"Michelangelo" Quotes from Famous Books
 ... As to Dante's deep religious feeling and belief in his own divine mission, see J. R. Lowell, Among my Books, vol. i, p. 36. For a remarkable series of coloured engravings, showing Dante's whole cosmology, see La Materia della Divina Comedia di Dante dichiriata in vi tavole, da Michelangelo Caetani, published by the monks of Monte Cassino, to whose kindness I am indebted ...
— History of the Warfare of Science with Theology in Christendom • Andrew Dickson White
... cigarette. Reubens would have sipped a few drops of Rhenish from a Venetian glass. Teniers would have lit a clay pipe. Duerer would perhaps have swallowed a pint of Nueremberg beer, and Greuse or Mignard would have resorted to their snuff-boxes. We do not know what Michelangelo or Perugino did under the circumstances, but it is tolerably evident that the man of the nineteenth century cannot think without talking and cannot talk without cigarettes. Therefore Anastase began to smoke and Orsino, being young ...
— Don Orsino • F. Marion Crawford
... the Piazza of Michelangelo and saw Florence, like a city of dim, red gold extended beneath them. The setting sunlight wove an enchantment over towers and roofs. It spread a veil of ineffable brightness upon the city and tinged green Arno also, where the river wound ...
— The Grey Room • Eden Phillpotts
... as Pio Rajna has shown, "the rifacimento of two earlier popular poems," was written to amuse Lucrezia Tornabuoni, the mother of Lorenzo de' Medici, and that it was recited, canto by canto, in the presence of such guests as Poliziano, Ficino, and Michelangelo Buonarotti; but how "it struck these contemporaries," and whether a subtler instinct permitted them to untwist the strands and to appraise the component parts at their precise ethical and spiritual ...
— The Works of Lord Byron, Volume 4 • Lord Byron
... prevailed then in art as well as in life. Leo X., that splendid Medici, was as zealous a Protestant as Luther, and as there was a Latin prose protest in Wittenberg, so they protested poetically in Rome in stone, color, and ottaverime. And do not the mighty marble images of Michelangelo, the laughing nymphs of Giulio Romano, and the joyous intoxication of life in the verses of Ludovico Ariosto form a protesting opposition to the old, gloomy, worn-out Catholicism? The painters of Italy waged a polemic against priestdom which was perhaps more effective than that of the ...
— The German Classics of The Nineteenth and Twentieth Centuries, Vol. VI. • Editor-in-Chief: Kuno Francke
... still the grotesque, which now casts into the Christian hell the frightful faces which the severe genius of Dante and Milton will evoke, and again peoples it with those laughter-moving figures amid which Callot, the burlesque Michelangelo, will disport himself. If it passes from the world of imagination to the real world, it unfolds an inexhaustible supply of parodies of mankind. Creations of its fantasy are the Scaramouches, Crispins and Harlequins, ...
— Prefaces and Prologues to Famous Books - with Introductions, Notes and Illustrations • Charles W. Eliot
... Palestrina, whom he contrasts with the mountainous fuguists of "Saxe-Gotha" and elsewhere, probably had for him the same kind of charm as the early painters of Florence. Out of that "infancy," however, there had arisen no "titanically infantine" Michelangelo, but a race of accomplished petits maitres, whose characteristic achievement was the opera of the rococo age. A Goldsmith or a Sterne can make the light songs of their contemporaries eloquent even to us of gracious ...
— Robert Browning • C. H. Herford
... His the energy which impelled Roger Bacon, Galileo, and Paracelsus in their searchings into nature. His the beauty that allured Fra Angelica and Raphael and Leonardo da Vinci, that inspired the genius of Michelangelo, that shone before the eyes of Murillo, and that gave the power that raised the marvels of the world, the Duomo of Milan, the San Marco of Venice, the Cathedral of Florence. His the melody that breathed ...
— Esoteric Christianity, or The Lesser Mysteries • Annie Besant
... or Anglicizations of other names (e.g., "Michael Angelo" for "Michelangelo"; "Or San Michele" for "Orsanmichele"; "Brunellesco" for "Brunelleschi") have been retained as they appear ...
— Donatello • David Lindsay, Earl of Crawford
... drove callously away from Santa Maria Maggiore to San Pietro in Vincoli, where I expected to renew my veneration for Michelangelo's Moses. That famous figure is no longer so much in the minds of men as it used to be, I think; and, if one were to be quite honest with one's self as to the why and wherefore of one's earlier veneration, ...
— Roman Holidays and Others • W. D. Howells
... Tingo-Tango forests, at first casts it aside and then, light dawning as he ponders over those monstrous complexities, begins to realize that they, and they alone, contain the quintessential formulae of all the fervent dreamings of Scopas and Michelangelo; even as he who first, upon a peak in Darien, gazed awestruck upon the grand Pacific slumbering at his feet, till presently his senses reeled at the blissful prospect of fresh regions unrolling themselves, boundless, past the ...
— Old Calabria • Norman Douglas
... afterwards I bought two ivory combs for 30 stivers. Thence they took me to St. James's and let me see the splendid paintings of Roger and Hugo, who are both great masters. Afterwards I saw the alabaster Madonna in Our Lady's Church that Michelangelo of Rome made; afterwards they took me to many churches and let me see all the fine paintings, of which there is abundance there, and when I had seen the Jan [Van Eyck] and all the other things, we came at last ...
— Memoirs of Journeys to Venice and the Low Countries - [This is our volunteer's translation of the title] • Albrecht Durer
... Fontainebleau, and we see it at its best in architecture, sculpture, and painting. And we cannot help admiring it, for it is amazingly beautiful. Yet it is not Italian—the Italian of the Medici and Farnese palaces. Il Rosso was neither a Michelangelo nor a Carracci; but he set a fashion. He changed the face of art for France. Nor was it in painting and sculpture only. The Italian passion for devises, anagrams, emblems, and mottoes became the rage in Paris. It first came in with the return of Charles VIII. from his Neapolitan ...
— Illuminated Manuscripts • John W. Bradley
... its students from the legend to the work of beauty, and lastly, severing itself from the religious tradition, became the exponent of the majesty and splendor of the human body. This final emancipation of art from ecclesiastical trammels culminated in the great age of Italian painting. Gazing at Michelangelo's prophets in the Sistine Chapel, we are indeed in contact with ideas originally religious. But the treatment of these ideas is purely, broadly human, on a level with that of the sculpture of Phidias. Titian's "Virgin Received into Heaven," soaring midway ...
— The Great Events by Famous Historians, Volume 07 • Various
... the Cathedral. His personal taste, however, ran more to painting; for some months he worked at his canvases with an ardor too great to last long. If ever a man was touched by the Spirit of the Renaissance, it was surely young Galileo. The Archbishop of Pisa said, "Upon him has fallen the mantle of Michelangelo." ...
— Little Journeys to the Homes of the Great - Volume 12 - Little Journeys to the Homes of Great Scientists • Elbert Hubbard
... war, Napoleon was its Michelangelo, and this true genius was conquered by calculation. On both sides somebody was expected; and it was the exact calculator who succeeded. Napoleon waited for Grouchy, who did not come; Wellington waited for Bluecher, ...
— Seeing Europe with Famous Authors, Volume 4 (of 10) • Various
... neglect of the scientific study of perspective. As an illustration of what I mean, let the student look at a good engraving or photograph of the Arch of Constantine at Rome, or the Tombs of the Medici, by Michelangelo, in the sacristy of San Lorenzo at Florence. And then, for an example of a mistake in the placing of a colossal figure, let him turn to the Tomb of Julius II in San Pietro in Vinculis, Rome, and he will see that the figure of Moses, so grand in itself, not only loses much ...
— The Theory and Practice of Perspective • George Adolphus Storey
... even worth misunderstanding. Gladstone was a demagogue: Disraeli a mystagogue. But ours is specially the time when a man can advertise his wares not as a universality, but as what the tradesmen call "a speciality." We all know this, for instance, about modern art. Michelangelo and Whistler were both fine artists; but one is obviously public, the other obviously private, or, rather, not obvious at all. Michelangelo's frescoes are doubtless finer than the popular judgment, but they are plainly meant to strike ...
— All Things Considered • G. K. Chesterton
... was crescent. That the world should know Marlowe and Giorgione, Raphael and Mozart, only by the products of their early manhood, is indeed a cause for lamentation, when we remember what the long lives of a Bach and Titian, a Michelangelo and Goethe, held in reserve for their maturity and age. It is of no use to persuade ourselves, as some have done, that we possess the best work of men untimely slain. Had Sophocles been cut off in his prime, before the composition of ...
— Percy Bysshe Shelley • John Addington Symonds
... Great Michelangelo, with age grown bleak And uttermost labours, having once o'ersaid All grievous memories on his long life shed, This worst regret to one true heart could speak:— That when, with sorrowing love and reverence meek, He stooped o'er sweet Colonna's dying bed, His Muse and dominant Lady, ...
— The House of Life • Dante Gabriel Rossetti
... a collection of prints from the works of Michelangelo, it is impossible to secure any wide variety, either in subject or method of treatment. We are dealing here with a master whose import is always serious, and whose artistic individuality is strongly impressed on all his works, either in sculpture or painting. Our ...
— Michelangelo - A Collection Of Fifteen Pictures And A Portrait Of The - Master, With Introduction And Interpretation • Estelle M. Hurll
... languor had fallen upon him after all his afflictions. He would loll through half his days among the tombs on the Via Latina, or would loiter for hours and hours along the Appian Way. It took him weeks to summon energy to visit S. Pietro in Vincoli, although he knew that Michelangelo's "Moses" was there, and though he was weary with longing to see it. All the tense chords of Ibsen's nature were loosened. His soul was recovering, through a long and blissful convalescence, from the aching maladies ...
— Henrik Ibsen • Edmund Gosse
... moment she forgot why they had come into the gallery, and her attention remained fixed upon the canvases. With the ever-vigilant Giovanni at her side, she seemed to be walking in a day that was past, to be enveloped in a fairy mantle! She put her hand on a group said to be the work of Michelangelo, running her fingers over the face of one of the figures with awe ...
— The Title Market • Emily Post
... think of Mrs. Michelangelo, in her poor mourning for one child run over and killed, wiping her tears away and going bravely to work to keep the home together for the other five until the oldest shall be old enough to take her father's place; and when, as now, there strays into ...
— The Battle with the Slum • Jacob A. Riis
... language in this text, which remains as printed. The author also used alternative spelling in places (e.g. Epimethus rather than the more usual Epimetheus); this remains as printed. There is a reference to Michael Angelo on page 203 and in the Index, by which the author presumably meant Michelangelo; this has also been ...
— A Book of Myths • Jean Lang
... than this of bravery and beauty, youth and fame, immortal honour and untimely death; nor could any sculptor of death have poetised the theme more thoroughly than Agostino Busti, whose simple instinct, unlike that of Michelangelo, led him to subordinate his own imagination ...
— Sketches and Studies in Italy and Greece • John Addington Symonds
... fashions it has nothing to do; that it is explicitly a part of our modern urge toward expression quite as much as the art of Corot and Millet were of Barbizon, as the art of Titian, Giorgione and Michelangelo were of Italy; that he and his time bear the strictest relationship to one another and that through this relationship he can best build up his own original power. Unable to depend therefore upon the confessedly ...
— Adventures in the Arts - Informal Chapters on Painters, Vaudeville, and Poets • Marsden Hartley
... in his proportion to any other author or artist, but in his relation to the human nature, known to us all, which it is his privilege, his high duty, to interpret. "The true standard of the artist is in every man's power" already, as Burke says; Michelangelo's "light of the piazza," the glance of the common eye, is and always was the best light on a statue; Goethe's "boys and blackbirds" have in all ages been the real connoisseurs of berries; but hitherto the mass of common men have been afraid to apply their own simplicity, ...
— Henry James, Jr. • William Dean Howells
... not arrested by formal obstacles. It builds, destroys, and rebuilds. It may take a million years to fashion a useful organ. Slowness is no deterrent. The powers that shaped the genius of Michelangelo and Shakespeare out of the rude brain of savage man needed time, but the achievement was worthy of the labour. To-day there are signs and portents that psychic faculties once possessed by the very few are in ...
— Mountain Meditations - and some subjects of the day and the war • L. Lind-af-Hageby |
