The midsummer of Italian art . rectness of their drapery suggests Michel Angeloat once; and the expression of their faces, if notexactly sibylline, is closely akin to it. The Fatesare grouped in the most natural manner and withoutany appearance of design. THE PIETA AND THE DAVID. The Pieta has something of the plain and uncon-scious sincerity of Albert Diirer. In the broaddramatic range of Michel Angelos works this is themost devotional, and it is one of the few subjectswhich he has taken from the New Testament. Itrepresents the fulness of Christianity. The calmresignation in Christs face cove
The midsummer of Italian art . rectness of their drapery suggests Michel Angeloat once; and the expression of their faces, if notexactly sibylline, is closely akin to it. The Fatesare grouped in the most natural manner and withoutany appearance of design. THE PIETA AND THE DAVID. The Pieta has something of the plain and uncon-scious sincerity of Albert Diirer. In the broaddramatic range of Michel Angelos works this is themost devotional, and it is one of the few subjectswhich he has taken from the New Testament. Itrepresents the fulness of Christianity. The calmresignation in Christs face covers, like a veil, thepain and agony which he has undergone. The ex-pression of the Virgin is most affecting; for it is notonly in her face, but in her whole attitude, and evenin the posture of her hands that we perceive thesorrow which only a mother can feel, and the infinitelonging that can never be gratified on earth. Yetit is not a hopeless grief like that of the Niobe in theFlorentine Gallery, whose face is swollen and made. CREATION OF LIGHT by MICHELANGELOSistine Chapel, Rome The Works of Michel Angela. 8i heavy with affliction. There is a moral exaltationin the mother of Christ which shows that here wehave the true reconcilation between spirit and mat-ter. Her grief is excessive, but it is still subordinateto her faith in God. Thus we discover alreadyMichel Angelos advance over Greek and Romanart. After Niobes suffering had worn itself outshe was finally comforted by a piece of bread. Themother of Christ will never descend to sackcloth andashes, but neither will her sorrows cease so long asshe lives. The technical perfection of the statue is illustratedby the fact that criticism of it always takes the formof some complaint against the motive. It is trueenough that Christ and his mother appear to benearly of the same age, and the position in which sheholds his body is not a comfortable one. That sheis a strong, stalwart woman has also been madean objection. Michel Angelo p
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
