Page:Architectural Review and American Builders' Journal, Volume 1, 1869.djvu/257

1868.] Life and Times of Michael Angela. 213 distinguished by a liberality foreign to that age. Brunelleschi, Giotto, and Ghiberti — he who cast in bronze the celebrated doors of the Church of St. John, which Michael Angelo thought worthy of being the Gates of Paradise — were the principal artists of his day. Cosmo was one of the founders of the Bibliotheca Mariana, which, at the distance of three centuries, still offers to the learned its vast treasures. He died in 1464, at the age of seventy-five, deeply lamented by a grateful country, which inscribed upon his tomb the en- dearing appellation of Pater Patriae. Cosmo was succeeded by his grandson, Lorenzo the Magnificent, who ivas then about sixteen ; and who had been care- fully educated by his mother, Lucretia — one of the most remarkable women of her age — who to the vivacity common to natures of a southern clime, united a ripe judgment and discriminating taste. Nature had framed Lorenzo in her very prodigality ; and so great was his versa- tility, that he attained an unrivalled excellence in whatever he undertook. He may, perhaps, be compared to the Admirable Crichton, who lived rather later. Around the youthful merchant prince, clustered all the men of letters, art, and science that Italy then produced. In tiiis age, the anatomy of the human figure began to be more closely studied. The collection formed by the care of Cosmo had been greatly increased ; and under the fostering care of Fra Gio- condo, a most learned antiquary, was constantly enriched by new specimens. It now forms a part of the Museum Florentinum. The works of the ancient Grecian and Roman sculptors afforded Lorenzo much pleasure. He lamented the inferiority of modern artists ; and wished to erect a better standard. He, therefore, pro- posed, for their imitation, the remains of the ancient masters, to elevate their views, beyond the forms oi common life, to the contemplation of that ideal beaut3 r , which distinguishes works of art from mere mechanical productions. In pursuance of this object, Lorenzo re- moved man3 r pieces of sculpture to his gardens, built rooms, threw them open to artists ; and appointed Donatello, a sculptor of some note, superintendent. The influence of this judicious policy was soon felt, and, like the academic groves of Athens, the young came, to learn, and the old, to admire ; a bolder and more masculine style was diffused over all works of art ; the puerilities, then so much in vogue, were abandoned ; and the graceful lines, waving curves, and anatomical details of the Grecian style were adopted. " But it was not until the time of Michael Angelo, that painting and sculpture rose to their true object ; and, instead of exciting the wonder, began to arouse the passions and interest the feelings of mankind." But in all ages, the arts of design, even among the rudest nations, have always been more or less cultivated. The nations of both Americas possess considerable imitative talent. The ef- forts of the Mexicans may stand the test of modern criticism. The vast colossal statue of Mexitli, their great war-god, clad in all the terrible parapher- nalia of their bloody creed, is justly extolled, by all travellers, for its accurate finish and deep imagination. But the design of the modern is far different from the base — and often idolatrous — purposes, to which the fine arts were prostituted by the ancients. They sought indeed to refine the public taste ; but the moderns seek to perpetuate the memory of the great and good. Where is the bosom so cold, that does not thrill, when the effigies of illustrious heroes, grave divines, and learned statesmen are regarded ? They are the alphabet of history ; and before the invention of printing, many sacred truths were conveyed by the painted and carved emblems. The little Church of Santa Croce, at Florence, contains the ashes of many