The love of beauty which never passes beyond outline and color, was too slight an object to occupy the powers of his genius. There is a closer relation than is commonly thought between the fine arts and the useful arts; and it is an essential fact in the history of Michael Angelo, that his love of beauty is made solid and perfect by his deep understanding of the mechanic arts. Architecture is the bond that unites the elegant and the economical arts, and his skill in this is a pledge of his capacity in both kinds. His Titanic handwriting in marble and travertine is to be found in every part of Rome and Florence; and even at Venice, on defective evidence, he is said to have given the plan of the bridge of the Rialto. Nor was his a skill in ornament, or confined to the outline and designs of towers and façades, but a thorough acquaintance with all the secrets of the art, with all the details of economy and strength. When the Florentines united themselves with Venice, England and France, to oppose the power of the Emperor Charles V., Michael Angelo was appointed Military Architect and Engineer, to superintend the erection of the necessary works. He visited Bologna to inspect its celebrated fortifications, and, on his return, constructed a fortification on the heights of San Miniato, which commands the city and environs of Florence. On the 24th of October, 1529, the Prince of Orange, general of Charles V., encamped on the hills surrounding the city, and his first operation was to throw up a rampart to storm the bastion of San Miniato. His design was frustrated by the providence of Michael Angelo. Michael made such good resistance, that the Prince directed the artillery to demolish the tower. The artist hung mattresses of wool on the side exposed to the attack, and by means of a bold projecting cornice, from which they were suspended, a considerable space was left between them and the wall. This simple expedient was sufficient, and the Prince was obliged to turn his siege into a blockade.