Time must sweep away its lines and its colours; but he alone can be its destroyer. Succeeding ages have produced, and will continue to produce, different characteristics, and to furnish new subjects for art, but the grandeur and strength of Michael Angelo cannot be impaired-it is founded in the expression of the generic nature of man. Of this, the picture of the Judgment, absorbed and centred what had already been advanced towards, or expressed in art; and, in this respect, remains the great monument of moral painting in distinction from that which originates, and has its end in the pursuit of local peculiarities, and in the gratification of individual or temporary taste. In both, there may be exerted that power in which genius consists, but, in the one instance, it is isolated from any great or general purpose, and becomes dependent upon partial intentions and upon antiquarian study, and may be buried amidst obsolete, and particular facts; in the other, it is wide and extended, and as endurable as the human race. In style, the picture of the Cappella Sistina, presents a most marked and distinct character. All excellence in art-that varied and disputed point, which appears (but only appears) to vary with the view which is taken of it, may be found to centre in the perception or apprehension, and power of impressing the idea of whatever is its subject. In this virtually consists the truly great in art; and, by an extended application of the principle, may probably be found to embrace excellence or power in whatever human exertion endeavours after. In this ability exists, and from this imperfection diverges. In the wide and varied field of art, which in painting alone, extends from the transcription of the meanest inanimate object to the visible embodiment of Deity; it is this which endows its labours with vitality.* On this ground may be said to meet, though in each instance varied in their ultimate worth-the maternal holiness of the Madonnas of Raphael -the substance of the human body, and its coverings by Titian-its tear and wear by Caravaggio-the odour, laughter, and grossness of Dutch dwellings, by Teniers and Ostade-the stare of an ox by Paul Potter, or a Flemish sky by Cuyp. It is the possession of this power, which constitutes the wide distinction betwixt the productive, and the passive or simply recognitive, mind. Its exemplifications possess an effect akin to that of natural objects-it does not present a transcript or reiteration of its subject, but operates with a new and distinct impression;-its efforts present additions to experience.† Of this power, the style of Michael Angelo is an eminent example. In those instances of such that the works of most others present, their labours are referable to a material or visible type; but of this, there was no such standard for the painter of Deity, Prophetic or oracular inspiration, and of mystic indistinctness; of man face to face with his Judge, endowed with or doomed to an eternal existence, either in happiness or in misery. His type was mental, and to such must his labours conform; and, from their conformation to this, they are, in many respects, placed at a remote distance from the humble sympathies of those whose ideas are regulated by an immediate reference to sense. By such a species of apprehension their significance can never be perceived. To *It is necessary here to keep in view the distinction which has been referred to in a former note, as existing between the signification of the term ideal, and that of the idea. The idea is ultimate; the ideal is the result of comparison: it is a term that has been used to express qualities which are the result of a process of abstraction carried forward, I should say, in a particular direction, with the view of, to a certain extent, subjecting the idea of one thing to that of another:-the mistaken application and misunderstanding of which principle, has given rise to, at times, absurd discussion regarding it. The term also has been most licentiously used; the mere abuse of which, may, in some instances, have given rise to a species of mental desert, which has misled practice in art. †The colour, for example, of the Crucifixion by Tintoretto, or the expression of a Spanish face by Velasques, display what has never been met, and what is not the result of any process of generalization. The one is an invention the other an individuality; but in both that is perceived which appears to be thoroughly co-relative with its subject that, in short, which the mind seems to be fitted to recognise as part of its constituted relations. refer them to a human standard as essential and generic is not enough, although this is the nearest approach which has been made towards characterising them. The form, light and shade, and colour, of Buonarotti, are frequently the exponents of modes of being which have no objective existence: he was called to treat of things which were unseen-of superhuman relations which had been established -to express the influence that the belief in the existence of such exercised upon man-and to connect him with the invisible. Mysteriousness and greatness must be thrown over the generic nature of man, and this is the idea rendered by the works of Michael Angelo. They are sacred to veneration, to awe, and to wonder. To clothe and impress those sentiments was the aim of his style. Compared with the expression and essential form of Grecian art, and with the generic light and shade and colour of Titian, those of the Cappella Sistina present a remarkable distinction. They are expressive of the fleshly and materialthose of Michael Angelo of the mental and immaterial. Greek art had, it may almost be said, perfected bodily symmetry it had embodied physical strength and intellectual character-it had carried a material system to its highest elevation; but, in the figures of Michael Angelo, the impression is conveyed of a predominating power or will, which makes the body its machine a vital energy, which seems expressive of the idea of soul in man, distinct, and self-existent. This endows them with immense power on the mind; and (laying aside abstract considerations in regard to the tendency of Grecian theology and philosophy as compared to those of later times), must, in many instances, be considered to raise them above Greek art; or, if they cannot be placed higher than the perfection which Grecian sculpture reached (possibly the most beautiful example of the attainment of such in the history of man), fixes them on an equally elevated line. Both are widely different. It may be said that the Italian expressed, or showed, the mind in the body-that the Greek expressed it by the body. The discrimination of class and character must be regarded to have been the aim of Greek artthe workings of mind and passion that of modern art. In Greece, characteristic distinction had traced a gradual ascent of physiognomic peculiarity, from the centaur up to the Olympian Jove. The classification of form was minutely entered into ; which, by the masters of the revival of art was comparatively little attended to. Comparisons have been frequently made betwixt the degree of perfection exhibited in the works of Michael Angelo and ancient sculpture, without taking the particular style or character of either into consideration, and each has been made the rule of judging the other, certainly under a very imperfect perception of the true nature of either the one or the other. In those characteristics, which constitute the difference of sentiment, and necessarily of style, between them, consists much of the particular excellence of each. The character-even the perfection, it may be said, of Greek works, would have militated, in many respects, against those intentions which the works of Michael Angelo fulfil. Nor would his works have effected the purposes of the Greeks. The pantheism of Greece pre-supposed the universal materiality or the universal immateriality, of all things. There were no conflicting elements-no distinct process of separation of mind and matter entered into. All was recognised to be of One, differing only in grade. Their gods were rendered in godlike shapes, by a minute definition of character, which could not be too much regulated by physical analogy, or laws. The idea of the superhuman, or the ideal, indeed existed, and was perfected in every rank of the theogony, but less under the influence of a sentiment than as a type, its original germ; and from The sentiment of the supernatural appears to have been comparatively feeble in Greece, from the natural being blended into it by gradual steps, distinct and regular as those to the porticoes of their temples. But, in modern Europe, it was much more a part of the general mind, and even still is so; was mixed and interwoven with all mental operation, continually starting into view, in a manner that may be likened to the strange forms produced under its influence, which are scattered amidst the fretwork, and grin from every corner of a Gothic cathedral. : which the history, both of ancient and of modern art, exhibits a process of refinement, or completion, in the first place, and afterwards of annihilation. But it was necessary that the style of Michael Angelo (whether from sentiment, or the result of ratiocination, it is not intended at present to inquire) should express the union and connexion of power and imperfection-of greatness and of frailty. Man must not, however, be represented in weakness; such would have destroyed one great purpose of the work-to elevate humanity but the struggle of man, declared to be abject, and, at the same time, the inheritor of immortality-"a worm, a god,"-must be expressed. He has been removed from the calm perfectability of the Academy, or of the Stoa, which, in "reason's deepest depths," sought to base his dignity, and to found the persuasion that he might not merely be mortal. He has been made to expect eternal consciousness. He has been brought into conflict with his passions, immediately overawed by hope and fear. Contesting sentiments have become centred in his nature, and contend for predominance over his character and fate; and to be the medium of conveying these, and of conducting him through regions of mystery with power and intellectual grandeur, was the aim of the style of Michael Angelo. His forms display moral and physical strength, independently of their general significance. The movements of the machine of the human body are condensed and rendered energetic, not by celerity of action so much as by the impression of powerful will and desire, with which his actors seem to be endowed. There is in them a constant reference to the particular and imperfect, in connexion with expression; but this is rendered with a specific greatness which raises them altogether above individual humanity.* Not to enter into any lengthened comparison or to contrast the style of the works of Raphael with those of Michael Angelo, it may be observed, with a view to render more evident what has been noticed in regard to the latter, that, in distinetion from Raphael, he endeavoured to elevate man to the supernatural; while Raphael, in his works which have relation to such subjects, brought the supernatural down to man. Nothing can be more distinct than the impression produced by the Sybils and Isaiah of Raphael, which are said to have been done in imitation of, and to rival Michael Angelo, from those of the Sistine Chapel. The Isaiah is much after the fashion, but altogether without participation of the spirit of Michael Angelo. It may have greatness, wisdom, and sagacity, but it has no inspiration. Raphael stood on a different ground. His characters illustrate and explain a creed, and give a mundane relation to its dogmas by exciting sympathy and love. In this view, while the efforts of both were directed to the one great purpose of calling attention to religion, it may be said that he was opposed to Michael Angelo.† The style of Raphael, also, was much more a derivation from Greek sculpture than that of Michael Angelo, but operated upon by a different sentiment,-the dramatic, instead of the lyric and the epic, which, in • Minute criticism may find enough to cavil at in various respects in the picture of the Last Judgment; but such things are not connected with the true end or merit of the work. They may on some occasions be alluded to with profit, in guarding practice against particular errors; but the want of perception of the true nature and greatness of this mighty work, can alone lead to their being brought forward in connexion with its general character. There is, without doubt, what in many instances, if only considered in reference to a standard of mere correctness, which rejects expression as any part of its element; much that may be considered incorrect and exaggerated; but in most cases, this should rather be held to be connected with the peculiar character and intentions of the work. On some occasions the anatomical expression may be regarded to be monotonous; on others disconnected and violent; but its author is scarcely ever lost, through dread of either the one or the other, in poverty of imitation. An objection may be made to those works of Michael Angelo which do not involve sentiments of greatness or of mystery, that they either partake strongly of them, or when they are avoided fall beneath their subject. He did not enter into passionless humanityhe could not characterise without expressing the struggle of will, power, or suffering. His Grecian art, throughout all its refined distinctions of character, were strongly influential. The colour, and light and shade of the picture, are analogous to its form; they are strictly accordant in sentiment with its intention, and conform to and aid its expression. Local or minute distinctions in the one, and accidental effects in the other, are almost entirely denied. They are wholly at the will of the painter, in conformity to his idea. Shade, instead of being made a means of powerful contrast, is merely used as a material, that indicates rather than expresses the negation of light. It may be regarded as an imperfection in nature, that only a partial dependence was placed upon in connexion with the abstract expression and reference of the painting of Michael Angelo. On some occasions the effect produced is almost altogether independent of it, the contrast and hues of colour being the medium adopted; while, on others, colour is reduced nearly to simple chiaro-oscuro, and a dark obscurity is the solemn atmosphere of various parts of the scene of the Judgment. In the remains of ancient Roman painting, from which, and from the notices that have descended to us, the style of the Greeks may, to a considerable extent, be deduced, a somewhat similar recognition of the imitation of light and colour appears to have been made by them. They were wholly regarded, along with form, as part of the means of art, not followed as an ultimate intention, and, thus considered, were in many instances even rendered as negative as possible; while, in others, they were mutually sacrificed,-the one to the sentiment that the other was more particularly adapted to convey. Considered as the means of affecting sense, in the works of Michael Angelo they are most harmonious, simple, and severe-they possess impressive breadth and distinct firmness, with a transparent delicacy of tone, which altogether removes their expression from the material character, of which colour is powerfully expressive. They must not be judged by a standard which demands their strong and immediate effect, as displayed in most of the pictures of the Venetian school, and of Rubens (whose works must be considered to be a mighty school of themselves); or which makes the representation of individual and accidental peculiarity its rule. The first of these methods was rejected by the subjection, in which the expression of colour, and light and shade, were held, to the slower mental process that is involved in the perception of form; upon which the chief dependence was placed in this work, in obedience to the powerful and definite expression that was necessary, and the other was denied by its elevated and abstract character. It is not intended here to enter into any refutation of mistaken criticisms, which have been made on the picture of the Last Judgment,-nor into any detailed consideration of the work. The methods pursued in its production, which have been attempted to be explained, and which, it is hoped that it will now be apparent, were adopted by Michael Angelo, or presented by circumstances for him to pursue, being correctly recognised, must sufficiently enable every one to reply to the former themselves; while, by a just application of those principles, which have been considered to have operated towards the formation, and to have led to the adoption, of the peculiarities of thought and expression displayed in the picture, a correct appreciation of its various parts may be formed. But, although the work is addressed to all, in connexion with sentiments which all, more or less, endeavour to enter into, it were almost needless to say that it is impossible that all ean be alive to its signification, or understand it. Mental variety may be compared to that of physical capacity in the animal creation. It is not possible that different individuals should perceive and feel with the same convictions, sentiments which demand, in their perception, conditions which are widely dissimilar in each. statue of the youthful David is not successful—a subject that Raphael would have excelled in; but had it been the Prophet and King, it would have again been the proper field for Michael Angelo. But it was executed from a block of marble which had been partly sculptured and rendered useless by "a Master Simone of Fiesole," who, according to Vasari, had commenced it as a giant. Its style, however, is widely different from that of the Moses. Those differences, however, which render general participation in this, as in every other instance, impossible, and which are barriers to the apprehension of the import of the picture, exist less in regard to that import itself, than in respect to the manner in which it is manifested, or the path which is pursued to arrive at it. It must be contended that every one, in some measure, endeavours to participate in the sentiments which it enunciates. It may not be understood, but it must be felt; and every work which rests on the same basis. Its whole bearing and treatment are, even in minute respects, to a certain extent abstract-it relates to the morally great in human effort-it is connected with the intellectual. In this is the grandeur of the work sustained-on this broad foundation its sentiments, and the manner of their elucidation rest. To attempt, however imperfectly, to find or approach this, is characteristic of humanity. United in this object, the refined excursiveness of the European, and the African savage's worship of his little broadlipped gilt image: the roads are many which have been pursued in order to reach its attainment. Towards this, the picture of the Judgment, taking it in its widest scope, bears-in this, it originated, and from this it was evolved. THE IRON GATE-A LEGEND OF ALDERLEY. I LOVE those tales of ancientry, Those tales to fancy true, That bring things back from fairyland, In all their glittering hue. I love to hear of stalwart knights; Those things are, to a musing wight, I love those tales my grandame When I sat on her knee, Though trembling with delight; And she, my grandame, lov'd to tell To me, her listening child, Old tales of witch, and charm, and spell, With many a legend wild. And held for truth each tale; And wept for grief, or scream'd for joy, Did ill or good prevail. . And this the way my grandame did "Once on a time there was a man, A miller he by trade; Down by yon brook he had his mill, I love those tales of ancientry, "The miller had a noble horse, It was an iron-grey; It had a flowing mane and tail, It look'd like to a warrior's steed, And much the miller prized his horse, And boasted of its blood. He rode it hard, but fed it well, I love those tales of ancientry, |