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Updated: November 5, 2024
There follows Michelangelo (1475-1564). It is with a sort of surprise one comes face to face with that sorrowful, heroic figure, as though, following among the flowers, we had come upon some tragic precipice, some immense cavern too deep for sight. How, after the delight, the delicate charm of the fifteenth century, can I speak of this beautiful, strong, and tragic soul? It might almost seem that the greatest Italian of the sixteenth century has left us in sculpture little more than an immortal gesture of despair, of despair of a world which he has not been content to love. His work is beautiful with the beauty of the mountains, of the mountains in which he alone has found the spirit of man. His figures, half unveiled from the living rock, are like some terrible indictment of the world he lived in, and in a sort of rage at its uselessness he leaves them unfinished, and it but half expressed; an indictment of himself too, of his own heart, of his contempt for things as they are. Yet in his youth he had been content with beauty in the lovely Piet
Gardner's Collection in America. Keats died at the age of twenty-five; Schubert was thirty-one; Giorgione thirty-three. The ruined condition of the Borghese "Lady" prevents any just appreciation of the interpretative qualities. Venetian Painters, p. 30. Leonardo, 1452-1519; Michel Angelo, 1475-1564; Giorgione, 1477-1510; Raphael, 1483-1520; Correggio, 1494-1534.
Instead of a new sea passage he was reaching a new continent, and adding a hemisphere to the known world. Such was the result of the dreams and ambitions of the boy born and bred in the old seaport of Genoa. Michael Angelo The Boy of the Medici Gardens: 1475-1564 The Italian city of Florence was entering on the Golden Age of its history toward the end of the fifteenth century.
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