[Footnote 3: Houghton Mifflin, Boston, 1878.] "Angelo was a great admirer of the three famous Florentine artists who had preceded him. Of Ghiberti's 'Gates to the Baptistry,' he said, 'They are so beautiful that they are worthy of being the gates of Paradise.' Standing before Donatello's statue of St. Mark, he cried out, 'Mark, why don't you speak to me?' and on another occasion he said, 'If St. Mark looked thus we may safely believe what he has written.' When he was advised to vary the lantern on the Medici Chapel from that which Brunelleschi had built on the old sacristy of San Lorenzo, he remarked, 'It may be varied, but not improved.' Of other artists he spoke no less pleasantly, saying of Gentile da Fabriano that his name corresponded with the grace of his {44} style; and of Cesari's medals, that 'art has reached its last hour, for beyond this it cannot go.'" If there ever was a man who had a right to pride himself a little on his powers and his achievements, surely it was Michelangelo. He had succeeded in bodying forth thoughts too deep for words in every mode of human expression, even making words serve his purpose greatly though inadequately; men of genius had so admired his work and been influenced by it that all during life he had that sincerest of flattery, imitation, from men who themselves were among the notable geniuses of his generation, yet it was he who, in his sonnet towards the end of his life, begged pardon of his God if he had ever used his powers as if they were his own and not for the glory of the Creator who had given them. We have any number of stories of his patient study of art and architecture, even until the end of his life. Once Cardinal Farnese met him, when he was past sixty, in solitary contemplation amid the ruins of the Coliseum. To his question as to why he was there and alone, Angelo replied, "I am still at school taking my lessons so that I may continue to learn." He once drew a picture of an old man, somewhat resembling himself, seated in a child's carriage with the motto, "I still learn." His anatomical studies begun in his early youth at Florence were never given up, and when other subjects were lacking he dissected domestic animals and above all welcomed the opportunity to dissect several horses. Dürer in Germany and Da Vinci in Italy had been faithful dissectors, and Michelangelo kept up the tradition.