of the Boxers, which are both entire groups."

In estimating the character of Michael Angelo, we must judge of him, like Bacon, by his times, and must consider what progress had been made since the revival of the arts; how few ancient statues had been discovered, and how little of the principles of art had been then defined. It is not so much his works that remain; those of his pencil have long lost all their freshness, and most are fast fading to decay; but it is the great and universal change which his genius effected that will make him always illustrious, even when all traces of his own works may have been destroyed. The graceful, the elegant, and the refined style of the ancients could not perhaps be surpassed; but the grand and terrific seems to have been his peculiar province. In invention, vigour, energy of mind, and knowledge of form, he led the way.

It has been objected, and with some truth, that his statues are most of them rather pictures than statues, to be seen in one view only; and indeed most of them were executed for monuments, and not to be seen isolated.

It may fairly be inferred, from the excellence of his Moses and other figures, that, had he confined himself through life to sculpture alone, he would have attained the highest reach of the art. It should also be observed, that his impatience and eagerness did not allow either of his finishing with the necessary care, or of taking the means usually adopted to attain perfection of execution. In a work quoted by the writer, under the name of Baron Stendhal, written in the 16th century, the author observes:-" I myself saw Michael Angelo, when more than sixty years old. His body was thin, and did not give the idea of strength; he was hewing away large pieces of a block of hard marble with such power and dexterity, that in a quarter of an hour he had cut more than three of the strongest young sculptors could have cut away in a whole hour. He worked with such impetuosity and fury, that I expected every moment that the whole block would have been broken in pieces. Every blow brought away pieces of three or four inches in thickness; and his chisel went so near the termination of the outline of the subject, that, if the blow had driven it one line further, the whole would have been destroyed. His

impatience was so great, that he often executed his works in marble from small models in wax or clay, trusting to his own resources for the detail."

Many of Michael Angelo's designs were executed by others, particularly by Sebastiano del Piombo, and Daniel da Volterra. With respect to these, it has been observed, that he lowered his imagination to suit the capacity of the colourists, and without losing any of his grandeur or knowledge of design, appears to have avoided those extremes of energetic expression which have laid him open to so much rebuke. With the exception of these painters, who executed works under his immediate inspection, or from designs made by him, he may be said to have had no followers,none who could be called imitators. His style was one which required his own peculiar genius to attain.

In this short account of the merits and defects of Michael Angelo, we have furnished the reader with the opinions and criticisms of distinguished artists and scholars, who have written on the principles of art and taste, and who, of necessity, have devoted peculiar attention to the works of one who, by almost universal consent, has produced the most wonderful, if not the most pleasing, works of modern art, and most of whom had opportunities of personally studying the original works of this great artist. On a subject depending so much on individual feeling; when, with one, some particular style of excellence is considered as pre-eminent; when, as with Mr. Payne Knight, nothing is excellent which does not convey a notion of ease, and of individual nature; and when with another, as Mr. Fuseli, grand" is considered as a compensation for every other defect; and when their very definitions of the terms " beauty, grace, grandeur, sublimity," have afforded discussion sufficient to fill entire volumes, it would be hopeless to expect any great unity of opinion. None, however, except Mengs and Milizia, have gone so far as to deny great merit to the productions of Michael Angelo; whilst nearly the whole of those best qualified to judge have concurred in placing him at the head of the modern school of art.

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If, in weighing the opinions of the admirers and the opponents of this extraordinary man, we have leaned towards those of the former, it is from a conviction that more pains have been

taken by them to ascertain the truth, and that their general knowledge and candour appear to have better qualified them to arrive at a just conclusion upon the subject.

CHAPTER X.

Michael Angelo assumes the Direction of St. Peter's.

No one could be more aware of his declining powers as a painter than the aged and noble artist himself, offering, in this respect, a striking contrast to the old age of Titian. In a conversation with his friend and biographer, as already observed, he said that his work in the Pauline Chapel had cost him great fatigue, and that painting, and especially fresco-painting, was not an employment adapted for old men. With the strong good sense which, as well as genius, he possessed, he made no attempt to combat with difficulties which he every day felt himself less able to overcome; and the paintings in the Pauline Chapel were the last he executed. The designs he had made for the remaining portion of the decorations, he entrusted to Perino del Vaga, in whose favour he petitioned the Pope, and obtained for him the honourable office of completing the task which his infirmities prevented him from pursuing. But it is gratifying to find that this great man continued to feel the same delight in those occupations which had formed the glory of his youth, to the extreme verge of his existence. He had lived in honour and respect, and followed his profession with the ardour of an elevated mind, intent on the acquisition of excellence; and on the termination of his career he retained the inspiriting glow of honest ambition, making none of those complaints by which old age sometimes disheartens the aspirations of youth;-increasing in dignity, but not bartering the cheerfulness and industry of former years for its enjoyment.

Circumstances, indeed, now occurred, which, instead of contributing towards his leisure, tended to introduce him into a sphere of wider exertion than he had hitherto occupied. If his taste as an architect had been amply proved by his works at Florence, it was now about to appear on that splendid scale in which his gigantic genius always shone unrivalled. The Pope had of late frequently called upon him to assist with his advice

and experience the pontifical architect San Gallo. The latter, however, seems to have felt a jealousy of what he looked on as interference; and at a consultation which the Pope held respecting the fortifications of the Borgo,, in which Michael Angelo differed from him in opinion, San Gallo told him angrily that his arts were sculpture and painting not fortification! To this the venerable artist replied, that he certainly knew somewhat of the arts he had mentioned; but that with respect to fortification, his study of that science and his long experience in its practice made him believe that he knew more of it than he or any of his class.

But the death of San Gallo, which occurred not long after, not only freed Michael Angelo from the effects of his envy, but induced the Pontiff to select him as the only person fitted to continue the building of Saint Peter's. The artist, who was contentedly employing himself in executing a work of sculpture,-a Christ taken from the cross, at first rejected the Pope's proposal, and for some time succeeded in avoiding the burden which it was intended to impose upon him. The Pope at length changed the expression of his wishes into a command, and Michael Angelo finding himself constrained to accept the appointment, soon entered on his duties with his accustomed energy and alacrity.

It is not the least remarkable circumstance in the history of this great man, as it is certainly one most highly honourable to his character, that the first stipulation he made in yielding to the commands of his patron was, that he should be allowed to accept the appointment without any salary, and that it should be stated in the brief that he undertook the work from a principle of religious devotion. The other conditions which he insisted upon were as strikingly illustrative of his firmness, and of the caution with which he set about so important an undertaking, as the one just mentioned was of his disinterestedness and piety. Among these were a permission to discharge all the officers or workmen employed about the building who were neglectful of their proper business; and, above all, that he should have authority to change as much as he chose, or even entirely put aside the plans of San Gallo.

When Michael Angelo entered upon his new and important office, the cathe

dral of St. Peter's had been commenced more than forty years, and had already engaged the great talents of Bramante, and the subtle mind and exquisite genius of Raphael. The uncle also of San Gallo and Giocondo da Verona had both had a share in the direction of the work; but notwithstanding this union of men of extraordinary ability, the structure was still in a very indifferent state, and had the complicated model by which San Gallo intended to proceed been followed, it would have been one of the edifices least creditable to modern taste. The contrary was the case with the plan drawn out by Bramante; and Michael Angelo always expressed his high opinion of that architect's ability, and of the system which he had intended to follow in the erection of the cathedral.

But the structure which Bramante proposed to raise could only have been paid for out of funds to be obtained from the contributions of a world; and even Leo X. found himself compelled to submit to having the plans of Bramante somewhat abridged of their magnificence. The reasons which occasioned this necessity for economizing were still more numerous in the pontificate of Paul III., and he therefore prudently resolved upon having such a plan drawn out as might offer a chance of being speedily executed.

The good taste of Michael Angelo fortunately concurred with these ideas of economy. Putting wholly aside the model of San Gallo, which alone, it is said, cost a thousand pounds, he substituted his own design;-a simple Grecian cross, which, though occupying a much less space than San Gallo's, offered greater advantages in point of securing fine architectural results.

Under the constant superintendence of Michael Angelo the building proceeded with all the expedition possible, and the Pope was so well satisfied with the labours of his architect that he employed him in other quarters of the city, and particularly in completing the Farnese palace, and in erecting another on the Capitoline Hill, which he also allowed him to enrich with the numerous antiques which had been dug up in the city or the adjacent parts.

On the decease of Paul III., which took place before the end of the year 1549, Michael Angelo apprehended that his plans, in the execution of which he had begun to take the deepest interest, would be interrupted. If so, he was

agreeably undeceived by the courteous manner in which he was received by the new pontiff Julius III., who refused to listen to any of the insinuations made against him by his enemies, and fully established him in the privileges he had possessed under the late pope. Yet, notwithstanding the favourable disposition manifested by Julius, the detractors of Michael Angelo pursued their measures with the most determined hostility, and even contrived to obtain the pontiff's consent to a committee of architects being held respecting the progress of the cathedral. The principal persons engaged in this business were the Cardinals Salviati, nephew to Leo X., and Marcello Cervino, afterwards Pope Marcellus II.

66

At the conference, the chief objection which these dignitaries started was, that not sufficient light was admitted into the church, a defect principally caused by the improper erection of a wall in front of a recess intended for three chapels, and in which the architect had placed only three windows; and these, it was agreed, were quite insufficient, whether in size or number. The Pope having desired Michael Angelo to explain this apparently strong objection to his proceedings, he observed that he wished to hear the deputies before making any reply. To this remark the cardinals made answer, "That they were themselves the deputies!" Then," said the architect," in respect to the parts of the church to which your objection refers, over the three windows already there, are to be placed three others." "You never mentioned that before," was the answer. "No," said the architect, indignantly, "I neither am, nor will be obliged to tell your Eminence, nor any one else, either what I ought or what I intend to do. It is your part to see that money be provided, to guard against thieves, and to leave to me the building of St. Peter's." Then turning to the Pope-"Holy father," said he, "you see what I gain. If the machinations to which I am exposed be not for my spiritual welfare, I am losing both my time and my labour."

Julius, who had sufficient good sense to discern on which side the truth lay, put his hand on Michael Angelo's shoulder, and said, Be in no fear; you will profit by it, both now and hereafter;" adding to these encouraging expressions fresh assurances of his friendship, and uniformly consulting him in all his future undertakings. One

of these was the erection of a bridge over that part of the Tiber which was formerly crossed by the Pons Palatinus. For this work he not only made the necessary designs, but had proceeded a considerable way with the structure, when his adversaries, pretending that such an occupation was too laborious for a person of his age, got his place supplied by Nanni di Baccio Bigio, a man ignorant of his profession, and whose only recommendation was that he could be made more obedient to the cardinals and their associates than his great contemporary. The latter, however, had little ambition to continue superintendent of this work, and willingly yielded to the suggestions of his pretended friends; though he prophesied, on seeing how Messer Nanni di Baccio Bigio was proceeding, that the bridge would tumble in before many years were over, and be washed away; -a prediction fulfilled about five years after it was uttered, and the Ponte Rotto, or broken bridge, as it has been ever since called, still remains as an evidence of Michael Angelo's knowledge, and the ignorance of his rival and of the men who supported him.

Among other designs to which his attention was next directed were monuments which Julius proposed to erect in honour of his uncle and grandfather; and a new chapel in S. Pietro Montorio for their reception. The execution of the designs was entrusted to Vasari, who thereby became a constant and intimate associate of the great artist. The very Boswell of painters, he lost no advantage which this circumstance afforded him to learn the habits, or listen to the remarks of his hero, and his narrative from this period assumes the tone of a man speaking in the company of one whose friendship he is sure of enjoying, but for which he can only be sufficiently grateful by constant and glowing praise. Evidence of this appears in the letters which passed between them, and the manner in which Michael Angelo appears to have received the compliments thus liberally bestowed upon him was marked with equal good sense and kind feeling.

In one of his replies, he says, "As to the three letters I have received from you, I have not a pen to reply to such lofty things; but if I had the good fortune to be in any way what you would make it out I am, I should chiefly rejoice at it, because you would then have a friend of some value to you. But I

am not surprised, as you are a resuscitator of dead men*, that you should lengthen out the life of living men, or deliver over the badly living to eternal death."

There was one circumstance in the situation of the celebrated painters and other artists of Rome which in a considerable degree counterbalanced the advantages they otherwise enjoyed. Those great patrons the popes were almost always men far advanced in life before they ascended the pontifical throne. The consequence was, that the painters were repeatedly exposed not merely to individual caprice, but to the caprice of several who appeared successively as the supreme arbiters of their fate. Michael Angelo himself had already lived through the reigns of six popes; and great as he was-possessing all the advantages of indisputable popularity, he had experienced not a few annoyances from the different dispositions and rival pretensions of his masters.

Neither the enlightened Leo X., nor any of his successors, as we have shown, would allow the artist quietly to fulfil the promise he had made to his deceased benefactor Julius II., but would all readily have granted him a dispensation for it. In the reign of Leo, moreover, it is seen how he was neglected and left almost unemployed, and in those of Paul and Julius III. he was several times on the point of being sacrificed to the ignorance and jealousy of vulgar pretenders to knowledge. He had hitherto triumphed over all the difficulties with which he had to contend, and it was reserved for his old age to bear the positive and openly expressed ill will of a Roman pontiff. Julius died in March, 1555, at which time Michael Angelo was in his eightyfirst year. The new pope was the Cardinal Marcello, who had long been his declared opponent, and as the artist knew that his engagement with respect to the cathedral was now terminated, he formed the intention of leaving Rome, and once more taking up his abode at Florence. To this he was principally led by the numerous invitations he had received from the Grand Duke Cosmo I., and which, on the death of Julius, were repeated, with the strongest assurances of esteem and friendship.

While Michael Angelo was preparing for his departure, the new pontiff was

* See note (6) page 67.

suddenly removed by death, and Paul IV., who was next elected to the vacant dignity, having manifested the most decided disposition in his favour, he saw sufficient reason to change his intention. The letter he wrote on the occasion to Vasari, who anxiously looked for his arrival in Florence, is strongly expressive of his feelings in respect to his present situation. He had some difficulty, at first, in reconciling the grand duke to the change in his intentions; but the plain statement of the circumstances in which he found himself convinced Cosmo that he could scarcely avoid acting as he had done, and he was accordingly allowed to proceed with the cathedral without any material interruption.

CHAPTER XI.

The effect of these events was still felt. The Inquisition was yet in full operation, while the authority of the Church itself was shaken to its foundations by the zeal and prosperous situation of the Protestant princes, and by the threatening aspect of Spain. To add to the confusion which prevailed from these circumstances, Paul IV. was bigoted, haughty, and revengeful, and his mind was wholly occupied by the desire of exterminating the party who had incurred his enmity.

It is easy to conceive that a man of this character could possess few feelings in common either with the cultivators or with the real patrons of the liberal arts. Michael Angelo had early proofs of this. Notwithstanding his being continued chief architect of St. Peter's, Paul deprived him, without giving a reason for so doing, of the chancellorship of Ri

contend with.

Ar this period the princes of the Church were exerting their utmost power to crush the spirit of reformation which was daily manifesting itself in the different states of Italy. The means which they employed for that purpose were as contrary to the laws of humanity, as the doctrines which they resisted were agreeable to those of truth. Every government was excited to direct its most severe punishments to the destruction of the unfortunate Lutherans, and scarcely a city was left free from the stain of innocent blood. Divided as the reformers were from each other by the political disunion of the country, they had not been able to make a single stand against their oppressors; and had the latter been disengaged from every other care except that of uprooting the scattered seeds of the reformation in Italy, a very short period would have re-established them in their former security. But all Europe had been thrown into agitation by the changes which had taken place in Germany; the minds of men were prepared for conflict; and when that time arrives with the multitude, it seldom happens that contests of another description do not speedily follow. So marked an influence, in this respect, had the unsettled state of the public mind on the operations of the European potentates, that more than one of them had contrived to lead hosts of men who believed in the infallibility of the pope to attack him in his own dominions, and even in his palace.

wash the walls of the Sistine Chapel. When Michal Angelo heard of the latter intention, he bade the persons who told him inform the pope that his wish to amend the picture of the Last Judgment might be easily accomplished, for if his holiness would only reform the opinions of mankind, the picture would be reformed of itself. Fortunately for the admirers of Michael Angelo's genius, the pope only persisted in his resolution to reform, not wholly to destroy, the picture, and a painter of the name of Daniello da Volterra* was accordingly employed to modify such parts of the picture as were deemed by the holy pontiff and his cardinals objectionable.

The warlike rumours which every day grew louder at Rome, and the unsettled state of the public mind, added to the above causes of complaint, rendered the situation of the artist, at this time, extremely disagreeable; and he resolved upon retiring to the monastery of Spoleto till affairs should have resumed a more tranquil aspect. His temporary residence in this secluded retreat afforded him leisure for study and contemplation; and one of the strongest arguments which can be advanced in justification of monastic establishments is, that they have been the frequent asylum of men of genius, when either their own troubles, the disturbed state of their country, or their over-excited feelings, rendered repose and soli

An artist who, from having been employed in

this and other instances in clothing the figures of

some of the great artists, was usually known by the name of Daniel the breeches-maker,