Sculpture

In Michelangelo's statue of Moses the great Hebrew leader is represented at the height of his career. He was a prophet, a poet, a military commander, and a statesman. The story of his life will show how all these qualities could be combined in one person.

IN CONNECTION WITH THE SEVERAL WORKS HERE REPRESENTED.

The Madonna and Child and the Holy Family:—

David:—

Cupid:—

The pictures we have thus far studied in this collection are reproductions of works of sculpture. This is the art which Michelangelo loved best. He was, however, a painter also, and in the later years of his life he was even drawn into architecture. Painting was the first art he studied, but he soon laid it aside for sculpture, and after that returned to it from time to time throughout his life.

(Based on Symonds' Life of Michelangelo Buonarotti, to which the accompanying notes on pages refer.)

In the busy years of Christ's ministry we do not read of his often being with his mother Mary. He was going about the country preaching and healing, and gave himself wholly to his mission. Yet we know that the love between mother and son was constant and unchanging. From beginning to end she always had confidence in his power, and his tender care for her was among his last thoughts.

(Cristo Risorto)

Pietro Bembo, 1470-1547, made cardinal in 1539, master of Latin style and also writer in Italian.

Jacopo Sadoleto, 1477-1547, made cardinal in 1536, writer of Latin verses, moral treatises, and commentary on Romans.

Egidio Canisio, 1470-1532, made cardinal in 1457, Latin orator and writer on philosophy, history, and theology.

Paolo Giovio, 1483-1552, bishop of Nocera 1528, historian and biographer.

Baldassare Castiglione, 1478-1529, diplomatist and scholar.

In fine, the impressionist has his own conventions; no school can escape them, from the very nature of the case and the definition of the term. The conventions of the impressionists, indeed, are particularly salient. Can anyone doubt it who sees an exhibition of their works? In the same number of classic, or romantic, or merely realistic pictures, is there anything quite equalling the monotony that strikes one in a display of canvasses by Claude Monet and his fellows and followers? But the defect of impressionism is not mainly its technical conventionality.

M. Emmanuel Frémiet occupies a place by himself. There have been but two modern sculptors who have shown an equally pronounced genius for representing animals—namely, Barye, of course, and Barye's clever but not great pupil, Cain. The tigress in the Central Park, perhaps the best bronze there (the competition is not exacting), and the best also of the several variations of the theme of which, at one time, the sculptor apparently could not tire, familiarizes Americans with the talent of Cain.