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architecture of the Middle Ages？ Of its kind it has never been
surpassed。 Geometry and artthe true and the beautifulmeet。
Nothing ever erected by the hand of man surpasses the more famous
cathedrals of the twelfth and thirteenth centuries； in the richness
and variety of their symbolic decorations。 They typify the great
ideas of Christianity； they inspire feelings of awe and reverence；
they are astonishing structures； in their magnitude and in their
effect。 Monuments are they of religious zeal and poetical
inspiration；the creations of great artists； although we scarcely
know their names； adapted to the uses designed； the expression of
consecrated sentiments； the marble history of the ages in which
they were erected；now heavy and sombre when society was enslaved
and mournful； and then cheerful and lofty when Christianity was
joyful and triumphant。 Who ever was satisfied in contemplating the
diversified wonders of those venerable structures？ Who would lose
the impression which almost overwhelmed the mind when York minster；
or Cologne； or Milan； or Amiens was first beheld； with their lofty
spires and towers； their sculptured pinnacles； their flying
buttresses； their vaulted roofs； their long arcades； their purple
windows； their holy altars； their symbolic carvings； their majestic
outlines； their grand proportions！
But beautiful； imposing； poetical； and venerable as are these hoary
piles； they are not the all in all of art。 Suppose all the
buildings of Europe the last four hundred years had been modelled
from these churches； how gloomy would be our streets； how dark and
dingy our shops； how dismal our dwellings； how inconvenient our
hotels！ A new style was needed； at least as a supplement of the
old；as lances and shields were giving place to fire…arms； and the
line and the plummet for the mariner's compass； as a new
civilization was creating new wants and developing the material
necessities of man。
So Michael Angelo arose； and revived the imperishable models of the
classical ages；to be applied not merely to churches but to
palaces； civic halls； theatres； libraries； museums； banks；all of
which have mundane purposes。 The material world had need of
conveniences； as much as the Mediaeval age had need of shrines。
Humanity was to be developed as well as the Deity to be worshipped。
The artist took the broadest views； looking upon Gothic
architecture as but one division of art；even as truth is greater
than any system； and Christianity wider than any sect。 O； how this
Shakspeare of art would have smiled on the vague and transcendental
panegyrics of Michelet or Ruskin； and other sentimental admirers of
an age which never can return！ And how he might have laughed at
some modern enthusiasts； who trace religion to the disposition of
stones and arches； forgetting that religion is an inspiration which
comes from God； and never from the work of man's hands； which can
be only a form of idolatry。
Michael Angelo found that the ornamentations of the ancient temples
were as rich and varied as those of Mediaeval churches。 Mouldings
were discovered of incomparable elegance； the figures on
entablatures were found to be chiselled accurately from nature； the
pillars were of matchless proportions； the capitals of graceful
curvatures。 He saw beauty in the horizontal lines of the
Parthenon； as much as in the vertical lines of Cologne。 He would
not pull down the venerable monuments of religious zeal； but he
would add to them。 〃Because the pointed arch was sacred； he would
not despise the humble office of the lintel。〃 And in southern
climates especially there was no need of those steep Gothic roofs
which were intended to prevent a great weight of rain and snow； and
where the graceful portico of the Greeks was more appropriate than
the heavy tower of the Lombards。 He would seize on everything that
the genius of past ages had indorsed； even as Christianity itself
appropriates everything human；science； art； music； poetry；
eloquence； literature；sanctifies it； and dedicates it to the
Lord； not for the pride of builders； but the improvement of
humanity。 Civilization may exist with Paganism； but only performs
its highest uses when tributary to Christianity。 And Christianity
accepts the tribute which even Pagan civilization offers for the
adornment of our race；expelled from Paradise； and doomed to hard
and bitter toils；without abdicating her more glorious office of
raising the soul to heaven。
Nor was Michael Angelo responsible for the vile mongrel
architecture which followed the Renaissance； and which disfigures
the modern capitals of Europe； any more than for the perversion of
painting in the hands of Titian。 But the indiscriminate adoption
of pillars for humble houses； shops with Roman arches； spires and
towers erected on Grecian porticoes； are no worse than schoolhouses
built like convents； and chapels designed for preaching as much as
for choral chants made dark and gloomy； where the voice of the
preacher is lost and wasted amid vaulted roofs and useless pillars。
Michael Angelo encouraged no incongruities； he himself conceived
the beautiful and the true； and admired it wherever found； even
amid the excavations of ruined cities。 He may have overrated the
buried monuments of ancient art； but how was he to escape the
universal enthusiasm of his age for the remains of a glorious and
forgotten civilization？ Perhaps his mind was wearied with the
Middle Ages； from which he had nothing more to learn； and sought a
greater fulness and a more perfect unity in the expanding forces of
a new and grander era than was ever seen by Pagan heroes or by
Gothic saints。
But I need not expatiate on the new ideas which Michael Angelo
accepted； or the impulse he gave to art in all its forms； and to
the revival of which civilization is so much indebted。 Let us turn
and give a parting look at the man；that great creative genius who
had no superior in his day and generation。 Like the greatest of
all Italians； he is interesting for his grave experiences； his
dreary isolations； his vast attainments； his creative imagination；
and his lofty moral sentiments。 Like Dante； he stands apart from；
and superior to； all other men of his age。 He never could sport
with jesters； or laugh with buffoons； or chat with fools； and
because of this he seemed to be haughty and disdainful。 Like
Luther； he had no time for frivolities； and looked upon himself as
commissioned to do important work。 He rejoiced in labor； and knew
no rest until he was eighty…nine。 He ate that he might live； not
lived that he might eat。 For seventeen years after he was seventy…
two he worked on St。 Peter's church； worked without pay； that he
might render to God his last earthly tribute without alloy；as
religious as those unknown artists who erected Rheims and
Westminster。 He was modest and patient； yet could not submit to
the insolence of little men in power。 He even