Pictures Every Child Should Know. Mary Schell Hoke Bacon
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II. and Leo X. came Pope Paul III., and he, like the other two, determined to have Angelo for his workman. Indeed all his life, Michael Angelo's gifts were commanded by the Church of Rome. It was for Paul III. he painted the "Last Judgment." His former work upon the Sistine Chapel had been the story of the creation. All his work was of a mighty and allegorical nature; tremendous shoulders, mighty limbs, herculean muscles that seemed fit to support the universe. These allegories are made of hundreds of figures. To-day they are still there, though dimmed by the smoke of centuries of incense, and dismembered by the cracking of plaster and disintegration of materials.
Angelo's methods of work, as well as their results, were oppressive. In his youth, while trying to perfect himself in his study of the human form, he drew or modelled, from nude corpses. He had these conveyed by stealth from the hospital into the convent of Santo Spirito, where he had a cell and there he worked, alone.
He was concentrated, mentally and emotionally, upon himself. The only remark he made after the blow from Torregiano was, "You will be remembered only as the man who broke my nose!" This proved nearly true, since Torregiano was banished, and murdered by the Spanish Inquisition.
All sorts of anecdotes have floated through the centuries concerning this man and his work. For example, he made a statue of a sleeping cupid, which was buried in the ground for a time that it might assume the appearance of age, and pass for an antique. Afterward it was sold to the Cardinal San Giorgio for two hundred ducats, though Michael Angelo received only thirty. Nevertheless, he died a rich man, after having cared for a numerous family, while he himself lived like a man without means. All the tranquillity he ever knew he enjoyed in his old age.
It was characteristic of his perversity that he left his name upon nothing that he made, with one exception. Vasari relates the story of that exception:
"The love and care which Michael Angelo had given to this group, 'In Paradise,' were such that he there left his name--a thing he never did again for any work--on the cincture which girdles the robe of Our Lady; for it happened one day that Michael Angelo, entering the place where it was erected, found a large assemblage of strangers from Lombardy there, who were praising it highly; one of them asking who had done it, was told, 'our Hunchback of Milan'; hearing which Michael Angelo remained silent, although surprised that his work should be attributed to another. But one night he repaired to St. Peter's with a light and his chisels, to engrave his name on the figure, which seems to breathe a spirit as perfect as her form and countenance."
If his youth had been given to sculpture, his maturity to the painting of wondrous frescoes, so his old age was devoted to architecture, and as architect he rebuilt the decaying St. Peter's. In this work he felt that he partly realised his ideal. Sculpture meant more to him, "did more for the glory of God," than any other form of art. When he had finished his work on St. Peter's, he is said to have looked upon it and exclaimed: "I have hung the Pantheon in the air!"
This colossal genius died in Rome, and was carried by the light of torches from that city back to his better loved Florence, where he was buried. His tomb was made in the Santa Croce, and upon it are three female figures representing Michael Angelo's three wonderful arts: Architecture, sculpture and painting. No artist was greater than he.
His will committed "his soul to God, his body to the earth, and his property to his nearest relatives."
PLATE--DANIEL
This wonderful painting is a part of the decoration of the Sistine Chapel in Rome. The picture of the prophet tells so much in itself, that a description seems absurd. It is enough to call attention to the powerful muscles in the arm, the fall of the hand, and then to speak of the main characteristics of the artist's pictures.
It is extraordinary that there is no blade of grass to be found in any painting by Michael Angelo. He loved to paint but one thing, and that was the naked man, the powerful muscles, or the twisted limbs of those in great agony. He loved only to work upon vast spaces of ceiling or wall. Look at this picture of Daniel and see how like sculpture the pose and modelling appear to be. First of all, Michael Angelo was a sculptor, and most of the painting which fate forced him to do has the characteristics of sculpture.
One critic has remarked that he loves to think of this strange man sitting before the marble quarry of Pietra Santa and thinking upon all the beings hidden in the cliff--beings which he should fashion from the marble.
It was said that in Michael Angelo's hands the Holy Family became a race of Titans, and where others would have put plants or foliage, Angelo placed men and naked limbs to fill the space. When his subject made some sort of herbage necessary, he invented a kind of mediæval fern in place of grass and familiar leaves. Everything appears brazen and hard and mighty, suggestive of Angelo's own throbbing spirit and maddened soul. Most of his work, when illustrated, must be shown not as a whole but in sections, but one can best mention them as entire picture themes. On the ceiling of the Sistine Chapel are nine frescoes describing "The Creation of The World," "The Fall of Man" and "The Deluge." "The Last Judgment" occupies the entire altar wall in the same chapel of the Vatican. "The Holy Family" is in the Uffizi Gallery, Florence.
III
ARNOLD BÖCKLIN
(Pronounced Bek'-lin)
Modern German School (Düsseldorf) 1827–1901
This splendid artist is so lately dead that it does not seem proper yet to discuss his personal history, but we can speak understandingly of his art, for we already know it to be great art, which will stand the test of time. His imagination turned toward subjects of solemn grandeur and his work is very impressive and beautiful.
He was born in Basel, "one of the most prosaic towns in Europe." His father was a Swiss merchant, and not poor; thus the son had ordinarily good chances to make an artist of himself. He was born at a time when to be an artist had long ceased to be a reproach, and men no longer discouraged their sons who felt themselves inspired to paint great pictures.
When Böcklin was nineteen years old he took himself to Düsseldorf, with his merchant father's permission, and settled down to learn his art, but in that city he found mostly "sentimental and anecdotal" pictures being painted, which did not suit him at all. Then he took himself off to Brussels, where again he was not satisfied, and so went to Paris. But while in Brussels he had copied many old masters, and had advanced himself very much, so that he did not present himself in Paris raw and untried in art.
At first he studied in the Louvre, then went to Rome, seeking ever the best, and being hard to satisfy. He found rest and tranquillity in Zürich, a city in his native country, but it was Italy that had most influenced his work.
He loved the Campagna of Rome with its ruins and the sad grandeur of the crumbling tombs lining its way, and therefore a certain mysterious, grand, and solemn character made his pictures unlike those of any other artist. He loved to paint in vertical (up-and-down) fines, rather than with the conventional horizontal outlines that we find in most paintings. This method gives his pictures a different quality from any others in the world.
He loved best of all to paint landscape, and it is said of him that "as the Greeks peopled their streams and woods and waves with creatures of their imagination, so Böcklin makes the waterfall take shape as a nymph, or the mists which rise above the water source wreathe into forms of merry children; or in some wild spot hurls centaurs together in fierce combat, or makes the slippery, moving wave give birth to Nereids and Tritons."
Muther, art-critic and biographer, calls our attention to the similarity between Wagner's music and Böcklin's painting. While Wagner was "luring the colours of sound from music," Böcklin's "symphonies of colour streamed forth like a crashing orchestra," and he calls him the greatest colour-poet of the time.
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