Michelangelo Part 5

I

THE MADONNA AND CHILD

About two thousand years ago a babe was born in the little Judaean village of Bethlehem whose life was to change all history. His name was Jesus, and every Christian country now takes his birth as a standard from which to reckon time. When we speak of the year 1900, we are counting the number of years that have pa.s.sed since that event.[3]

To make this clear we sometimes add the initials A.D., standing for the Latin words, Anno Domini, meaning in the year of our Lord. To go still farther back we speak of an event as so many years B.C. or Before Christ.

[Footnote 3: To be perfectly exact we must always add four years to a date to get the full length of time pa.s.sed since the birth of Christ, as a mistake has been made in the calculation.]

The infant Jesus came to his mother Mary as a peculiar treasure.

Before his birth she had had a vision of an angel telling her that her son was to reign over a great kingdom. She felt that there was a great and solemn mystery in his life.

At the time he was born, Bethlehem happened to be crowded with people who had come there to pay their taxes. When Mary and her husband Joseph went to the inn, there was no room for them, and the baby was laid in a manger used to feed cattle. This was a humble cradle for one destined to be a king; but the mother did not think too much of outward things. Her confidence in her son's greatness was not to be shaken by trifles like this.

The new-born babe was soon sought out. First came some shepherds asking to see him, because, while watching their sheep at night, they had had a vision of angels telling them that a Saviour was born in Bethlehem. Still stranger visitors were some wise men from the East, who said they had seen a star which signified to them the birth of a king. They brought the babe royal gifts of gold and frankincense and myrrh, and returned on their way well pleased with the success of their journey.

When the babe was about a month old he was carried up to the great city of Jerusalem, where, according to the religious custom of the Jews, he was to be offered or presented to the Lord, in the temple.

Here a saintly old man named Simeon took him in his arms, with some strange words of prophecy of the salvation which this child was to bring to the world.

All these things made a deep impression upon Mary, and she was a proud and devoted mother. Day by day she watched her child grow "strong in spirit, filled with wisdom; and the grace of G.o.d was upon him." It is said that

"All mothers wors.h.i.+p little feet, And kiss the very ground they've trod,"

and this mother had special cause for child wors.h.i.+p.

[Ill.u.s.tration: MADONNA AND CHILD. _National Museum, Florence._]

The Italians always refer to the mother of Jesus as the Madonna, which is the old Italian way of addressing a lady. This representation of the Madonna and Child makes us understand better what the two were to each other. The confiding way in which the boy leans against his mother's knee shows the love between them. The mother looks like a queen; on her well-poised head she wears a headdress something like a crown. As the mother of a prince she bears her honors proudly.

On her lap is the book from which she has been reading. The child seems dreaming of the wonderful words he has heard, as he rests his cheek on his little hand, his elbow bent across the open page. A thoughtful mood is upon them both, and there is something wistful in the boy's att.i.tude. The message they have read must indeed be a solemn one. Perhaps it is something which recalls to the mother the promise of the angel in foretelling the birth of Jesus. She thinks of the great honors that are to be his, and also of the sacrifices by which they must be won. The book may be open at the words of one of those old Hebrew prophets who longed for the coming of the Redeemer. There is a verse in the prophecy of Isaiah, which speaks of a child upon whose shoulders the government shall rest.[4] The writer tells some of the many names by which he shall be called, and we may imagine this mother and child going over together these strange t.i.tles: "Wonderful, Counsellor, The Mighty G.o.d, The Everlasting Father, The Prince of Peace."

[Footnote 4: Isaiah, chapter ix. verse 6.]

Our ill.u.s.tration is from a bas-relief by Michelangelo, and as we examine it closely we discover that the sculptor's work was left unfinished. The rough marks of the chisel are still seen on the surface of the marble. A child's figure in the background is quite indistinct. Probably it was intended for the boy St. John the Baptist, the cousin of Jesus. The child Jesus himself is by no means completed; his right arm is only faintly indicated.

As we shall learn from other examples of sculpture in this book,[5]

Michelangelo often neglected to carry his work to completion. He was so possessed with his ideas that he could not work fast enough in sketching them on the marble, but after this, it did not matter so much to him about the finis.h.i.+ng. He had done enough to show his meaning.

[Footnote 5: Note particularly the Cupid on page 15, and the tomb of Giuliano de' Medici on page 81.]

There are reasons for liking such work all the better for being unfinished. Some of the most delightful stories ever written, like those of Hawthorne, leave something at the end still unexplained. The reader's imagination is then free to go on forever exploring the mystery, and inventing new situations. So in this bas-relief, the great sculptor does not work out the details, but allows us to exercise our own fancy upon them. He sketches his thought in a few n.o.ble lines, and each may round out for himself the completed ideal.

II

DAVID

Long ago in the country of Palestine lived a lad named David, who kept his father's sheep. His free life out of doors made him strong and manly beyond his years. The Israelites were at this time at war with the Philistines, and David's quick wit and indomitable courage fitted him to play an important part in the issue of the war.

The Philistine army contained a giant named Goliath, described as "six cubits and a span" in height. That is over ten feet; but perhaps his terrible appearance, in all his armor, made him taller than he really was.

One day this giant came out from his army and made a proposal to the Israelites:[6] "Choose you a man for you, and let him come down to me.

If he be able to fight with me, and to kill me, then will we be your servants: but if I prevail against him and kill him, then shall ye be our servants, and serve us." Every day, morning and evening for forty days, the Philistine stood forth and repeated his challenge, yet in vain. Saul, the king, and all Israel, were "dismayed and greatly afraid."

[Footnote 6: 1 Samuel, chapter xvii. verses 8, 9.]

Now it happened that David's three elder brothers were in the Israelite army, and one day their father sent him to them with a present of some provisions. While the lad was talking with his brothers, Goliath came out with his usual call of defiance. David listened with wonder and indignation. "Who is this Philistine?" he asked scornfully, "that he should defy the armies of the living G.o.d?"

The brothers were angry at what they thought foolish bravado on the part of David; but there were others who reported his words to Saul, who forthwith sent for the lad. Then David amazed the king by boldly offering to go and fight with the Philistine.

"And Saul said to David, 'Thou art not able to go against this Philistine to fight with him: for thou art but a youth, and he a man of war from his youth.' And David said unto Saul, 'Thy servant kept his father's sheep, and there came a lion, and a bear, and took a lamb out of the flock: And I went out after him, and smote him, and delivered it out of his mouth: and when he arose against me, I caught him by his beard, and smote him, and slew him. Thy servant slew both the lion and the bear.... The Lord that delivered me out of the paw of the lion, and out of the paw of the bear, he will deliver me out of the hand of this Philistine.' And Saul said unto David, 'Go, and the Lord be with thee.'

[Ill.u.s.tration: DAVID. _Academy of Fine Arts, Florence._]

"And Saul armed David with his armour, and he put an helmet of bra.s.s upon his head; also he armed him with a coat of mail. And David girded his sword upon his armour, and he a.s.sayed to go; for he had not proved it. And David said unto Saul, 'I cannot go with these; for I have not proved them.' And David put them off him. And he took his staff in his hand and chose him five smooth stones out of the brook,... and his sling was in his hand: and he drew near to the Philistine....

"And when the Philistine looked about, and saw David, he disdained him: for he was but a youth, and ruddy, and of a fair countenance....

And the Philistine said to David, 'Come to me, and I will give thy flesh unto the fowls of the air, and to the beasts of the field.' Then said David to the Philistine, 'Thou comest to me with a sword, and with a spear, and with a s.h.i.+eld: but I come to thee in the name of the Lord of hosts, the G.o.d of the armies of Israel, whom thou hast defied.

This day will the Lord deliver thee into mine hand; and I will smite thee, and take thine head from thee.' ...

"And it came to pa.s.s, when the Philistine arose, and came and drew nigh to meet David, that David hasted, and ran toward the army to meet the Philistine. And David put his hand in his bag, and took thence a stone, and slang it, and smote the Philistine in his forehead, that the stone sunk into his forehead; and he fell upon his face to the earth. So David prevailed over the Philistine with a sling and with a stone, and smote the Philistine, and slew him; but there was no sword in the hand of David. Therefore David ran, and stood upon the Philistine, and took his sword, and drew it out of the sheath thereof, and slew him, and cut off his head therewith. And when the Philistines saw their champion was dead, they fled."[7]

[Footnote 7: 1 Samuel, chapter xvii. verses 33-51.]

This heroic adventure of David is the subject of Michelangelo's statue. The shepherd, having thrown off the king's armor, advances naked and unhampered, carrying only the sling flung across his back.

The large muscular hand hanging by his side holds the piece of wood on which the sling is hung. It is the hand that wrenched the lamb from the lion's mouth and then seized the king of beasts himself by the beard. The left hand, poised on the shoulder, holds the centre of the sling where it bulges with the pebble. The youth scans the enemy keenly, marking the spot at which to aim. In another moment the pebble will be speeding on its way. His air of confidence makes us sure of the victory. Determination like this must win the day.

Critics of sculpture tells us that the statue of David must have been studied from a model of the age which Michelangelo imagined as that of the shepherd lad at this time. The figure is that of a growing youth, and although it is therefore not so beautiful as a type of perfectly developed manhood, it has a rugged strength which makes it one of the sculptor's most interesting works.

III

CUPID

In the mythology of ancient Greece there is no more popular figure than the little G.o.d of love, Eros, more commonly known by the Latin name Cupid. He was supposed to be the son of Venus, the G.o.ddess of love and beauty, whom he attended. He was never without his bow and quiver of arrows. Whoever was. .h.i.t by one of his magic darts straightway fell in love. The wound was at once a pain and a delight.

Some traditions say that he shot blindfolded,--his aim seemed often so at random. Sometimes the one whom he wounded was apparently least susceptible to love. Indeed, Cupid had the reputation of being rather a mischievous fellow, fond of pranks.

One of these was at the expense of Apollo, the great sun G.o.d. Apollo was himself a mighty archer, and had slain with his arrows the python of Delphi. Proud of his victory, he mocked at the little G.o.d of love, advising him to leave his arrows for the warlike, and content himself with the torch of love. Cupid, vexed at the taunt, replied threateningly, "Thine arrows may strike all things else, Apollo, but mine shall strike thee." So saying he drew from his quiver two arrows, one of gold, to excite love, and one of lead, to repel it. With the golden one he shot Apollo through the heart, with the leaden he shot the nymph Daphne. So Apollo became nearly mad with love for Daphne, but the maid fled from him with horror. He pursued her, and when he was close upon her, she turned into a laurel-tree.

Cupid continued to work havoc with his arrows. Even his mother Venus could not escape their power. One day, when frolicking with her boy, she was wounded by one of the darts, and before the wound healed she saw and loved Adonis. When that youth was killed in a struggle with a wild boar, she was inconsolable.

Another romantic tragedy for which Cupid was responsible was the love between Hero and Leander. These two young people lived in towns on opposite sides of the h.e.l.lespont. Leander was one day wors.h.i.+pping in the temple of Venus, in Hero's town, Sestos, when he saw Hero, and was at that moment shot by Cupid's arrow. His love was returned, and every night he swam across the channel to see his lady love, until one night a tempest arose, and he was drowned. The waves bore his body to the sh.o.r.e, where Hero found him, and in her despair threw herself into the sea and was also drowned.