MICHELANGELO
By Paul Weyland Bartlett
Library of Congress, Washington, D. C.
main concern is structural, even the leather apron playing no inconsiderable part in the strong, stalwart frugality of the whole treatment.
This instinct for the special qualities of bronze has led Bartlett to make experiments in what is a thoroughly characteristic method of securing surface effect, the colouring of the metal with patina of various kinds. On several occasions he has exhibited little objects, such as frogs and turtles, in which he seemed to have recovered some of the secrets of Japanese art, so rich and varied were the tones of red and brown and green, so exquisite the silky smoothness of the not too highly polished surface. Compared with the crude effects of commercial pickling the colour and texture of these objects was a revelation.
As to the conception of character in the “Michelangelo,” opinions seem to differ, some finding it deficient in suggestion; as if any statue were likely to convey to our imagination the full suggestion of the master’s genius. Such can only be found in his own works. For myself, I find abundance of suggestion in the rugged grandeur of the head (which in the accompanying illustration has been unfortunately reduced in size); a ruggedness, scarred by time and spiritual conflict with the fever heat of supreme, unsatisfied passion; a rugged, mountain-like head, with deepset eyes, two craters communicating with the inner volcanic fire. I am happy in the possession of a cast of this head, have lived with it several years, turned to it constantly with a sense of being strengthened and purified thereby. I find, too, in the figure a fair amount of correspondence to the character of the head. Structurally it is strong and the attitude is that of a man completely absorbed in the thoughts that occupy his brain. Indeed, one of the most notable things in the composition is the entire absence of any suggestion of preconceived pose; the figure stands in complete, unconscious isolation. When the illusion from the front is so satisfactory it is with repugnance that one pries behind the scenes; but this statue in its position has to be viewed also from the rear and, so viewed, is less dignified. The coat, fitting trimly to the waist and finishing in a stiff skirt, again with a hint of modishness, belies the stern simplicity of the front view. Some smaller motive has here intervened, of historical accuracy to a little period of costume, quite out of place in one who belongs to all subsequent ages; unreasonable, too, for we fancy that the old hewer of marble would never have encumbered himself with such sartorial gear, when, as here represented, he stood with chisel in hand meditating some great conception.
But there is no satisfaction in dwelling on this point. The happier thought is that a sculptor, still young, could have given us a work so distinguished in technique, of so sincere and strong appeal.