PREFACE

In making 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 selections represent his best work in both arts.  These are arranged, not in chronological order, but in a way which will lead the student from the subjects most familiar and easily understood to those which are more abstract and difficult.

Estelle M. Hurll. 
New Bedford, mass. 
January, 1900.

CONTENTS AND LIST OF PICTURES

Portrait of Michelangelo.  Attributed to Bugiardini.
          
                                  Frontispiece.

INTRODUCTION

I. On Michelangelo’s character as an artist
ii.  On books of reference
iii.  Historical directory of the works of art in this collection
iv.  Collateral readings from literature
V. Outline table of the principal events in Michelangelo’s life
VI.  Some of Michelangelo’s famous Italian contemporaries

   I. Madonna and child
  ii.  David
 iii.  Cupid
  iv.  Moses
   V. The holy family
  VI.  The Pieta
 VII.  Christ triumphant
viii.  The creation of man
  ix.  Jeremiah
   X. Daniel
  XI.  The Delphic sibyl
 xii.  The Cumaean sibyl
XIII.  Lorenzo de’ Medici
 XIV.  Tomb of Giuliano de’ Medici
  xv.  Central figures from the last judgment
 XVI.  Portrait of Michelangelo (See Frontispiece)

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

Note:  All the pictures with the exception of the Cupid were made from photographs by Fratelli Alinari.  The Cupid was photographed from the statue in the South Kensington Museum, London.

INTRODUCTION

I. ON MICHELANGELO’S CHARACTER AS AN ARTIST.

Michelangelo’s place in the world of art is altogether unique.  His supremacy is acknowledged by all, but is understood by a few only.  In the presence of his works none can stand unimpressed, yet few dare to claim any intimate knowledge of his art.  The quality so vividly described in the Italian word terribilita is his predominant trait.  He is one to awe rather than to attract, to overwhelm rather than to delight.  The spectator must needs exclaim with humility, “Such knowledge is too wonderful for me; it is high, I cannot attain unto it.”  Yet while Michelangelo can never be a popular artist in the ordinary sense of the word, the powerful influence which he exercises seems constantly increasing.  Year by year there are more who, drawn by the strange fascination of his genius, seek to read the meaning of his art.