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Updated: May 19, 2025


No one will quarrel with a great artist because he lives by his art, or because he will sometimes turn aside to amuse himself, his public, or his friends. Michaelangelo is not blamed because, one winter's afternoon, he made a snow-statue for Lorenzo de Medici! Yet all will admit that merely to amuse, merely to make money, merely to gain popularity is a prostitution of genius. Why?

But some of Coleridge's on Shakespeare, and some of Lamb's on the Plays of the Elizabethan Dramatists in particular The Duchess of Malfi and The Broken Heart may fairly be ranked among them. So, and with still less of hesitation, may Mr. Ruskin's rendering of the Last Judgment of Tintoret, and Mr. Pater's studies on Lionardo, Michaelangelo, and Giorgione. Of these, Mr.

Today no one knows how Brunelleschi was able to construct his great dome without centering, nor how Michaelangelo could limn his terrible figures on the wet plaster of the Sistine vault with such extraordinary swiftness and skill; but we have their testimony that they invoked and received divine aid.

In the plastic arts, vocation and creative aptitude are shown perceptibly later, on the average about the fourteenth year: Giotto, at ten; Van Dyck, ten; Raphael, eight; Guerchin, eight; Greuze, eight; Michaelangelo, thirteen; Albrecht Dürer, fifteen; Bernini, twelve; Rubens and Jordaens being also precocious. In poetry we find no work having any individual character before sixteen.

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