. The art of the Italian renaissance; a handbook for students and travellers. r structure, the mecli^nisni of_ juovemenU. MICHELANGELO 47 seems to Jiavejbeen trans-muted into Ik forcos tlie spec-tator to share diruetlv inhis feehngs. , And it is niarvL-Uoushow e\ery turn, eA-er\bend of the hnibs has amysterious power. A ervtrifling changes of posi-tion work with incon-ceivable force, and theimpression is often sogreat that we do notin(|uire into the motivesof the action. It is acharacteristic of ]\Iichel-angelo that he strains hismeans remorselessly tosecure the greatest pos-si
. The art of the Italian renaissance; a handbook for students and travellers. r structure, the mecli^nisni of_ juovemenU. MICHELANGELO 47 seems to Jiavejbeen trans-muted into Ik forcos tlie spec-tator to share diruetlv inhis feehngs. , And it is niarvL-Uoushow e\ery turn, eA-er\bend of the hnibs has amysterious power. A ervtrifling changes of posi-tion work with incon-ceivable force, and theimpression is often sogreat that we do notin(|uire into the motivesof the action. It is acharacteristic of ]\Iichel-angelo that he strains hismeans remorselessly tosecure the greatest pos-sible results. He enrichedArt with unsuspectednew effects, but he also impoverished her, by taking from her her pleasure in the simplicity ofevei-yday life. K is through him tJia±^us__fouiid its__jrayinto^ the_IieiLaiiiaaiice. B\^ his^causciooiii—eiiijiloyuieutjjf dissonance _on alarge scale, he prepared the ground for a ne^v st^^le, the baroque. Weshall not discuss this till later-. The works of the first half of his life (to1520) speak another Pieta, by Michulangeln 1. Early Wouks The Pietd is the first great work from which we can judge ]\Iichel-angelos aims. It is at present most barbarously placed in a chapel ofSt. Peters, where neither the delicacy of the details, nor the charm ofthe action can be felt. The group is lost in the vast space, and israised so high that it is impossible to get the chief point of view. 48 THE ART OF THE ITALIAN RENAISSANCE To combine into a group twolife-sized bodies in marble was some-thing new in itself, and the task ofplacing the body of a full grownman on the lap of the seated woman,was one of the most difficult ima-ginable. AVe might expect a hardhorizontal line of intersection, andharsh right angles; Michelangeloaccomplished what no other artistthen living could have done. ^n<lerfu]_Jjendsand turns, the lines of the bodiesare Tumight into an easy harmony.^Nlarv supports, and yet is notcrus
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