Michael Angelo was remarkable for nothing but his genius. He slept little, and was abstemious; he was accustomed to say, "However rich I may have been, I have always lived as a poor man." He obtained the reputation of being proud and odd; for he found little pleasure in the society of men from whom he could not learn, or whom he could not teach. He was pleased by originality of character in whatever rank he met with it; and cultivated in mature life the society of persons respected for their talents and learning. When young he endeavoured to acquaint himself with every branch of knowledge that could contribute to his improvement. In common with all who have obtained a deserved eminence, he was never satisfied with his performances; if ne perceived an imperfection that might have been avoided, he either threw aside the work in disgust, or commenced it

anew.

He continued to study to the end of his life. In his old age the cardinal Farnese found him walking in solitude amidst the ruins of the Coliseum and expressed his surprise. Michael answered, "I go yet to school that I may continue to learn." He lived much alone. His great excess seems to have been indulgence in reflection, and the labours of his profession. The power of generalizing facts, and realizing what he conceived, he drew from this habit: without it some men have become popular for a time, but no man ever became great.

ture in her undescribable sublimity, he achieved with corresponding greatness and beauty. His forms and their intellectual expression are of the highest order. He never did any thing little. All was in harmony with a mind which he created of himself by adding fact to fact, by severe reading, by close observation, by study, by seclusion. He was the quarrier, and architect, and builder-up of his own greatness.

Sir Joshua Reynolds speaks with becoming deference of Michael Angelo's powers.-"It will not be thought presumptuous in me to appear in the train, I cannot say of his imitators, but of his admirers. I have taken another course, one more suited to my abilities, and to the taste of the times in which I live. Yet however unequal I feel myself to that attempt, were I now to begin the world again, I would tread in the steps of that great master: to kiss the hem of his garment, to catch the slightest of his perfections, would be glory and distinction enough for an ambitious man. He was the bright luminary from whom painting has borrowed a new lustre, under whose hands it assumed a new appearance, and became another and superior art, and from whom all his contemporaries and successors have derived whatever they have possessed of the dignified and majestic."

There are excellent casts from three of Michael Angelo's statues exhibited by Mr. West at Mr. Bullock's museum, in Piccadilly; they are, Christ, from the church of Sta. Maria at Florence, Lorenzo de Medici from his monument, and the celebrated Moses, from the church of St. Pietro, in Vincoli, at Rome. The editor of the Every-day Book has conversed with persons who think themselves pupils and students in sculpture and painting without having seen these!

Michael Angelo had studied anatomy profoundly. Condivi, who was his pupi! and one of his biographers, says that his knowledge of human anatomy and or other animals was so correct, that those who had studied it as a profession all their lives, scarcely understood it so well. When he began to dissect he conceived disgust from the offensiveness of the operation and desisted; but reflecting that it was disgraceful to abandon what others

could achieve, he resumed and pursued it to the fullest extent. Perceiving the utility of Albert Durer's "Treatise on the Proportions of the Human Body," he deemed it capable of improvement. Its rules were in his opinion insufficient and too mechanical, and he contemplated a treatise to exhibit the muscles in their various action. A friend, whom he consulted on the subject, sent him the body of a fine young Moor, which he dissected and made remarks on, but they were never published. The result of his anatomical knowledge may be seen in the powerful muscular developement of his figures: he left no part undefined.

Several remarks occur in the course of Michael Angelo's letters concerning his art. Speaking of the rivalry between sculpture and painting, he says, "The sculptor arrives at his end by taking away what is superfluous; the painter produces his, by adding the materials which embody the representation to the mind however, after all, they are both produced by the same intelligence, and the superiority is not worth disputing about, since more time may be lost in the discussion, than would produce the works themselves." At one time, however, Michael Angelo regarded painting with less favour than he expresses in this letter. It is addressed to Varchi, who wrote a dissertation on the subject, and sent it to him with an inquiry, which had divided the amateurs of Florence, as to whether painting or sculpture required the most talent. Varchi's treatise has the merit of having convinced Michael Angelo that he was in error, and with the truth and candour inseparable from such a character he confessed his mistake. "Of the relative importance of painting and sculpture," says Michael Angelo, "I think painting excellent in proportion as it approaches relievo, and relievo bad in proportion as it partakes of the character of a picture, and therefore I was used to be of opinion, that painting might be considered as borrowing light from sculpture, and the difference between them as the sun and moon. Now, however, since I have read your dissertation, which treats the subject philosophically, and shows, that those things which have the same end, are one, and the same, I have changed my opinion, and say, that, if greater judgment, labour, difficulty, and

impediment, confer no dignity on the work on which it is bestowed, painting and sculpture may be considered without giving the preeminence to either: and since it has been so considered, no painter ought to undervalue sculpture, and in like manner, no sculptor ought to make light of painting."

Great as Michael Angelo was in art, his intellectual character was greater. "No one," says Mr. Duppa, "ever felt the dignity of human nature with its noblest attributes more forcibly than Michael Angelo, and his disgust at any violation of principle was acute in proportion to his sensibility and love of truth." He despised and shrunk from the shadow of a meanness: hating the heartlessness of unmeaning profession, he regarded the dazzling simulation which constitutes the polish of society as a soul-cioud. With these commanding views of self dignity he poured out his feelings to his friend Luigi del Ricco, in

A MADRIGAL.

Translated by Robert Southey Esq. (From Mr. Duppa's Life of Michael Angelo. Ill hath he chosen his part who seeks to please The worthless world,-ill hath he chosen his part,

For often must he wear the look of ease

When grief is at his heart; And often in his hours of happier feeling With sorrow must his countenance be hung, And ever his own better thoughts concealing Must in stupid grandeur's praise be loud, And to the errors of the ignorant crowd Assent with lying tongue.

Thus much would I conceal-that none should know

What secret cause I have for silent woe;
And taught by many a melancholy proof
That those whom fortune favours it pollutes
I from the blind and faithless world aloof,
Nor fear its envy nor desire its praise,
But choose my path through solitary ways.

It was one of Michael Angelo's high qualities to bear about him an atmosphere which the parasite dared not approach., no heart-eater could live in it.

He justly estimated whatever was influential in society; and hence though he seemed to look down upon rank as an accident of life, he was net regardless of its use.

To those whom distinctions had raised, he paid the deference accorded to their dignities. Yet towards him who touched his integrity, he bore a lofty carriage, and when .ie cond ended to resent

the attack, hurled an impetuous defiance that kindled as it flew, and consumed the insulting defamer, though he were ensconced behind countless quarterings, or ermined and enthroned. To the constant calumny of jealous rivalry, and the daily lie of envy and enmity, he was utterly indifferent. When asked why he did not resent the aspersions incessantly poured upon him by one of his assailants, he answered "He who contends with the worthless can gain nothing worth possessing."

He

Michael Angelo's temper was "sudden and quick;" but his nature was kind and benevolent. Inferior artists frequently experienced his friendly disposition. sometimes made drawings and modelled for them. To Minigella, a very indifferent hand, he gave the model of a crucifix beautifully executed, from which the poor fellow formed a mould and made casts

of papier mache to sell to the country people. Friendship and esteem for par:icular individuals oftener induced him to undertake works than profiers of large sums, Yet he was not indifferent or in sensible to a just estimation of his talents when they were undervalued. For Angelo Doni, a Florentine of taste, he painted a holy family, and sent it home with a note requiring seventy ducats for it. Doni told the messenger he thought forty were enough; Michael replied by demanding the picture or a hundred; Doni said he was willing to pay the seventy; Michael demanded a hundred and forty, and I'oni paid the sum.

Το

He honoured worthy men in every station. His purse was open to their necessities; he condoled with them in their afflictions, and lightened their oppressions by his sympathies and influence. artists and men of talent his liberality was munificent. He neither loved money nor accumulated it. His gifts were the free-will offerings of his heart, and hence its dispensations were unacco npanied by a notoriety which sullies the purity of primary obligation, by exposing the nakedness of its object.

This

reply. "Poor fellow," said Michael, "thou shalt not need another master," and he gave him two thousand crowns. was a large sum in those days: Vasari says such a donation would only have been expected from popes and great emperors. Michael afterwards procured him an appointment in the Vatican to take care of the pictures, with a monthly salary of Six ducats; and preserving his regard for the old man, Michael, though at that time eighty-two years of age, sat up with him by night in his last illness. "His death has been a heavy loss to me," he wrote to Vasari, "and the cause of excessive grief, but it has also been a most im pressive lesson of the grace of God: for it has shown me, that he, who in his lifetime comforted me in the enjoyment of life, dying has taught me how to die; not with reluctance, but even with a desire of death. He lived with me twenty-six years, grew rich in my service, and I found him a that I calculated upon his being the staff most rare and faithful servant; and now and repose of my old age he is taken away, and has left me only the hope of seeing him again in paradise."

Michael Angelo was never married. To one who lamented that he had no children to inherit his property, Michael an swered, "My works must supply their place; and if they are good for any thing they will live hereafter. It would have been unfortunate for Lorenzo Ghiberti, had he not left the doors of S. Giovanni, for his sons and his nephews have long since sold and dissipated his accumulated wealth; but his sculpture remains, and will continue to record his name to future

ages." These "doors" were of bronze. them, he said they were fit to be the doors When Michael was asked his opinion of of paradise.