New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-03-15

THE YALE Art LECTURES.

MCuAHI Angeles FREsCoEs IN THE sisiiNH
cuAPEI,-uIs POWER OF EXPRESSING HIS CON
CEPTIoNs IN PAINTING AND SCULPTURE
IRON SPECIAL CORRESPONDENT OF 1hh iiiDo'''
NrwHAyyN March 10-Prof. Eaton IN his nlh'h
lecture considered Michael Angelo mainly as painter
and architect, closing with brief criticism Vi soino
contemporary artists worthy Of mention.
RapbaeIs works, said the lecturer must pe cons'ueiou
in chronological ORDER but with Michael Angelo mere
NO sucb necessity All his productions are only df-
ferept manifestations OF the same extraordinary genius
that shOne with full power as soon as IL oee"'o ia
miar with artistic materials Let us nrst coh''ue''
this evening" the ceiling Of the Sisne chapel Irtseoeu
mainly 1903 and 1872 though the Last Judeen'
was not completed till l5l II is stated on good au-
thorty that Michael Angelo was gwen this task ro"S"
the jealousy OF Bramanti. the architect OF the new
Church Of St Peter who instrumental In pefsuau
ing tho Pope to command his rivals services IN ths
uew field order that Michael Angelo might us8faeo
himself in an art in which he had nttle experience
Angelo was oath to undertake the comwissioh' ou'
Julius III. inf exible; and there was no choico luz
the sculptor but to lay aside his chsel Tor the prusn
Tho 0rst difficulty WAS the construction OF proper
scaf,lding but this was overcome by the mechanical
genius of the artist aud structure made WHICH Is
spoken Of by contemporaries as marvel OF ingenuity
The Profes sor at this period Of his lecture had pro
iec,ed ON the screen series of illustrations showing the
Of the chapel and the general
criticise OF the remarkable paintings Inc
first two views shown were those representing the
separaton OF light from darkness and the creation Oh
the sun.
The latter scene is well preserved and gives clear
insight into the grandeur Of Michael Angeles concep
tons The figure OF the Almighty sweeping through the
air with the attendant spirits, is majestic and sublime
beyond EXPRESSION. To technical students or art the
fresco is most interesting The idea OF morton away
from the spectator marveOusly gven perhaps IN no
other work of art Is the OF motion SO perfectly
rendered And know OF no figure IN the whoe range
of ART OF such impressive grandeur or ono Ill WHICH o
elements Of dignity more worthily expressed INC
angels introduced often in pictures as supporting are
here attending for the picture moves by It's
own innate force. No higher conception OF the
maiestv and Irresistible power OF the Almighty was
ever youchsafed to artist The Dext large picture
represents creation OF man Adams Organization Is
complete and the Almighty, lowering over him. I'm
parts the vital spark that he may rise ana hVe Inc
concepon is grand but somewhat literal, as were many
of Angeles conceptions OF Scripture and NEUROLOGICAL
subjects He made artistic Dy bringing OUT tne
simple elements of grandeur they contained rather
than by allowing the Imagination 10 rule in the coneep-
ton. The figures IN TINS 1ieSco are inoues VI 49,,
beauty The perfect repose Of the Deity In It's eXaor-
binary attitude shows the a.tsts power over ANATOMY
The figure OF Adam has all the az, VI
the finest works of Greek SCULPTURE comnneu WIN
truthful adhesion TO nature Inc Dex picture SHOW
still literal Interpretation or te ecfipluIes
is represented actually slipping out OF Adams sue
three distinct
laops of the Deity In the first IL appears clad IN al
the attributes OF majesty, calling forth the heavenly
bodies from chaos in the second as tie Denenceht Gre
| ator and giver OF life and IN the tnIrd more as
an earthly father IN converse win hls chlGrel'
Then follow the temptation aud the expusiOn IN Whcn
the forms OF first parents are no longer DIVINE pul
! earthly Overcome with shame and guilt they move
| along with heavy step-Adam with lmplOilng gesture
AZ If the punishment greater than lie 0cserNeu
Eve bent with cnchlng her hands IN the agony
| of despair The remaining pictures OF INNS eIoup
are inferior ia design and execution IneY CONSIST %
the Sacrifice OF Cam and Abel, The Deiug6, ana Tue
DruuKeuness OF Noah in the triangular apartments OF
the ceiling gigantic figures or prophets ana slpy
In contemplating these, II seems as III Mchdei AnteV
Inv the mower OF will had transported himself DacA
10 that period OF the WORLDS history When the SOUS
God took wives from lie daughters OF meD ana tne
earth was peope0 with G1d-bOru giants from WHOM INC
derived conceptions. Tue Forms are coiOssai
and grand. Michael Angelo had the power Oh pene-
irating into the inner springs OF natural suDliny He
suiled the eeaeuts OF greatness, ana men hc formed
ana fashioned bodies 10 his conceptions rs tue polscr
works the clay, IN his mold
Tie Professors Criticisms OF Angeles frescoes con
cludcd with "a detailed examination Of the Last Judg-
men He briefly considered the artist rs an aicll-
tert especiay masterpiece IN this department. the
dome of St. Peters II Is beautifully consistent with
Michael Augelos modest greatness, the lecturer SAID,
that would take 10 himself no credit for ths dchleVe
mep protesting that he only followed IN the footsteps OF
mis- predecessOr Bruuelleschi whose dome III Forr nee
was complete III l4i6. Bruneleschs dome is greater
| in hight and laTger In circumference, but lacking
n that artistic spirit which so distinguishes Tue dome o
81 Peters with the death OF Michael Angelo expired
what was left Of Italian painting. He had few pupils,
and no one left continue his WORK. In the re-
naming lectures shall rapidly survey the schools III
tne north and OF Italy which i'll respects
had an independent development and character.