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