Frostburg mining journal. [volume] (Frostburg, Md.) 1871-1913, 1872-08-24
THE UNWILLING TASK OF MICHEL
ANGELO.

THE UNWILLING TASK OE MICHEL
ANGELO.
In reading the lives of the great
master-sprits, whether in the realms OF
literature, OF science, or of art, one may
reasonably question whether genius has
not on the whole been more harasscd
than benefited by the ohicious patron
aye of the state. Kings and emperors
and popes have too often enforced the
artlst-soul to unconsenal or petty per,
tormances, or with the insolence of
office demanding impossibilities. have
crushed the very powers they sought TO
stimulate. Many gifted mind has
been doomed to expend It's high encr-
gies or trivial subjects to crafty the
capricious whims or the passing vanity
of concoited monarch.
Yet, on the other hand, it cannot be
denied that governmental patronage
has given to the world not Il few master
pieces that we had else lacked, and
even the capricous demands of princes
have sometimes served a useful turn in
developing slumberlng powers. Michel
Angelo suffered much in his day and
generation from the varying eXactions
oi successive patronMlng popes, and
thinking OF the many months and even
years wasted on works projected but
never accomplished. one is half tempted
to regret that he had not carved out his
own path independently in his beloved
Florence, apart from the intriguing
breath Of the papal court. But one
hcstates to decide, remembering that
his marvellous powers in painting and
architecture might then never have
been revealed. He might indeed have
heullcathed to posterity many more
specimens OF his noble sculpture, but
we should have lacked the, sublime
ircscocs OF the Sistinr Chapel and the
glorious fabric of st. Peter.
1t Is an interesting and curious fact
that the work bywhich Michel Angeles
greatness as an artist is no. chiefly
estimated. he should have been com.
PEELED To execute against his will. He
had expended much time and labor
upon the projected mausoleum of
Julius H., which according to his grand
design was to be adorned by forty
statues from his chisel, but the pontif.
whose personal vanity had led him to
suggest the idea, had become alienated
from it, and Michel Angelo was
chagrlncd to find his plans indefinitely
postponed, while Julius with all his
ardor pushed forward the scheme of re-
building st. Peters under the direction
of Bramante. The Pope, in his indie
clslon how to employ the talents of
Angelo at this period, was readily
pleased with the suggestion of Bramante
that he should invite the great sculptor
to paint in tresco the vast ceiling of the
Sistine Chapel. 1t is generally believed
that Bramante, cnvious of Angelo.
hoped to engage him in an undertaking 9
i'll which he would fail, and thus check
his influence and diminish his reputa-
ton. But whatever We're the motives
OF Bralnante, Julius, with his high esti-
mate OF the powers of Angelo, seems
not for a moment 10 have doubted the
result. But Angelo himself listened 10
the setting forth of this new commits
sion with deep distrust. He told the
Iope That treSco-palnting was Il branch
OF art which he had scarcely touched
upon; that he was Il sculptor. not a
painter; and he entreated him not to
insist upon his undertaking the task,
pointing to Raphael, who was then EN-
ployed in adjoining the halls of the
Vatican III tresco on u grand scale. MS
The one above all others qualified for
the work. But the more Angelo oh
Jected, the stronger grew the desire of
JuliuS 10 see what he could accom,lisb
IN this new direction, and at last he
wrung from Angelo reluctant assem-
The result was the production of -,
composition incomparably sublime in
conception, and wrought out in an nm.
rivaled and original style, in which tba
rellcf OF culpturc blends with tbo
richness OF painting. The great central
l"en IN this vast and comprehensive
work Is "Chrlst the desire of all ma.
tlons,' and to this all The numara,,,
supernatural and symbolical subjects
treated are subordinate, waile at the
same tiine each compartment presents
perfect picture OF itself Architect.
urai divisions, painted ia relief. inter
lace all the subsidiary subjects, servin,
both to separate them, so that there !,
no confusion OF parts, and to bind then
together III one harmonious whole,
THIS grand composition, undertake.,
so reluctantly, displays above all hi
other works the genius of Michel An
geio at once rs culptor, painter, anc
architect, and his transcendent powe
IN dealing with the ideal and the sub
lime in art. Once yielding the point
he threw all his enormous energies int,
the work; and after forming the gen
eral design, skilltuily adapted to tn,
peculiar form of the vaulted ceilinr
proceeded to model figures for his car
toon: in clay or wax, in order TO ovai
himself of them in studying the Der
spective and the light and shade. witt
nm the painter grew out of the sculp
tor.
bramante, according to the instruc
lions OF the Pope, constructed tn,
scaiisoid'ng required, but the hangin,
platform which he prepared required
supporting beams to be liked into hole
IN the walls. Michel Angelo, noticin,
tins defect, asked, When nv labor
shall be completed and your scaffoldin,
up?" - '' "''e'
Eran,ante answered uAs 40 A.. -