Michelangelo Part 7

VI

THE PIETa

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.

On the dreadful day of the Crucifixion, the mother was found standing by the cross, with her sister and Mary Magdalene. "When Jesus therefore saw his mother, and the disciple standing by, whom he loved [that is, St. John], he saith unto his mother, Woman, behold thy son!

Then saith he to the disciple, Behold thy mother! And from that hour that disciple took her unto his own home."[14]

[Footnote 14: John, chapter xix. verses 26, 27.]

We can imagine the mother's anguish in seeing her son suffer this cruel and ignominious death. He had lived only to do good, and now he was dying an innocent sacrifice to his enemies. At such a moment the mother might truly feel that a sword was piercing her soul, as the old man Simeon[15] had once prophesied of her, many years before.

[Footnote 15: Luke, chapter ii. verse 35.]

"Wearied was her heart with grieving, Worn her breast with sorrow heaving, Through her soul the sword had pa.s.sed.

"Ah! how sad and broken-hearted Was that blessed mother, parted From the G.o.d-begotten One!

"How her loving heart did languish When she saw the mortal anguish Which o'erwhelmed her peerless Son."[16]

[Footnote 16: From _Stabat Mater_.]

Time pa.s.sed, and Jesus now being dead, his friends were permitted by the governor to remove him from the cross. Joseph of Arimathea took the lead, as he was to lay the body in a new sepulchre recently made in his garden. Nicodemus was also there, bringing linen and spices for the burial, and the loving women lingered to see these preparations.

We can imagine how they might all stand aside to make room for the mother Mary. Perhaps, indeed, they would withdraw a little way to leave her for a moment alone with her son. The years seem to melt away, and again she gathers him in her lap as when he was a babe. All the motherly tenderness which she has had long pent up in her heart now overflows. If she has sometimes felt a little lonely that in his manhood he no longer needed her care, she forgets it now. He is still her child.

The marble group by Michelangelo interprets such a moment for us. The Italians call the subject the Pieta, which means compa.s.sion, but the name scarcely expresses all the emotions of the mother. She seems as strong and young as when she brooded over her babe in the Bethlehem manger. "Purity enjoys eternal youth" was the sculptor's explanation to those who objected.

[Ill.u.s.tration: THE PIETa _St. Peter's, Rome_]

Across her capacious, motherly lap lies the slender, youthful figure of the dead Christ. The head falls back, and the limbs are relaxed in death. Suffering has left no trace on his face. The nail prints in hands and feet, and the scar in the side, are the only signs of his crucifixion. The delicately moulded body is beautiful in repose.

The mother seems to find mysterious comfort in gazing upon her son.

Perhaps his death has opened her eyes to the meaning of his life. If this is so, she cannot grieve. He has finished the work given him to do, and death is the beginning of immortality. So sorrow gives place to resignation. She is again the proud mother. The fond hopes with which she watched his childhood have been more than fulfilled. She extends her hand in a gesture which seems to say, "Behold and see."

It is said that certain Lombards, pa.s.sing through the church where the Pieta stood, ascribed the work to a Milanese sculptor named Cristoforo Solari. Michelangelo, having overheard them, shut himself up in the chapel, and chiselled his name upon the girdle which crosses the Madonna's breast and supports her flowing garments. His name is not found on any of his other works, and we can understand why he felt proud of such a masterpiece. Though made when on the very threshold of his career, it was never surpa.s.sed even in his later years. Some other artist afterwards designed the two little bronze cherubs who hold a crown over the Madonna's head. They are quite out of harmony with the impressive dignity of the figures below.

Michelangelo's early love of Greek sculpture taught him many lessons, which were worked out in this group. It has, first of all, that perfect repose which was the leading trait in cla.s.sic art. There is nothing strained or violent in the positions. Besides this, the figures are so arranged that on all sides, as in a Greek statue, the lines are beautiful and harmonious.

But the subject itself is one which would have been too sad for the pleasure-loving Greek. To the pagan the thought of death was something to be avoided. Michelangelo's statue teaches the highest lesson of religious faith,--the beauty of resigned sorrow and the sublimity of sacrificing love.

VII

CHRIST TRIUMPHANT

(_Cristo Risorto_)

The character of Christ is so many-sided that when trying to fancy how he looked while he lived in the world, everyone has probably a different thought uppermost. The business man and the lawyer may imagine the keen, searching glance which he turned upon those who tried to entangle him with hard questions. A loving woman thinks rather of the compa.s.sionate look with which he greeted the sisters of Lazarus when they came to tell him that their brother was dead. The physician may wonder how he looked when he spoke the commanding words to those whom he healed.

Others dwell upon his sufferings as the Man of Sorrows, and often think how sad he looked when he referred to the disciple who should betray him. Lovers of nature like to imagine the look of pleasure on his face in seeing the lilies growing in the field, or the expression of eager inquiry with which he asked the fishermen what luck they had had. Every boy and girl likes best to think of him smiling upon the children, whom he called to him and took in his arms.

Now when an artist makes an ideal representation of Christ, he tries to show us as many as possible of these elements of character combined in one figure. So we may test the success of Michelangelo's statue of Christ by searching out these various elements in it. We must also know what incident the artist had in mind of which the work is an ill.u.s.tration, so to speak.

The statue is called in Italian _Cristo Risorto_, that is, Christ Risen or Triumphant, because the reference is to a circ.u.mstance not recorded of his earthly career, but belonging to the time following his resurrection. It is connected with a story told by St. Ambrose about the apostle Peter. St. Peter, it is believed, spent the latter part of his life in Rome, where the cruel emperor, Nero, was doing his best to exterminate the Christians.

"After the burning of Rome, Nero threw upon the Christians the accusation of having fired the city. This was the origin of the first persecution, in which many perished by terrible and hitherto unheard-of deaths. The Christian converts besought Peter not to expose his life, which was dear and necessary to the well-being of all; and at length he consented to depart from Rome. But as he fled along the Appian Way, about two miles from the gates, he was met by a vision of our Saviour, travelling towards the city. Struck with amazement, he exclaimed, 'Lord! whither goest thou?' (_Domine, quo vadis?_) to which the Saviour, looking upon him with a mild sadness, replied, 'I go to Rome to be crucified a second time,' and vanished. Peter, taking this for a sign that he was to submit himself to the sufferings prepared for him, immediately turned back, and reentered the city."[17]

[Footnote 17: From Mrs. Jameson's _Sacred and Legendary Art_, pages 200, 201.]

[Ill.u.s.tration: CHRIST TRIUMPHANT. _Church of S. Maria sopra Minerva, Rome._]

It is this visionary figure of the Christ, appearing and disappearing before the eyes of Peter, that Michelangelo represents in the statue.

He carries a cross not large enough for an actual crucifixion, as that would be out of place here, but tall enough to show its real purpose.

He has also the long reed and the sponge which the soldier used to give him a drink of vinegar and gall when he thirsted on the cross. A bit of rope is a reminder of the scourging given him by the governor.

All these things he carries with him to Rome for a fresh martyrdom. It is as if in walking along the way he suddenly meets Peter, and, at the apostle's astonished question, he pauses, leaning a moment on the cross, as he turns gently to reply.

Now as this is the Christ risen, or triumphant, the Christ who has conquered death and the grave, Michelangelo wanted to do all he could to make a n.o.ble-looking figure. The face is of the handsome type, with regular features, which the Italians like to give to their ideal of Christ. The expression of reproach is so gentle that one deserving rebuke may well feel ashamed before it.

The sorrow in the face is such as Jesus might have shown as he turned to Judas at the Last Supper. The gentleness in it is of the quality so attractive to children. There is, too, something of the sympathetic element in it which Mary and Martha found.

The countenance is not without intellectuality, though it scarcely shows the keenness which the lawyers found it hard to outwit. It has rather the refinement of a lover of all that is beautiful. Nor is there much in expression or att.i.tude to suggest the more commanding qualities of Jesus. These stronger elements the statue seems to lack.

It is rather puzzling to one who is trying to form standards of taste to learn that critics are divided in their opinion about this statue.

It is, therefore, well to know that Michelangelo is not wholly responsible for the work as we now see it. Though he designed and began it, he left it to some unskilful apprentices to finish. The effect of the lines is injured by the bronze drapery which was added later. A bronze sandal has also been put on the right foot to protect it, as it had become much worn by kisses.

In criticising a statue one must always remember that it is best seen in the surroundings for which it is designed. It is said, even by one who does not greatly admire Michelangelo's Christ, that in the dim light of the church where it stands, "it diffuses a grace and sweetness which no reproduction renders."[18]

[Footnote 18: Symonds, in _Life of Michelangelo Buonarotti_.]

VIII

THE CREATION OF MAN

Science has long been trying to solve the problem of the origin of the human race. Great books are published by learned men to explain how the being called man came to be what he is. But centuries before the beginnings of science a wonderful poem was written on the same subject of the creation. This poem is called Genesis, that is, the Birth or Origin of things, and it forms a part of the first book of our Bible.

Ever since it was written it has been one of the sacred books of many people.

This story of creation was once the favorite subject of artists. In the period before the invention of printing, people depended for their instruction upon pictures about as much as we now do upon books.

Painters sometimes covered the walls and ceiling of churches with ill.u.s.trations of the book of Genesis, transforming them into huge picture-books, from which the worshippers could learn the Bible stories which they were unable to read in books.