"Mo (Mowe, acervus, heap) which was conftantly used by all our old English authors, has, with the moderns, given place to MUCH: which has not (as Junius Wormius, and Skinner imagined of Mickle) been borrowed from pμeyados; but is merely the diminutive of Mo, paffing through the gradual changes of Mokel, Mykel, Mochil, Muchel (till retained in Scotland) Moche MUCH." P. 502.

(To be concluded in our next.)

ART. II. The Life and Writings of Michel Angelo Buonarrotti, comprifing his Poetry and Letters, containing_alfs a critical Difquifition on his Merit as a Painter, a Sculptor, an Architect, and a Poet. By R. Duppa. 4to. 21, 25. Murray, 1806.

T any period fince his death, to have written the Life of Michel Angelo, with critical opinions on his genius and his performances, would have been a perilous and arduous undertaking. But it is peculiarly fo at the present day, when a tafle for fculpture and painting is progreffively increafing; when an acquaintance with the beft works of the greatest mafters is becoming every day more familiar, and when there appears to prevail a difpofition to encourage and reward a fpirit of emulation to rival genius like this, which Mr. Duppat has not unfuccefsfully attempted to commemo

rate.

So great was the esteem in which the fubject of this biographical sketch was held, that even during his life two tracts were published in celebration of his talents and his geniusthe first was by Vafari, in 1550; the other by Condivi, in 1553. The tract by Condivi is not much known, but is efteemed by the celebrated Beyers, one of the scarcest books

The words in this table, which we have printed in capitals, have come down to us in Anglo-faxon writings, and are, by the -author, printed in the Anglo-faxon characters. The words in italics are, he fays, the fame words in found, but fo printed as to fhow the regularity of the comparifon; and the words in the Roman character and not in capitals, are fuch as we ftill use in English. +Mr. Duppa printed, in 1799, an interefting account of tranf actions recent at Rome, where he then was. See Brit. Crit. Vol. xiv. p. 228.

in the world. Vafari is a name very familiar to all lovers of painting and the arts.

Mr. Duppa commences his volume by affigning his motive for writing the name as he has done. In Tufcan it is. Agnolo; in the Bolognefe dialect it is Angiolo; in the Venetian, Anziolo: but in the Della Crufca it is Angelo ; and Mr. D. writes Michel, omitting the A, that the word may be pure Italian. For our parts, in an English work, we do not fee the neceflity for Italianizing the names, particularly Chriftian names,

Like other characters, marked by extraordinary endowments of mind, the earlier youth of Michel Angelo was wayward, and he neglected his ftudies; but as he on all occafions difcovered a ftrong love and propenfity for painting,. he was put under the care of Domenico Ghirlandaio. But what is particularly remarkable, and indeed almoft without example, inftead of giving any premium, the pupil immediately received a falary from his mafter. His progrefs was what might have been expected, and almost to immediate excellence. The narrative of his earlier exercife in his profeffion is agreeably diverfified with anecdote, and in particular, the attention and kindness fhown to the young artift by the famous Lorenzo De Medici is detailed with much intereft, to the period of the death of the latter, which for a while deprived M. Angelo of his patron and protector.A ghoft ftory is related at p. 18, which will remind the English reader of a fimilar tale in the preface to Clarendon's Hiftory, concerning the Duke of Buckingham. In confequence of the difturbed ftate of Florence, the artift retired to Bologna, where, after flaying a year, and executing two flatues in marble, for the church of St. Domenico, he returned home. His first vilic to Rome was occafioned by the following circumflance.

"Michel Angelo being again fettled in his father's houfe, purfued his profethion, and produced a ftatue of a sleeping Cupid, that advanced his reputation; and as, at this period, the difcoveries of antiquity, which made a new era in art and literature, were found fometimes to betray the judgement into too great an enthusiasm for thofe remains, it was fuggefted to him by a friend of his, one Pier Francefco, that if it could be fuppofed an antique, it would not fail to be equally admired. He adopted the thought, and ftained the marble fo as to give it the defired appearance, and his friend fent it to Rome, configned to a proper perfon, to carry on the deception; who, after burying it in his vineyard, dug it up, and then reported the difcovery. The deception completely fucceeded, and the ftatue was bought by Cardinal St. Georgio for two hundred ducats; of which fum, however, Michel Angelo only received thirty,

M m 3

"The

"The Cardinal had not long been in the poffeffion of his new purchase, before he was given to understand that he was deceived; and that inftead of its being an antique, it was the work of a modern artift in Florence. He felt indignant at the impofition, and immediately fent a gentleman of his houfehold re Florence, -on purpose to learn the truth. No fooner was Michel Angelo difcovered to be the sculptor, than the most flattering commendation was bestowed upon his merit, and he was ftrongly recommended to vifit Rome, as the proper theatre for the exercife of his great talents as an additional inducement, he was promifed to be introduced into the Cardinal's fervice, and given to expect that he would recover the whole fum for which his ftatue had been fold. Michel Angelo felt thefe advantages, and without further hesitation, returned with the gentleman to Rome. The perfon who fold the ftatue was arrested, and obliged to refund the money; but Michel Angelo was not benefited, nor was the Cardinal afterward fufficiently complaifant to reward him with encouragement who had been the means of mortifying his pride." P. zo.

He was induced, however, after no long time, again to vifit Florence, where, under the protection of Pietro Soderini, he fuccefsfully profecuted his art, and produced the famous coloffal ftatue of David, for the front of the Palazzo Vecchio, where it now remains. On the establishment of Julius the Second in the papal throne, whofe favourite obfervation it was, that "LEARNING elevated the lowest orders of fociety, ftamped the highest value on nobility, and to princes was the inoft fplendid gem in the diadem of fovereignty," Michel Angelo was among the first invited to his court; and hence his mighty talents expanded to their full maturity. A ftriking anecdote of his noble spirit is related at p. 38, 39. He quarrelled with Julius, as any other man of genius would have done, but was foon reftored to the favour and distinction which he merited. The anecdote of the reconciliation is worth infertion.

"Being now at Bologna enjoying the advantages of his enterprise, and at peace with the inhabitants, the Gonfaloniere confidered it a favourable opportunity for Michel Angelo to make his peace alfo - with the Pope, and his brother the Cardinal Soderini was willing to undertake the mediation. Michel Angelo acceded to the proposition, and immediately went to Bologna to avail himfelf of its probable advantages. When he arrived, the Cardinal was un fortunately indifpofed, and he deputed a Monfignore, of his household, to officiate in his stead, and introduce him to his Holinefs, who was then refiding in the government palace. As Michel Angelo entered the prefence.chamber, the Pope gave him an afkance look of displeasure, and after a short paufe faluted him, In the ftead of your coming to us, you feem to have expected that we fhould wait upon you.' Michel Angelo replied with

fubinition,

fubmiffion, that his error arofe from too haftily feeling a difgrace that he was unconfcious of meriting, and hoped his Holiness would pardon what was paft. The Monfignore standing by, not thinking this a fufficient apology, endeavoured to extenuate his conduct, by faying that great allowance was to be made for fuch men, who were ignorant of every thing but their art; on which the Pope haftily replied, with warmth, Thou haft vilified him, which I have not; thou art an ignorant fellow, and no man of genius; get out of my fight;' and one of the attendants immediately pufhed him out of the room. The Pope then gave Michel Angelo his benediction, and reftored him to his friendfhip; and before he withdrew, defired him not to quit Bologna till he had given him a commiffion for fome work of art. In a few days he ordered a colossal statue of himself to be made in bronze." P. 43.

Soon afterwards he commenced his immortal work, the ceiling of the Sistine Chapel. There is no part of the work which better merits a tranfcript than the author's description of this admirable performance.

"As the work advanced, the Pope frequently vifited him in the chapel, and afcended the ladder to the top of the fcaffolding, where Michel Angelo was used to lend him his hand, that he might get with fafety on the platform. Notwithstanding this daily opportunity of indulging an eager curiofity, his Holinefs grew impatient to fee the general effect as far as it was advanced; and to pacify the natural impetuofity of his temper, all the ma, chinery was removed before half the ceiling was completed. To thofe who know the danger of gratifying the curiofity of a pa tron in a premature difplay of his works, this must be regarded as a hazardous experiment; fortunately, however, the exhibition was attended with no difappointment. The Pope was perfectly fatisfied, and all men of tafte and virtue fo eagerly preffed for, ward to avail themselves of the opportunity, that they crowded into the chapel before the duft, occafioned by the taking down of the fcaffolding, had fubfided.

"The rivals and enemies of Michel Angelo, if any there were, who hoped to fee his genius reduced to a level with their own, were now difappointed: nevertheless the architect of St. Peter's was accused of unworthily condefcending to ufe his influence to circumfcribe his fame, by fecretly foliciting the Pope to permit Raffaello to paint the other half of the ceiling, that he might share the honour of the undertaking. Of this furreptitious proceeding Michel Angelo had immediate intimation, and appealed to the Pope, in the prefence of Bramante himself, to juftify his claim to the completion of a work he had fo fuccefsfully begun. The Pope, however, was fo perfectly fatisfied with that part of the chapel already executed, that he was not to be swayed by any M m 4

undue

undue influence, and with the most fatisfactory affurances of his efteem and confidence, defired him to proceed without a partner, and without interruption.

"After the curiofity of Rome was fatisfied, Michel Angelo refumed his work, and with the moft perfevering affiduity con-. tinued till it was finished. The ceiling, which is coved, he or namented with architectural decorations, painted in chiar'-ofcuro, and feparated into numerous divifions. The flat fpace at the top he divided into nine compartments, each containing a fubject from the Old Teftament, in the following order :-The Deity dividing the light from the darknefs, which may be confidered the fift in the order of fucceffion; the fecond picture reprefents the perfonification of the Deity, with extended arms, creating the Sun and Moon, and in the fame compartment creating and fructifying the Earth; in the third space the Deity is intended to be looking down upon the waters, commanding them to be a habitable deep; the fourth is the creation of Adam, in which the omnipotent power is furrounded by angels, extending his right arm, as if imparting the vital principle to the created form; the fifth is the creation of Eve: the fixth, the lofs of Paradife; the feventh, the facrifice by Cain and Abel; the eighth, the Deluge; and the ninth reprefents the inebriation and expofure of Noah. Beneath the chiar'-ofcuro entablature, which divides the coved from the flat part of the ceiling, are arranged forty-eight infantine figures, ftanding two and two, on pedestals, in diverfified attitudes, fupporting the cornice as cariatides; and between them are feated twelve coloffal of Prophets and Sybils, alternately arranged. Over the windows, in compartments called lunettes, are fourteen compofitions, and an equal number of tablets, infcribed with names indicating the genealogy of Chrift; and in triangular spaces produced by the thicknefs of the wall immedi ately over the lanettes, are introduced eight compofitions of domestic fubjects. In the angles at the four extreme corners of the ceiling re reprefented the miracle of the brazen ferpent, the execution of Haman, the death of Goliah, and the treachery of Judith. Befides thefe various compofitions, are ten medallions, with hiftorical fubjects, and more than fifty fingle figures, dif pofed of as ornamental accompaniments to the general defign. As the most elaborate and minute defeription of this comprehenfive work would only puzzle the mind, and make but a vague and uncertain impreffion, I have preferred annexing a sketch of the whole ceiling, with the compofitions and their arrangement, as the more fatisfactory way of making it better understood by thofe who have not been fortunate enough to fee the chapel itself.

From the commencement to the conclufion of this stupendous monument of human genius, twenty-two months were only employed. So short a time for the completion of fo vaft a work could hardly be credited, if it were not more difficult to refufé

the