He continued to study to the end of his life. In his old age the cardinal Farnese found him walking in solitude amidst the ruins of the Coliseum and expressed his surprise. Michael answered, “I go yet to school that I may continue to learn.” He lived much alone. His great excess seems to have been indulgence in reflection, and the labours of his profession. The power of generalizing facts, and realizing what he conceived, he drew from this habit: without it some men have become popular for a time, but no man ever became great. * * * * * Grandeur was Michael Angelo’s prevailing sentiment. In his architecture of St. Peter’s, he seems to have been limited by the impossibility of arriving to excellence without adopting the ancient styles, and the necessity of attempting something great without them; and to speak with the severity of uncompromising truth he failed. Of what else he did in that science, and he did much, for which he obtained deserved renown, there is neither room nor occasion to speak. In painting and sculpture, if he did not always succeed in embodying his feelings, yet he succeeded more frequently than any other artist since the revival of arts; and, as his power was greater than theirs, so he accomplished greater works. His aim was elevated as that of the giants who warred against the fabled gods; in one respect he was unlike them--he conquered. Majestic and wild as nature in her undescribable sublimity, he achieved with corresponding greatness and beauty. His forms and their intellectual expression are of the highest order. He never did any thing little. All was in harmony with a mind which he created of himself by adding fact to fact, by severe reading, by close observation, by study, by seclusion. He was the quarrier, and architect, and builder-up of his own greatness. * * * * * Sir Joshua Reynolds speaks with becoming deference of Michael Angelo’s powers.--“It will not be thought presumptuous in me to appear in the train, I cannot say of his imitators, but of his admirers. I have taken another course, one more suited to my abilities, and to the taste of the times in which I live. Yet however unequal I feel myself to that attempt, were I now to begin the world again, I would tread in the steps of that great master: to kiss the hem of his garment, to catch the slightest of his perfections, would be glory and distinction enough for an ambitious man. He was the bright luminary from whom painting has borrowed a new lustre, under whose hands it assumed a new appearance, and became another and superior art, and from whom all his contemporaries and successors have derived whatever they have possessed of the dignified and majestic.” * * * * *