colonna1 a woman of strong   
and beautiful character1 who brought    
much brightness into his life4  ,our    
portrait shows him somewhat past middle 

life when occupied with many important  
concerns4 ,we can read in the face      
something of the character of the man4  
,it is certainly not a handsome face1   
for any good looks he might once have   
boasted were destroyed by his broken    
nose4 ,it is nevertheless a face full of
 rugged strength1 with not a little     
kindliness in the expression4 ,here is a
 man whose enmity we should avoid1 but  
whose friendship we should value above  
rubies4  ,it is the face of a lonely    
man4 ,michelangelo had to suffer the    
loneliness of genius4 ,no one could     
fully understand him4 ,he stood apart1  
towering like a giant above his fellow  
men4  ,on the four hundredth anniversary
 of ,michelangelo's birthday1 some      
verses were written by an ,american     
poet1 ,christopher ,cranch1 which one   
should read while looking at this       
portrait3--      ,this is the rugged    
face     ,of him who won a place        
,above all kings and lords2     ,whose  
various skill and power     ,left ,italy

 a dower     ,no numbers can compute1 no
 tongue translate in words4             
,patient to train and school     ,his   
genius to the rule     ,art's sternest  
laws required2     ,yet1 by no custom   
chained1     ,his daring hand disdained 
,the academic forms by tamer souls      
admired4      ,in his interior light    
,awoke those shapes of might     ,once  
known that never die2     ,forms of     
titanic birth1     ,the elder brood of  
earth1     ,that fill the mind more     
grandly than they charm the eye4        
,yet when the master chose1     ,ideal  
graces rose     ,like flowers on gnarled
 boughs2     ,for he was nursed and fed 
,at beauty's fountain head     ,and to  
the goddess pledged his earliest warmest
 vows4  ,the poet describes still       
further the artist's character1 and then
 enumerates some of his great works4    
,whatever occupied him--      ,still    
proudly poised1 he stepped     ,the way 
his vision swept1     ,and scorned the  
narrower view4     ,he touched with     

glory all     ,that pope or cardinal1   
,with lower aim than his1 allotted him  
to do4         99       99       99     
99       99      ,so stood this ,angelo 
,four hundred years ago2     ,so grandly
 still he stands1     ,mid lesser worlds
 of art1     ,colossal and apart1       
,like ,memnon breathing songs across the
 desert sands4     ,,pronouncing        
,,vocabulary ,,of ,,proper ,,names ,,and
 ,,foreign ,,words  ,the ,diacritical   
,marks given are those found in the     
latest edition of ,webster's            
,international ,dictionary4             
,,explanation ,,of ,,diacritical        
,,marks4   ,a ,dash 77 above the vowel  
denotes the long sound1 as in fate1     
eve1 time1 note1 use4 ,a ,dash and a    
,dot 747 above the vowel denote the same
 sound1 less      prolonged4 ,a ,curve  
777 above the vowel denotes the short   
sound1 as in 7add1      7end1 7ill1     
7odd1 7up4 ,a ,dot 747 above the vowel a
 denotes the obscure sound of a in      
p4ast1      4abate1 ,am7eric4a4 ,a      

,double ,dot 737above the vowel a       
denotes the broad sound of a in         
faether1 aelms4 ,a ,double ,dot 737     
below the vowel a denotes the sound of a
 in ba3ll4 ,a ,wave 77 above the vowel e
 denotes the sound of e in her4 ,a      
,circumflex ,accent 77 above the vowel o
 denotes the      sound of o in born4 c 
sounds like s4 -c sounds like k4 s4     
sounds like z4 g is hard as in get4 4g  
is soft as in 4gem4   4,ado'n7is4       
,a,eneas 74e ne'7as72 ,a,eneid 74e      
ne'7id74 7,am'4az7on4 7,am'bros4e4      
7,an'4ath7oth4 ,anchises 77an ki'sez74  
7,an'no ,d7om'7ini4 4,ap7ol'lo4         
7,ap'p7i4an4 7,ar7im4athe'4a4  ,babylon 
7b7ab'7i l7un72 ,b7ab7ylo'n7i4an4       
,baerbaer7os'sae4 ,baer4g7el'lo4        
,beethoven 7ba'to v7un74                
,b7elsh7az'z4ar4 ,b7eth'leh7em4         
,b7eth-pe'or4 ,bramante 7brae maen't4a74
 ,bugiardini 7boo jaer de'n4e74         
,buonarroti 7boo o naer r7ot'4e74       
,canaan 7ka'n4an or ka'n4a 4an74        
,caerrae'ra4 ,celano 7ch4a lae'no74     

,cencio1 ,bernardo 7ber naer'd4o        
ch7en'che 4o74 ,chaldean 7k7al de'4an74 
,colonna1 ,vittoria 7v4et to'r4e ae ko  
l7on'nae74 ,condivi 7k4on de'v4e74      
,cosimo 7k4o'z4e mo74 ,cristo ,risorto  
7kres't4o r4e zor't4o74 ,cumae 7ku'me74 
,cyrus 7si'r7us74  ,daniel 7d7an'y7el or
 d7an'7i 7el74 ,d7an't4e4 ,daphne       
7d7af'ne74 ,d4ar7i'7us4 ,de'l7i4an4     
,delphi 7d7el'fi74 ,de'm7os4 ,dies ,irae
 7de'as e'ri or di'ez i're74 ,dionigi1  
di ,san 7de saen d4e 4o ne'j4e74        
,domine1 quo vadis 7do'me n4a1 kwo      
wae'd7is or      d7om'i n4e1 kwo        
va'd7is74 ,doni1 ,angelo 7aen'ja lo     
do'n4e74 ,douay 7doo a'74 ,duomo 7doo   
o'mo74  ,e'r7os4  ,febbre1 della        
7d7el'lae feb'br4a74 ,ficino 7f4e       
che'no74 ,franciscan 7fr7an s7is'k4an74 
,frizzi1 ,federigo 7f4a d4a re'g4o      
fret's4e74  ,giovanni 7j4o vaen'n4e74   
,giuliano 7joo l4e ae'no74 ,goli'4ath   
,gotti 7g7ot't4e74 ,gualfonda 7gwael    
f7on'dae74  ,h7el'l7esp7ont4 ,huguenot  
7hu'g4e n7ot74  ,infer'no4 ,isaiah 7i   

za'y4a74 ,israel 77iz'r4a 7el74         
,jameson 7ja'm7e s7un74 ,jehoi'4ak7im4  
,j7er4emi'4ah4 ,jerome 7j4e rom' or     
j7er'7om74 ,j7eru's4al7em4 ,je'thro4    
,josi'4ah4 ,judaea 7j4u d4e'4a74        
,ju'd4ah4 ,ju'p7iter4  ,kugler          
7koog'ler74  ,l7az'4ar7us4 ,l4e7an'der4 
,l7om'b4ards44  ,m7ag'd4al4ene4         
,me'd7i4an4 ,medici 7ma'd4e ch4e74      
,m7em'n7on4 ,me'n4e4 ,michelangelo 7me  
k7el aen'j4a lo74 ,m7id'7i4an1 ,milan   
7m7il'4an or m7i l7an'74 ,milanesi 7m4e 
lae na'z4e74 ,mo'7ab4 ,morpheus         
7mor'fus74  ,n7az'4ar7eth4 ,ne'bo4      
,nebuchadnezzar 7n7eb u k7ad n7ez'z7ar74
 ,nemour 7n7e moor'74 ,ne'ro4  ,oliphant
 77ol'7i f4ant74  ,palazzo ,vecchio 7pae
 laet's4o v7ek'k4e 4o74 ,p7al'7estine4  
,pater ,patriae 7pae'tar pae'tr4e i or  
pa'ter      pa'tr7i e74 ,pausanias 7pa3 
sa'n7i 7as74 ,pensiero1 ,il 7el p7en s4e
 a'r4o72 ,pensieroso 7p7en s4e 4a       
ro'z4o74 ,pharaoh 7fa'r4o74             
,ph7il7is't7ine4 ,piazza della ,signoria
 7p4e aet'sae d7el'lae s4en y4o re'ae74 

,pico 7pe'ko74 ,pieta 7p4e 4a tae'74    
,pietro in ,vincoli 7p4e a'tr4o en      
ven'k4o l4e74 ,pitti1 ,bartolommeo 7baer
 t4o l7om ma'4o p4et't4e74 ,pla'to4     
,poliziano 7p4o l4et s4e ae'n4o7        
p7yth'7i 4a4  ,raphael 7rae'fa 7el74    
,rucellai 7roo ch7el lae'4e74           
,s7ac'r7ist7y4 ,santarelli 7saen tae    
r7el'l4e74 ,savonarola 7sae v4o nae     
ro'lae74 ,scappuci1 ,mario 7mae'r4e 4o  
skaep poo'ch4e74 ,s7es't7os4 ,s7ib'7yl4 
,s7im'4e7on4 ,sistine 7s7is'ten74       
,solari1 ,cristoforo 7kr4es t7of'4o r4o 
s4o lae'r4e74 ,stabat ,mater 7sta'b7at  
ma'ter or stae'baet mae'tar74 ,strozzi1 
,giovan ,battista 7j4o vaen' baet       
tes'tae str7ot's4e74 ,st7yx4            
,sw7in'b7urne4 ,s7ym'7onds44  ,tarquin  
7taer'kw7in74 te'k7el4 terribilita 7t7er
 r4e b4e l4e tae'74 ,torrigiano 7tor r4e
 jae'n4o74  ,uffizi 7oof fet's4e74      
,upharsin 74u faer's7in74 ,urbano1      
,pietro 7p4e a'tr4o oor bae'n4o74       
,urbino 7oor be'n4o74  ,varj dei        
,porcari1 ,metello 7m4a t7el'l4o vae'r4e

 da'      4e por kae'r4e74 ,vasari 7vae 
sae'r4e74 ,vatican 7v7at'7i k4an74      
,virgil 7ver'j7il74 ,v7ul'gate4         
,z7ed4eki'4ah4 ,zephaniah 7z7ef 4a      
ni'4a74     ,,authors' ,,portraits      
,,for ,,school ,,use  ,sample of the    
portraits in ,masterpieces of ,american 
,literature and ,masterpieces of        
,british ,literature1 described on the  
second page of this circular4           
,illustration3 ,oliver ,wendell ,holmes4
   ,,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 pictures of their homes     
suitable for class and note-book use in 
the study of reading and literature1    
that we have decided to issue separately
 the twenty-nine portraits contained in 
,masterpieces of ,american ,literature  
and ,masterpieces of ,british           
,literature1 and the homes of eight     
,american authors as shown in the       

,appendix to the newly revised edition  
of ,richardson's ,primer of ,american   
,literature4   ,,portraits  ,,american4 
,,bryant4 ,,emerson4 ,,everett4         
,,franklin4 ,,hawthorne4 ,,holmes4      
,,irving4 ,,longfellow4 ,,lowell4       
,o',,reilly4 ,,thoreau4 ,,webster4      
,,whittier4   ,,british4   ,,addison4   
,,bacon4 ,,brown4 ,,burns4 ,,byron4     
,,coleridge4 ,,cowper4 ,,dickens4       
,,goldsmith4 ,,gray4 ,,lamb4 ,,macaulay4
 ,,milton4 ,,ruskin4 ,,tennyson4        
,,wordsworth4   ,,homes ,,of ,,authors  
,,bryant4 ,,emerson4 ,,hawthorne4       
,,holmes4 ,,longfellow4 ,,lowell4       
,,stowe4 ,,whittier4   ,sold only in    
lots of ten or more1 assorted as        
desired4  ,ten1 assorted1 postpaid1 #bj 
cents4  ,each additional one in the same
 package1 #a cent4  ,in lots of #ajj or 
more1 assorted1 #a cent each1 postpaid4 
,for mutual convenience please send a   
remittance with each order4 ,postage    
stamps taken4   ,,houghton1 ,,mifflin   
,,co4  #d ,,park ,,street1 ,,boston2 #aa

 ,,east #ag,,th ,,street1 ,,new ,,york3 
#cgh-chh ,,wabash ,,avenue1 ,,chicago4  
,,ornaments ,,for ,,school-,,rooms      
,,the ,,atlantic ,,life-,,size          
,,portraits  ,of ,whittier1 ,lowell1    
,emerson1 ,hawthorne1 ,longfellow1      
,holmes1 ,bryant4 ,size1 #bd by #cj     
inches4 ,lithographs1 #a4jj1 net1 each1 
postpaid4 ,teachers' price1 #he cents1  
net1 each1 postpaid4   ,,masterpieces   
,,portraits4  ,for descriptions and     
prices see other pages of this circular4
   ,,homes ,,of ,,american ,,authors4   
,for descriptions and prices see other  
pages of this circular4                 
,,longfellow',s ,,residence4  ,a colored
 lithograph of the historic mansion     
7,washington's ,headquarters7 at        
,cambridge1 in which ,mr4 ,longfellow   
lived for forty years4 ,size1 #ab by #af
 inches4 ,price1 #ej cents1 net1        
postpaid4   ,,fine ,,steel ,,portraits  
7,the size of cabinet photographs7 of   
over ninety of the most celebrated      
,american and ,european ,authors4 ,the  

#be-;cent portraits and the #ge-;cent   
portraits are printed on paper measuring
 #i by #ab inches1 and the #a4jj        
portraits #aa by #ad inches4 ,a list    
with prices to teachers may be had on   
application4   ,,houghton1 ,,mifflin    
,,co4  #d ,,park ,,street1 ,,boston2 #aa
 ,,east #ag,,th ,,street1 ,,new ,,york2 
#cgh-chh ,,wabash ,,avenue1 ,,chicago4  
,,authors' ,,homes1 ,,for ,,school      
,,use4  ,sample of the pictures of      
authors' homes in the newly revised     
edition of ,richardson's ,primer of     
,american ,literature1 described on the 
second page of this circular4   ,,the   
,,riverside ,,art ,,series  ,in the     
,riverside ,literature ,series the      
reader's attention is fixed on a great  
work of art in letters1 with only such  
help as will make it more intelligible2 
in like manner in the ,riverside ,art   
,series the picture is the object of    
study1 and the text is its              
interpretation4  ,each book contains    
pictures which are representative of the

 work of a famous painter1 and the most 
faithful reproductions of the originals 
have been secured4 ,valuable suggestions
 also are given by the editor as aids   
for further study4 ,the editor of the   
,series1 ,miss ,estelle ,m4 ,hurll1 is  
well known by her recent valuable       
edition of the works of ,mrs4 ,jameson1 
and her ,life of ,our ,lord in ,art4    
,the books of this ,series will have a  
value as texts in art classes1 as       
supplementary readers in schools1 as    
guides to the best pictures in galleries
 both abroad and in this country1 and as
 handy books of reference to the general
 reader in regard to matters pertaining 
to the best art4  ,four numbers are     
assigned for publication each school    
year in ,october1 ,december1 ,february1 
and ,april4   #ahii-aijj4  #a4          
,,raphael4 #b4 ,,rembrandt4 #c4         
,,michelangelo4 #d4 ,,jean ,,francois   
,,millet4  #aijj-aija4  #e4 ,,sir       
,,joshua ,,reynolds4 #f4 ,,murillo4 #g4 
,,greek ,,sculpture4 #h4 ,,titian4      

,other numbers in preparation4   ,each  
volume is #abmo in size1 of about #ajj  
pages4  ,price in paper1 #cj cents1 net2
 in cloth1 #dj cents1 net4  ,,special   
,,subscription ,,offer4  ,any four      
consecutive numbers1 in paper1 #a4jj1   
net2 in cloth #a4ej1 net4   ,,houghton1 
,,mifflin ,,and ,,company  #d ,,park    
,,st41 ,,boston2 #aa ,,east #ag,,th     
,,st41 ,,new ,,york2  #cgh-chh ,,wabash 
,,avenue1 ,,chicago4