Nashville union and American. [volume] (Nashville, Tenn.) 1868-1875, 1875-06-06
MICHEL AEGELO'S FIFTH CENTES.
NAL.

The feteS for which preparations are
being made, and which will soon be
held in Florence, in duly celebrating
the fifth centenary Of Michel Angeles
birth, viii bevery likely to revivea at least
the portion of the art-history in which
that great name stands foremost. The
marvellous work accomplished by a
single hand is considered by US, for the
most part, as resulting from a single
VIII, whereas in this instance, as III all
cases where human power has wrought
gloriously, that force was the product
Of various factors.
He in whose works blossomed forth
the full glory Of the revival of art,
would, without Pope Julius II, have
been another Michel Angelo. Great
he must needs have been, because born
to be that in some degree. He was
great sculptor before be knew the Pope.
La Pieta or the colossal David would
either OF them alone have exalted him
to the first rank among artists; only
the old Pontiff's viii forced him to the
execution Of the Sistine frescoes. He
was no painter then, and was, more
over, greatly disinclined TO take the
frescoes Of the chapel-those creations
which. from the time of their compile
ton till now have been a model for ar
fists and the wonder and admiration of
all men.
Michel Angelo had not gone to Rome
to paint frescoes, but to make a grand
sepulchre for Pope Julius II, ready for
the repose Of his pontifcial dus5 when
it pleased heaven to call him from his
earthly duties. It was a grievous thing
to the artist, therefore, to have this
work-all so magnihcently planned
and partly accomplished set aside and
himself put to work upon an art new
to him. How this labor was executed
the whole world has known. The artist
WAS driven to it by a will even stronger
than his who was accustomed to WELD
the chisel in a sort Of divine frenzy.
This Pontiff, with the great iron viii
and the eager love of art, in bending
Michel Angeles course, influenced all
the art which followed from that time
When, as it occasionally happened, the
artist rebelled, peace was won't to be
restored between him and the irate
Pope by cancellations from the latter.
Herein one sees the greatness Of that
spirit which, conscious Of the value of
Michel Angelo to art, was ever ready
with generous forgiveness Of personal
offense. These two great souls which
were drawn to each other clashed some
times with the stern strength Of each.
The quarrels Of two rarer men were
never mentioned in history. Michel
Angelo comes to the ope's palace one
day and is refused admittance by a
groom of the chambers, who, at the
same time explains to Bishop stand.
ing near and interposing, with theidea
that the groom does not know whom he
refuses, that he knows very well, and
only obeys the orders Of the Pope.
Thereupon Michel Angelo bids the at
tendant inform His Holiness, if
he should inquire for him,
that he has gone elsewhere,
returns to his dwelling, orders his ser
wants to sell all his household goods to |
the Jews, takes post-hOrses and leaves |
Rome that night for Florence. He |
rests at a town on the road thiUher, |
where come following him,one after an
other. five courers with letters from
the Pope, and with orders that he must |
be brought back. The imperious artist |
refuses to return, though at last in