Christian art and symbolism by Tyrwhitt Richard St. John 1827-1895

Author:Tyrwhitt, Richard St. John, 1827-1895. [from old catalog]
Language: eng
Format: epub
Tags: Christian art and symbolism, Landscape painting. [from old catalog]
Publisher: London, Smith, Elder & co.
Published: 1872-03-25T05:00:00+00:00

tomb during his life-time. Michael Angelo's great David has just been set, where it stands now, in the Palazzo Vecchio at Florence. He has done a great St. Matthew; * his marble Bacchus (Uffizi) and the Kneeling Cupid, (now at South Kensington) are remembered; there is no sculptor like him; and Julius sends for him, and bids him design a great mausoleum, with unlimited sculpture. The Slaves in the Louvre, and Boboli Gardens; and the Moses, who now sits gloomily, with bent brows, in the dim lights of St. Pietro in Vincoli, are the finished relics of the master's vast design. Years of his life, appa-

Irently the greatest part of years 1516-17-18, had to be wasted in stone-quarrying at Carrara; under quarrels with Julius, and neglect by Leo X., whose Pagan dilettantism had little in common with his spiritual power of design and earnest faith in Christ At least, he was sadly distracted from his great work; and it was not right to make him a head quarryman. But now, in 1508, Julius docs a new thing. His tomb was ordered three years ago, and is little advanced, for he refused to see the master; who thereon refused to stay with him, or work for him; and who altogether took and maintained throughout a very high line, with a very dangerous man. It is

' Academia at Florence.

RAFAEL AND MICHAEL ANGELO.

163

now settled between them that the tomb shall wait yet longer. The Pope is thinking of the League of Cambray, and the ruin of the semi-Protestant Venice, and has no notion of dying just yet. What he will do is to ornament the Sistine. It was to be a great place of sculpture, all spirantia signa, marble life unpainted: but Bramante is the architect of all the Pope's new works, the Loggias, and new chambers of the Vatican. He is of Urbino, and has a briUiant young townsman by the name of Rafael Sanzio, who is painting the new Vatican Stanze in fresco. Both of them are highly popular, magnificent, handsome and so on ; and Bramante does not want so much money to go away from his works; and he interferes and protests. In not unreasonable terror of the terrible rival who is architect, sculptor, and engineer already. Is he much of a painter ? Bramante hopes not, and persuades the Pope to insist on the Sistine being adorned Avith paintings. It is Urbino against Florence: rather an intrigue, I am afraid ; but a very mild one for the sixteenth century in the Court of Rome. Angelo, the sculptor, with l^is broken nose, just like an antique, and his mystic piety, and spare ascetic life, and short speech, may be a painter perhaps, Bramante thinks; but with the brush he surely never can come near our young townsman.

CHRISTIAN ART AND SYMBOLISM.

who has got so much from him and the cartoon of^ Pisa.

The Florentine sets to work, however; invents J his marvellous scaffolding all at once, and mounts I it.

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