of a Spaniard, or, in case of failure, should have consented to the proposal of the Archbishop of Rouen, but on no account to the nomination of St. Peter ad Vincula. It is an error to think that new obligations will extinguish the memory of former injuries in the minds of great men. The Duke therefore in this election committed a fault which proved the occasion of his utter ruin.1

Within thirteen months he lost all his sovereignties, and was imprisoned, but escaped to Spain, where he was killed in the attack on Viana in 1507.

PAINTING OF THE SISTINE CHAPEL

THE SPLENDOR OF RENAISSANCE ART UNDER

MICHELANGELO

A.D. 1508

CHARLES CLÉMENT

In the history of the Renaissance the revival of art adds a new glory to that of letters, and among the masters of that revival there is none greater than Michelangelo Buonarroti, sculptor, painter, architect, poet, and heroic man. He was descended from an ancient but not distinguished Florentine family, and was born at Caprese, Italy, March 6, 1475. In 1488 he was apprenticed to the painter Ghirlandajo. He studied antique marbles in the garden of San Marco, where he was discovered by Lorenzo de' Medici, who in 1489 took him into his palace. There the young student remained until his patron's death (1492), improving the great opportunities presented to him. The Mask of a Faun was sculptured during this time.

Before the expulsion of the Medici he went to Bologna, and there executed several works. Returning to Florence in 1495, he was called next year to Rome, where he lived till 1501, producing works which displayed his extraordinary genius, the most important of them being the Pieta di San Pietro (1498). Again returning to Florence, he carved his first David from an immense block of Carrara marble. In 1505 he was summoned again to Rome, by Pope Julius II, to design his tomb, and this work occupied Michelangelo, from time to time, throughout the remainder of his life. He was forced-probably through the intrigues of Bramante, his rival in architecture-to leave Rome, and once more (1506) returned to Florence. In the intervals between all these dates he produced many of his masterpieces.

From this period the historian follows Michelangelo through an important stage of his active career, showing how "the hand that rounded Peter's dome," and created so many other of the greatest works of art, toiled on with patient heroism, in spite of hinderances almost incredible. The painting of the Sistine Chapel, upon which his fame so largely rests, is here described in language that reveals the manhood no less clearly than the artistic genius of Michelangelo.

IN 1508 Michelangelo returned to Rome and resumed his labors

on the mausoleum. He had soon again to abandon them. Bramante had persuaded the Pope that it was unlucky to have his tomb erected, but advised him to employ Michelangelo in E., VOL. VIII.—24.

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painting the chapel built by his uncle Sixtus IV. It was, in effect, in the beginning of this year that he commenced this gigantic decoration, which was destined to be his most splendid work. We shall see the resistance he first opposed to Julius' desire, and the ardor with which he undertook and the rapidity with which he accomplished the work, once he made up his mind to accept it; but first, since, at the period we have come to, most of the statues which now adorn the tomb of Julius II at San Pietro in Vinculo, and those more numerous that belonged to the original project, but which have been dispersed, were blocked out or finished, I wish to give, in order not to return to the subject, a general idea of this monument, to show what, from reduction to reduction, the original design has become, and what annoyances it occasioned its author.

The original magnificent design remained unmodified until 1513; but on Julius' death, his testamentary executors, the Cardinals Santiquatro and Aginense and the Duke of Urbino, reduced to six the number of statues that were to form the decoration, and reduced from ten thousand to six thousand ducats the sum to be employed on it.

From 1513 to 1521 Leo X, who cared less to complete his predecessor's monument than to endow his native city, Florence, with the works of the great artist, employed Michelangelo almost exclusively in building the façade and sacristy of San Lorenzo. During the short, austere pontificate of Adrian VI, Michelangelo again devoted himself to the sculptures of the monument, but under Clement VII he had again to abandon them in order to execute in Florence the projects of Leo X, which the new Pope had adopted. Toward 1531 the Duke of Urbino at last obtained permission for Michelangelo to suspend the works at San Lorenzo in order to finish the tomb so long since begun. Nevertheless it does not appear that he was allowed much time to devote to it. At last, on the death of Clement VII, he thought he had regained his liberty, and could, after such long involuntary delay, fulfil his engagements; but hardly was Paul III installed than he sent for him, gave him the most cordial reception, and begged him to consecrate his talents to his service. Michelangelo replied that it was impossible; he was bound by treaty to terminate the mausoleum of Julius II. Paul flew into a rage

and said: "Thirty years have I desired this, and now that I am pope I am not to be allowed to satisfy it! I shall tear up this contract. I mean that you shall obey me." The Duke of Urbino loudly complained, openly accusing Michelangelo of want of good faith.

The sculptor, not knowing which way to turn, besought the Pope to allow him to complete the work he was pledged to. He formed the wildest projects in order to escape the amicable compulsion of Paul, among others that of retiring to Carrara, where he had passed some tranquil years among the mountains of marble. The Pontiff, to put an end to all these discussions, issued a brief, dated September 18, 1537, wherein he declared Michelangelo, his heirs and successors, released from all obligations resulting from the different contracts entered into on the subject of the monument. This fashion of terminating things could not satisfy the Duke of Urbino nor relieve Michelangelo. The negotiations were again resumed, and it ended in their agreement that the monument should be raised in the form in which we now see it in the Church of San Pietro in Vinculo, and should be composed of the statue of "Moses" executed entirely by the hand of Michelangelo; of two figures personifying "Active Life" and "Contemplative Life," which were already much advanced, but were to be finished by Rafaello de Monte Lupo; of two other statues by this master-a "Madonna," after a model by Michelangelo, and the figure of "Julius," by Maso del Bosco.

Such is the very abridged history of this monument, which was not entirely completed till 1550, after having caused for nearly half a century real torment to Buonarroti. The Duke of Urbino was not satisfied, neither was Michelangelo. The figures, originally intended to form part of a colossal whole under the great roof of St. Peter's, appear too large for the place they now occupy. The importance of the statue of "Moses" misleads the mind, suggesting the idea that the monument itself is raised to the memory of the Hebrew legislator, rather than to that of the warrior-pope. At all events, in this statue is centred the principal, we may say the unique, interest of the tomb. This prodigious work must be in the memory of all. Amid the masterpieces of ancient and modern sculpture the "Moses" remains ever unparalleled, a type, not irreproachable, but the

most striking, of a new art. I do not speak of the consummate science which Michelangelo displays in the modelling of this statue; the Greeks were learned in another fashion, but were so equally with him. Whence comes it, nevertheless, that in spite of bizarreries needless to defend or to deny, and although this austere figure is far from attaining or pretending to the serene and tranquil beauty which the ancients regarded as the supreme term of art, whence is it that it produces upon the most prejudiced mind an irresistible impression? It is that it is more than human, that it lifts the soul into a world of feelings and ideas of which the ancients knew less than we do. Their voluptuous art, in deifying the human form, held down thought to earth. The "Moses" of Michelangelo beheld God, heard that voice of thunder, and bears the terrible impress of what he saw and heard on Mount Sinai: his profound eye is scrutinizing the mysteries he vaguely sees in his prophetic dreams. Is it the Moses of the Bible? I cannot say. Is it in this way Praxiteles and Phidias would have represented Lycurgus and Solon? We may deny it boldly. The legislators in their hands would have been the embodiment of law; they would have represented an abstraction in a form whose harmonious beauty nothing could alter. Moses is not merely the legislator of a people. Not thought alone dwells beneath this powerful brow; he feels, he suffers, he lives in a moral world which Jehovah has opened to him, and, although above humanity, is a

man.

On his return to Rome in 1508, Michelangelo had found Julius II not cooled toward him, but preoccupied by new projects. The Pope made no allusion to his monument, and was absorbed in the reconstruction of St. Peter's, which he had confided to Bramante. Raphael was beginning at the same time the frescoes of the Stanza della Segnatura; and two biographers of Michelangelo, whose testimony, it is true, on this point may be suspected, agree in saying that the architect of St. Peter's, jealous of the superiority of the Florentine sculptor, fearing lest he should discover the mistakes committed in his recent constructions, and the malversations of which perhaps he was not innocent, advised the Pope to confide to him the painting of the ceiling of the chapel built by Sixtus IV, hoping to com