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Updated: May 22, 2025
This conviction will be enforced when we reflect that the thought upon which the madrigal above translated has been woven had been already used for Cecchino dei Bracci in 1544. It is clear that, in dealing with Michelangelo's poetical compositions, we have to accept a mass of conventional utterances, penetrated with a few firmly grasped Platonical ideas.
A few of the sonnets circulated widely in manuscript, and became almost within Michelangelo's own lifetime a subject of academical discourses. But they were first collected in a volume in 1623 by the great-nephew of Michelangelo, Michelangelo Buonarroti the younger.
The transition from the second to the third stage in this development of form-ideal remains imperfectly explained, because the bathers in the Arno were necessary to account for the difference between the realistic David and the methodically studied genii of the Sistine. The vault of the Sistine shows Michelangelo's third manner in perfection.
Internally, as Michelangelo pointed out, the church would have been dark, inconvenient, and dangerous to public morals. Whatever we may think of Michelangelo's failings as an architect, there is no doubt that at this period of his life he aimed at something broad and heroic in style. He sought to attain grandeur by greatness in the masses and by economy of the constituent parts.
If Busti's Lancinus Curtius be the portrait of a humanist, careworn with study, burdened by the laurel leaves that were so dry and dusty if Gaston de Foix in the Brera, smiling at death and beautiful in the cropped bloom of youth, idealise the hero of romance if Michelangelo's Penseroso translate in marble the dark broodings of a despot's soul if Della Porta's Julia Farnese be the Roman courtesan magnificently throned in nonchalance at a Pope's footstool if Verocchio's Colleoni on his horse at Venice impersonate the pomp and circumstance of scientific war surely this Medea exhales the flower-like graces, the sweet sanctities of human life, that even in that turbid age were found among high-bred Italian ladies.
In each we find the peculiar excellence of the two great masters; Michelangelo's figures are grand, sublime, profound, while the fresco of the Pace exhibits Raphael's serene and ingenious grace.
Luca's frescoes at Orvieto, when compared with Michelangelo's in the Sistine, mark the transition from the art of the fourteenth, through the art of the fifteenth, to that of the sixteenth century, with broad and trenchant force. They are what Marlowe's dramas were to Shakespeare's. They retain much of the mediaeval tradition both as regards form and sentiment.
It seems certain that Julius II. died in Michelangelo's debt, and that the various contracts for his tomb were a source of loss rather than of gain. Such large undertakings as the sacristy and library of S. Lorenzo were probably agreed for on the contract system.
It may possibly have been on this occasion that he adopted the scheme so fatal to the happiness of the great sculptor. Condivi clearly did not know what led to Michelangelo's employment on the façade of S. Lorenzo, and Vasari's account of the transaction is involved.
of the kind might exist; for he there contemplated the purity and perfection of ancient sculpture, the sublimity of Michelangelo's Sistine Chapel, and the simplicity of Cimabue and Giotto's schools.
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