The Life of Michelangelo Buonarroti · Chapter 22IX
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When we study the evolution of Michelangelo's ideal of form, we find at the beginning of his life a very short period in which he followed the traditions of Donatello and imitated Greek work. The seated Madonna in bas-relief and the Giovannino belong to this first stage. So does the bas-relief of the Centaurs. It soon becomes evident, however, that Michelangelo was not destined to remain a continuator of Donatello's manner or a disciple of the classics. The next period, which includes the Madonna della Febbre, the Bruges Madonna, the Bacchus, the Cupid, and the David, is marked by an intense search after the truth of Nature. Both Madonnas might be criticised for unreality, owing to the enormous development of the thorax and something artificial in the type of face. But all the male figures seem to have been studied from the model. There is an individuality about the character of each, a naturalism, an aiming after realistic expression, which separate this group from previous and subsequent works by Buonarroti. Traces of Donatello's influence survive in the treatment of the long large hands of David, the cast of features selected for that statue, and the working of the feet. Indeed it may be said that Donatello continued through life to affect the genius of Michelangelo by a kind of sympathy, although the elder master's naïveté was soon discarded by the younger.
The second period culminated in the Cartoon for the Battle of Pisa. This design appears to have fixed the style now known to us as Michelangelesque, and the loss of it is therefore irreparable. It exercised the consummate science which he had acquired, his complete mastery over the male nude. It defined his firm resolve to treat linear design from the point of view of sculpture rather than of painting proper. It settled his determination to work exclusively through and by the human figure, rejecting all subordinate elements of decoration. Had we possessed this epoch-making masterpiece, we should probably have known Michelangelo's genius in its flower-period of early ripeness, when anatomical learning was still combined with a sustained dependence upon Nature. The transition from the second to the third stage in this development of form-ideal remains imperfectly explained, because the bathers in the Arno were necessary to account for the difference between the realistic David and the methodically studied genii of the Sistine.
The vault of the Sistine shows Michelangelo's third manner in perfection. He has developed what may be called a scheme of the human form. The apparently small head, the enormous breadth of shoulder, the thorax overweighing the whole figure, the finely modelled legs, the large and powerful extremities, which characterise his style henceforward, culminate in Adam, repeat themselves throughout the genii, govern the prophets. But Nature has not been neglected. Nothing is more remarkable in that vast decorative mass of figures than the variety of types selected, the beauty and animation of the faces, the extraordinary richness, elasticity, and freshness of the attitudes presented to the eye. Every period of life has been treated with impartial justice, and both sexes are adequately handled. The Delphian, Erythrean, and Libyan Sibyls display a sublime sense of facial beauty. The Eve of the Temptation has even something of positively feminine charm. This is probably due to the fact that Michelangelo here studied expression and felt the necessity of dramatic characterisation in this part of his work. He struck each chord of what may be called the poetry of figurative art, from the epic cantos of Creation, Fall, and Deluge, through the tragic odes uttered by prophets and sibyls down to the lyric notes of the genii, and the sweet idyllic strains of the groups in the lunettes and spandrels.
It cannot be said that even here Michelangelo felt the female nude as sympathetically as he felt the male. The women in the picture of the Deluge are colossal creatures, scarcely distinguishable from the men except by their huge bosoms. His personal sense of beauty finds fullest expression in the genii. The variations on one theme of youthful loveliness and grace are inexhaustible; the changes rung on attitude, and face, and feature are endless. The type, as I have said, has already become schematic. It is adolescent, but the adolescence is neither that of the Greek athlete nor that of the nude model. Indeed, it is hardly natural; nor yet is it ideal in the Greek sense of that term. The physical gracefulness of a slim ephebus was never seized by Michelangelo. His Ganymede displays a massive trunk and brawny thighs. Compare this with the Ganymede of Titian. Compare the Cupid at South Kensington with the Praxitelean Genius of the Vatican—the Adonis and the Bacchus of the Bargello with Hellenic statues. The bulk and force of maturity are combined with the smoothness of boyhood and with a delicacy of face that borders on the feminine.
It is an arid region, the region of this mighty master's spirit. There are no heavens and no earth or sea in it; no living creatures, forests, flowers; no bright colours, brilliant lights, or cavernous darks. In clear grey twilight appear a multitude of naked forms, both male and female, yet neither male nor female of the actual world; rather the brood of an inventive intellect, teeming with preoccupations of abiding thoughts and moods of feeling, which become for it incarnate in these stupendous figures. It is as though Michelangelo worked from the image in his brain outwards to a physical presentment supplied by his vast knowledge of life, creating forms proper to his own specific concept.
Nowhere else in plastic art does the mental world peculiar to the master press in so immediately, without modification and without mitigation, upon our sentient imagination. I sometimes dream that the inhabitants of the moon may be like Michelangelo's men and women, as I feel sure its landscape resembles his conception of the material universe.
What I have called Michelangelo's third manner, the purest manifestation of which is to be found in the vault of the Sistine, sustained itself for a period of many years. The surviving fragments of sculpture for the tomb of Julius, especially the Captives of the Louvre and the statues in the Sacristy at S. Lorenzo, belong to this stage. A close and intimate rapport with Nature can be perceived in all the work he designed and executed during the pontificates of Leo and Clement. The artist was at his fullest both of mental energy and physical vigour. What he wrought now bears witness to his plenitude of manhood. Therefore, although the type fixed for the Sistine prevailed—I mean that generalisation of the human form in certain wilfully selected proportions, conceived to be ideally beautiful or necessary for the grand style in vast architectonic schemes of decoration—still it is used with an exquisite sensitiveness to the pose and structure of the natural body, a delicate tact in the definition of muscle and articulation, an acute feeling for the qualities of flesh and texture. None of the creations of this period, moreover, are devoid of intense animating emotions and ideas.
Unluckily, during all the years which intervened between the Sistine vault and the Last Judgment, Michelangelo was employed upon architectural problems and engineering projects, which occupied his genius in regions far removed from that of figurative art. It may, therefore, be asserted, that although he did not retrograde from want of practice, he had no opportunity of advancing further by the concentration of his genius on design. This accounts, I think, for the change in his manner which we notice when he began to paint in Rome under Pope Paul III. The fourth stage in his development of form is reached now. He has lost nothing of his vigour, nothing of his science. But he has drifted away from Nature. All the innumerable figures of the Last Judgment, in all their varied attitudes, with divers moods of dramatic expression, are diagrams wrought out imaginatively from the stored-up resources of a lifetime. It may be argued that it was impossible to pose models, in other words, to appeal to living men and women, for the foreshortenings of falling or soaring shapes in that huge drift of human beings. This is true; and the strongest testimony to the colossal powers of observation possessed by Michelangelo is that none of all those attitudes are wrong. We may verify them, if we take particular pains to do so, by training the sense of seeing to play the part of a detective camera. Michelangelo was gifted with a unique faculty for seizing momentary movements, fixing them upon his memory, and transferring them to fresco by means of his supreme acquaintance with the bony structure and the muscular capacities of the human frame. Regarded from this point of view, the Last Judgment was an unparalleled success. As such the contemporaries of Buonarroti hailed it. Still, the breath of life has exaled from all those bodies, and the tyranny of the schematic ideal of form is felt in each of them. Without meaning to be irreverent, we might fancy that two elastic lay-figures, one male, the other female, both singularly similar in shape, supplied the materials for the total composition. Of the dramatic intentions and suggestions underlying these plastic and elastic shapes I am not now speaking. It is my present business to establish the phases through which my master's sense of form passed from its cradle to its grave.
In the frescoes of the Cappella Paolina, so ruined at this day that we can hardly value them, the mechanic manner of the fourth stage seems to reach its climax. Ghosts of their former selves, they still reveal the poverty of creative and spontaneous inspiration which presided over their nativity.
Michelangelo's fourth manner might be compared with that of Milton in "Paradise Regained" and "Samson Agonistes." Both of these great artists in old age exaggerate the defects of their qualities. Michelangelo's ideal of line and proportion in the human form becomes stereotyped and strained, as do Milton's rhythms and his Latinisms. The generous wine of the Bacchus and of "Comus," so intoxicating in its newness, the same wine in the Sistine and "Paradise Lost," so overwhelming in its mature strength, has acquired an austere aridity. Yet, strange to say, amid these autumn stubbles of declining genius we light upon oases more sweet, more tenderly suggestive, than aught the prime produced. It is not my business to speak of Milton here. I need not recall his "Knights of Logres and of Lyonesse," or resume his Euripidean garlands showered on Samson's grave. But, for my master Michelangelo, it will suffice to observe that all the grace his genius held, refined, of earthly grossness quit, appeared, under the dominance of this fourth manner, in the mythological subjects he composed for Tommaso Cavalieri, and, far more nobly, in his countless studies for the celebration of Christ's Passion. The designs bequeathed to us from this period are very numerous. They were never employed in the production of any monumental work of sculpture or of painting. For this very reason, because they were occasional improvisations, preludes, dreams of things to be, they preserve the finest bloom, the Indian summer of his fancy. Lovers of Michelangelo must dedicate their latest and most loving studies to this phase of his fourth manner.