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he stuck a candle, that his work might be lighted and his hands at liberty. Vasari observed that he did not use wax candles, but a better sort made of the tallow of goats. He therefore sent him four bundles of them, containing forty pounds. His servant brought them after night-fall, and presented them to him. Michelangelo refused to receive them. "Look you, Messer Michelangelo," replied the man, "these candles have well nigh broken my arm, and I will not carry them back; but just here, before your door, is a spot of soft mud, and they will stand upright in it very well, and there I will light them all."- Put them down, then," returned Michel, "since you shall not make a bonfire at my gate." Meantime he was liberal to profusion to his old domestic Urbino, to whom he gave at one time two thousand crowns, and made him rich in his service.

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Michelangelo was of that class of men who are too superior to the multitude around them to command a full and perfect sympathy. They stand, in the attitude rather of appeal from their contemporaries to their race. But he did not, therefore, fix his eye upon his own greatness, and avert it from the good works of others. It has been the defect of some great men, that they did not duly appreciate or did not confess the talents and virtues of others, and so lacked one of the richest sources of happiness and one of the best elements of humanity. This apathy perhaps happens as often from preoccupied attention as from jealousy. It has been supposed that artists more than others are liable to this defect. But Michelangelo's praise on many works is to this day the stamp of fame. Michelangelo said of Masaccio's pictures that when they were first painted they must have been alive. He said of his predecessor, the architect Bramante, that he laid the first stone of St. Peter's, clear, insulated, luminous, with fit design for a vast structure. He often expressed his admiration of Cellini's bust of Altoviti. He loved to express admiration of Titian, of Donatello, of Ghiberti, of Brunelleschi. And it is said that when he left Florence to go to Rome, to build St. Peter's, he turned his horse's head on the last hill from which the noble dome of the Cathedral

(built by Brunelleschi) is visible, and said, "Like you, I will not build; better than you I cannot." Indeed, as we have said, the reputation of many works of art now in Italy derives a sanction from the tradition of his praise. It is more commendation to say, "This was Michelangelo's favourite," than to say, "This was carried to Paris by Napoleon." Michel, however, had the philosophy to say, "Only an inventor can use the inventions of others."

There is yet one more trait in Michelangelo's history, which humanizes his character without lessening its loftiness; this is his platonic love. He was deeply enamoured of the most accomplished lady of the time, Vittoria Colonna, the widow of the Marquis di Pescara, who, after the death of her husband, devoted herself to letters, and to the writing of religious poetry. She was also an admirer of his genius, and came to Rome repeatedly to see him. To her his sonnets are addressed; and they all breathe a chaste and chaste and divine regard, unparalleled in any amatory poetry except that of Dante and Petrarch. They are founded on the thought that beauty is the virtue of the body, as virtue is the beauty of the soul; that a beautiful person is sent into the world as an image of the divine beauty, not to provoke but to purify the sensual into an intellectual and divine love. He enthrones his mistress as a benignant angel, who is to refine and perfect his own character. Condivi, his friend, has left this testimony; "I have often heard Michelangelo reason and discourse upon love, but never heard him speak otherwise than upon platonic love. As for me, I am ignorant what Plato has said upon this subject; but this I know very well, that, in a long intimacy, I never heard from his mouth a single word that was not perfectly decorous and having for its object to extinguish in youth every improper desire, and that his own nature is a stranger to depravity." The poems themselves cannot be read without awakening sentiments of virtue. An eloquent vindication of their philosophy may be found in a paper by Signor Radici in the London "Retrospective Review," and, by the Italian scholar, in the Discourse of

Benedetto Varchi upon one sonnet of Michelangelo, contained in the volume of his poems published by Biagioli, from which, in substance, the views of Radici are taken.

Towards his end, there seems to have grown in him an invincible appetite of dying, for he knew that his spirit could only enjoy contentment after death. So vehement was this desire that, he says, "his soul can no longer be appeased by the wonted seductions of painting and sculpture." A fine melancholy, not unrelieved by his habitual heroism, pervades his thoughts on this subject. At the age of eighty years, he wrote to Vasari, sending him various spiritual sonnets he had been composing, and tells him "he is at the end of his life, that he is careful where he bends his thoughts, that he sees it is already twenty-four o'clock, and no fancy arose in his mind but DEATH was sculptured on it." In conversing upon this subject with one of his friends, that person remarked, that Michel might well grieve that one who was incessant in his creative labours should have no restoration. "No," replied Michel, "it is nothing; for, if life pleases us, death, being a work of the same master, ought not to displease us." But a nobler sentiment, uttered by him, is contained in his reply to a letter of Vasari, who had informed him of the rejoicings made at the house of his nephew Lionardo, at Florence, over the birth of another Buonarroti. Michel admonishes him that a man ought not to smile, when all those around him weep; and that we ought not to show that joy when a child is born, which should be reserved for the death of one who has lived well."

Amidst all these witnesses to his independence, his generosity, his purity and his devotion, are we not authorized to say that this man was penetrated with the love of the highest beauty, that is, goodness; that his was a soul so enamoured of grace, that it could not stoop to meanness or depravity; that art was to him no means of livelihood or road to fame, but the end of living, as it was the organ through which he sought to suggest lessons of an unutterable wisdom; that here was a man who lived to demonstrate that to the human faculties, on every hand, worlds of grandeur and grace

are opened, which no profane eye and no indolent eye can behold, but which to see and to enjoy, demands the severest discipline of all the physical, intellectual, and moral faculties of the individual?

The city of Florence, on the river Arno, still treasures the fame of this man. There, his picture hangs in every window; there, the tradition of his opinions meets the traveller in every spot. "Do you see that statue of St. George? Michelangelo asked it why it did not speak.". "Do you see this fine church of Santa Maria Novella? It is that which Michelangelo called his bride.'". -"Look at these bronze gates of the Baptistery, with their high reliefs, cast by Ghiberti five hundred years ago. Michelangelo said, they were fit to be the gates of Paradise.'"-Here is the church, the palace, the Laurentian library, he built. Here is his own house. In the church of Santa Croce are his mortal remains. Whilst he was yet alive, he asked that he might be buried in that church, in such a spot that the dome of the cathedral might be visible from his tomb when the doors of the church stood open. And there and so is he laid. The innumerable pilgrims whom the genius of Italy draws to the city, duly visit this church, which is to Florence what Westminster Abbey is to England. There, near the tomb of Nicholas Machiavelli, the historian and philosopher; of Galileo, the greathearted astronomer; of Boccaccio, and of Alfieri, stands the monument of Michelangelo Buonarroti. Three significant garlands are sculptured on the tomb; they should be four, but that his countrymen feared their own partiality. The forehead of the bust, esteemed a faithful likeness, is furrowed with eight deep wrinkles one above another. The traveller from a distant continent, who gazes on that marble brow, feels that he is not a stranger in the foreign church; for the great name of Michelangelo sounds hospitably in his ear. He was not a citizen of any country; he belonged to the human race; he was a brother and a friend to all who acknowledge the beauty that beams in universal nature, and who seek by labour and self-denial to approach its source in perfect goodness.

TH

MILTON.'

HE discovery of the lost work of Milton, the treatise "Of the Christian Doctrine," in 1823, drew a sudden attention to his name. For a short time the literary journals were filled with disquisitions on his genius; new editions of his works, and new compilations of his life, were published. But the new-found book having in itself less attraction than any other work of Milton, the curiosity of the public as quickly subsided, and left the poet to the enjoyment of his permanent fame, or to such increase or abatement of it only as is incidental to a sublime genius, quite independent of the momentary challenge of universal attention to his claims.

But if the new and temporary renown of the poet is silent again, it is nevertheless true, that he has gained, in this age, some increase of permanent praise. The fame of a great man is not rigid and stony like his bust. It changes with time. It needs time to give it due perspective. It was very easy to remark an altered tone in the criticism when Milton re-appeared as an author, fifteen years ago, from any that had been bestowed on the same subject before. It implied merit indisputable and illustrious; yet so near to the modern mind as to be still alive and life-giving. The aspect of Milton, to this generation, will be part of the history of the nineteenth century. There is no name in literature between his age and ours that rises into any approach to his own. And as a man's fame, of course, characterizes those who give it, as much as him who receives it, the new criticism indicated a change in the public taste, and a change which the poet himself might claim to have wrought.

The reputation of Milton had already undergone one or two revolutions long anterior to its recent aspects. In his lifetime, he was little or not at all known as a poet, but obtained great respect from his contemporaries

1 From the North American Review, July 1838.

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