Nowhere can one find the character of Michelangelo better expressed than in his sonnets, and there is a deep religious vein in them which reveals the profound belief of this greatest of men in all the great truths of Christianity and his sense of personal devotion to the Creator and his dependence on Him and the necessity for doing everything for Him that is extremely refreshing. For Michelangelo this was the solution of the mystery of life. Perhaps the best idea of his sonnets can be obtained from his lines on Dante. It had come to be the custom during the Renaissance to think that the only literature worth while thinking about was the classical, and above all Greek, and that the Middle Ages had produced nothing of significance in art or letters. Even Dante was not thought to be a great exception to this rule, though it was admitted that he stood far above his contemporaries. The word Gothic, as applied to the architecture, the art and the literature of these rude ancestors, the descendants of the Gothic barbarians, was invented by the critics of the Renaissance to express to the full their contempt for the products of the earlier period. Michelangelo had no illusions with regard to comparative values. Above all he recognized the surpassing character of Dante's poetry. His sonnet tells the rest and sympathetically insists that he would have been willing to have borne even Dante's years of suffering and exile to produce such marvellous poetry. "Into the dark abyss he made his way; Both nether worlds he saw, and in the might Of his great soul beheld God's splendor bright, And gave to us on earth true light of day: Star of supremest worth with his clear ray, Heaven's secrets he revealed to our dim sight, And had for guerdon what the base world's spite Oft gives to souls that noblest grace display, Full ill was Dante's life work understood, His purpose high by that ungrateful state. That welcomed all with kindness but the good. Would I were such, to bear like evil fate. To taste his exile, share his lofty mood! For this I'd gladly give all earth calls great." {43} The bitter rivalries and jealousies that surrounded him have sometimes produced the impression that Michelangelo must himself have been of a carping disposition, not ready to acknowledge the merits of other artists, though it is felt in extenuation, as it were, that in this he only shared the spirit of the time. Any such impression would be quite unjustified by what we know of Michelangelo. His admiration for the ancients was unbounded. It was he who, when they were first excavated, stepped up to the horses that are now on the Capitoline in Rome, and patting one of them on the back said "get up," as if they seemed to him so true to life that they ought to walk off. A single paragraph from the sketch of Michelangelo in the Artists' Biographies [Footnote 3] will show how thoroughly he appreciated some of his immediate predecessors: