Natural history of intellect, and other papersEmerson, Ralph Waldo
Philosophy
Natural history of intellect, and other papers
Emerson, Ralph Waldo
American essays -- 19th century; Boston (Mass.); Intellect; Memory; Michelangelo Buonarroti, 1475-1564; Milton, John, 1608-1674
Non ha l’ ottimo artista alcun concetto,
Ch’un marmo solo in sè non circoscriva
Col suo soverchio, e solo a quello arriva
La man che obbedisce all’ intelletto.
M. ANGELO, _Sonnetto primo_.
[Illustration: (decorative banner)]
MICHAEL ANGELO.[3]
Few lives of eminent men are harmonious; few that furnish, in all
the facts, an image corresponding with their fame. But all things
recorded of Michael Angelo Buonarotti agree together. He lived one
life; he pursued one career. He accomplished extraordinary works;
he uttered extraordinary words; and in this greatness was so little
eccentricity, so true was he to the laws of the human mind, that his
character and his works, like Sir Isaac Newton’s, seem rather a part
of nature than arbitrary productions of the human will. Especially we
venerate his moral fame. Whilst his name belongs to the highest class
of genius, his life contains in it no injurious influence. Every
line in his biography might be read to the human race with wholesome
effect. The means, the materials of his activity, were coarse enough
to be appreciated, being addressed for the most part to the eye; the
results, sublime and all innocent. A purity severe and even terrible
goes out from the lofty productions of his pencil and his chisel, and
again from the more perfect sculpture of his own life, which heals
and exalts. “He nothing common did, or mean,” and dying at the end
of near ninety years, had not yet become old, but was engaged in
executing his grand conceptions in the ineffaceable architecture of
St. Peter’s.
Above all men whose history we know, Michael Angelo presents us with
the perfect image of the artist. He is an eminent master in the four
fine arts, Painting, Sculpture, Architecture and Poetry. In three of
them by visible means, and in poetry by words, he strove to express
the Idea of Beauty. This idea possessed him and determined all his
activity. Beauty in the largest sense, beauty inward and outward,
comprehending grandeur as a part, and reaching to goodness as its
soul,—this to receive and this to impart, was his genius.
Public-domain text, read in full here on John Shaqi.
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