Michelangelo Part 9

In Daniel's interpretation the different portions of the image represented the different kingdoms which should follow, one after another, in the future. The stone which brake the image in pieces referred to the final kingdom which the G.o.d of heaven shall set up, "which shall never be destroyed," but which shall stand forever.

From this time forth Daniel became a seer. He had many wonderful visions in the night, and interpreted them with reference to future historical events. He was also a statesman, the king having made him governor of the province as a reward for his services. In later years he acted as viceroy at a time when the king was insane.

In the reign of Nebuchadnezzar's successor, Belshazzar, Daniel was again called into service as a seer. One night, during a great feast, a mysterious hand appeared to write some inscription on the wall, and Daniel alone could interpret it. The message was ominous, but the prophet spoke out boldly. "MENE, MENE, TEKEL, UPHARSIN,"

ran the words, "Thou art weighed in the balances and art found wanting." Daniel condemned the king for his iniquities, and declared that his kingdom should be divided by the Medes and Persians. That very night Belshazzar was slain, and Darius, the Median, took the kingdom.

[Ill.u.s.tration: DANIEL. _Sistine Chapel, Rome._]

Under the new dynasty Daniel was given so much power that some of the officials, jealous of his preferment, plotted against him. They contrived to persuade King Darius to sign a decree that "whosoever should ask a pet.i.tion of any G.o.d or man for thirty days, save of the king himself, should be cast into the den of lions." The officials were right in supposing that this would entrap Daniel into law-breaking, for, faithful to his Hebrew training, he offered prayer to G.o.d three times a day. He was therefore cast into the lions' den, but no harm befell him, because, according to his own explanation, G.o.d sent his angel to shut the lions' mouths.

Daniel continued to hold office even in the reign of the next king, Cyrus the Persian. He lived to a great old age, but he was so young when he first showed his prophetic gifts that it is natural to think of him in his youth as Michelangelo has represented him. It would seem that the artist had in mind Daniel's early years of education at court. On his lap is a large open book supported on the back of a tiny figure standing between his knees. This may represent a volume of Chaldean learning. His posture shows that he has been consulting the volume, and now turns to his writing tablets to record his own thoughts.

His broad forehead shows him to be a student and a thinker. The waving hair is brushed back to form an aureole about his face. It is the face of a dreamer in a moment of inspiration. Eagerly he writes his words of mingled poetry and prophecy. He is full of youthful enthusiasm for his work, a nature fitted for action as well as for vision. He has also the spirited bearing of one who fears neither the rage of a lion nor the wrath of a king. There is a breezy energy in his motions, as if thoughts came more swiftly than he could transcribe them.

His expression of happy antic.i.p.ation is in vivid contrast to Jeremiah's sorrowful att.i.tude of retrospection. The picture brings out clearly the fact that the keynote of Daniel's prophecy is hope.

Looking into his rapt face, we may imagine that this is the message he is writing: "They that be wise shall s.h.i.+ne as the brightness of the firmament; and they that turn many to righteousness, as the stars forever and ever."[28]

[Footnote 28: Daniel, chapter xii. verse 3.]

XI

THE DELPHIC SIBYL

In the rows of figures which Michelangelo painted along the arched portion of the ceiling of the Sistine Chapel, the prophets are a.s.sociated with sibyls. Hence, in the plan of decoration, there comes first the figure of a man, and then the figure of a woman.

Now, as the Bible contains no allusion to sibyls, it may seem strange that they should have a place in a series of Bible ill.u.s.trations, and especially that they should appear side by side with the prophets. To explain this, we must learn something about the sibyls.

They were women of ancient times supposed to have supernatural gifts of foretelling the future. They devoted themselves to solitude and meditation, and sometimes lived apart in caves or grottoes. Sometimes they were connected with temples, and delivered what were supposed to be the messages of the G.o.ds to the wors.h.i.+ppers. These messages were called oracles, and were greatly revered by the people who consulted the G.o.ds.

Some of the sibyls' words of wisdom were committed to writing and pa.s.sed down to following generations. Though they lived in heathen countries, the tradition ran that they prophesied the advent of Christ. There is a pa.s.sage in one of Virgil's eclogues (the fourth) upon which the supposition is based. Early in the Christian era, when men were spreading the new faith, they made much of these sibylline prophecies to add weight to their teachings.

In former times, fact and fable were very often confused, and people did not take pains to distinguish the legends of the sibyls from the history of the prophets. When the Latin hymn "Dies Irae" was written, the sibyl was mentioned, with the prophet, as predicting the final destruction of the world. Many painters and sculptors gave the two equal honor in the same way. In the prevailing opinion, the sibyls shared with the prophets an inspired foreknowledge of the Christian faith.

The nine main panels of Michelangelo's ceiling decoration show how man was created, and how he was tempted and fell into sin. To carry on still further the story of the human race, the painter shows the succession of men and women, prophets and sibyls, who, one after another, predicted the redemption of the world in Christ. On the side walls, below these figures, the story is carried to completion in a series of pictures ill.u.s.trating the life of Christ. The last named frescoes were painted by various artists some years before Michelangelo's work on the ceiling.

The number of sibyls was given as ten or twelve, and of these Michelangelo selected five. His idea here, as with the prophets, seemed to be to represent some in old age and some in youth.

[Ill.u.s.tration: THE DELPHIC SIBYL. _Sistine Chapel, Rome._]

The Delphic sibyl is the youngest and most beautiful of them all. She presided over the temple of Apollo in the Greek town of Delphi, where it was long customary for the priestess, or _pythia_, as she was called, to be a young woman selected from some family of poor country people.

The temple at Delphi was one of great celebrity. In the centre was a small opening in the ground, whence arose an intoxicating vapor, and over this sat the pythia, on a three-legged seat, or tripod, and delivered the oracle communicated to her by the G.o.d. These oracles were delivered in verse.

The Delphic sibyl, or pythia, of Michelangelo's picture, has the splendid stature of an Amazon. Her head is draped with a sort of Greek turban, beneath which her hair escapes in flying curls. Her face and expression show her at once to be unlike an ordinary woman. She has the look of a startled fawn, which has suddenly heard the call of a distant voice. She turns her head in the att.i.tude of one listening.

She looks far away with eyes that see visions, but what those visions are none can guess. There are other pictures of the same sibyl carrying a crown of thorns, showing that she predicted the sufferings of Christ. Perhaps this is the meaning of the sorrowful expression in these wide eyes.

The scroll which she unrolls in her left hand is the scroll of her prophecy. The two little figures holding a book, just behind her right shoulder, are genii, or spirits, symbolic of her inspiration. One reads eagerly from the volume while the other listens with rapt attention.

The picture makes a very interesting study in the composition of lines. Starting from the topmost point of the turban, draw a line on the right, coming across the shoulder along the outer edge of the drapery to the toe. On the left, let the line connecting the same two points follow the outer curve of the scroll, along the slanting edge of the mantle, and we get a beautiful pointed oval as the basis of the composition.

The sibyl's left arm drops a curve across the upper part of the figure, and this curve is repeated a little lower down by the creases in the drapery across the lap. Such are the few strong, simple lines which compose the picture, producing an effect of grandeur which a confusion of many lines would entirely spoil.

XII

THE c.u.maeAN SIBYL

Of all the sibyls, the one we hear most about is the c.u.maean. The legend runs that, having asked a boon of Apollo, she gathered a handful of sand and said, "Grant me to see as many birthdays as there are sand grains in my hand." The wish was gratified, but unluckily she forgot to ask for enduring youth, so she was doomed to live a thousand years in a withered old age. Thus we always think of her as an old woman, as Michelangelo has represented her.

She is called the c.u.maean sibyl because she is supposed to have lived in c.u.mae, which was the oldest and one of the most important of the Greek colonies in Italy. Her real name, we are told, was Demos. She lived in a great cavern, where the people came to consult her, and her answers to their questions were regarded as oracles, or answers from the deities. She used to write on the leaves of trees the names and fates of different persons, arranging them in her cave to be read by her votaries. Sometimes the wind sweeping through the cavern scattered the leaves broadcast through the world.

The manner of consulting her is fully described by the Latin poet Virgil in the sixth book of the aeneid. He tells how aeneas, arriving with his fellow voyagers at the town of c.u.mae, immediately goes to the temple of Apollo,

"And seeks the cave of wondrous size, The sibyl's dread retreat, The sibyl, whom the Delian seer Inspires to see the future clear, And fills with frenzy's heat; The grove they enter, and behold Above their heads the roof of gold.

"Within the mountain's hollow side, A cavern stretches high and wide; A hundred entries thither lead; A hundred voices thence proceed, Each uttering forth the sibyl's rede.

The sacred threshold now they trod: 'Pray for an answer! pray! the G.o.d,'

She cries, 'the G.o.d is nigh!'

"And as before the door in view She stands, her visage pales its hue, Her locks dishevelled fly, Her breath comes thick, her wild heart glows.

Dilating as the madness grows, Her form looks larger to the eye; Unearthly peals her deep-toned cry, As, breathing nearer and more near, The G.o.d comes rus.h.i.+ng on his seer."

aeneas now begs a favor of the sibyl. He has heard that here the path leads downward to the dead, and he desires to go thither to visit his father, Anchises. There are certain conditions to fulfil before setting forth, but when these are done the sibyl guides him on his way, and the journey is safely made.

[Ill.u.s.tration: THE c.u.maeAN SIBYL. _Sistine Chapel, Rome._]

Another legend of the c.u.maean sibyl has to do with the Roman emperor Tarquin. The sibyl came to him one day with nine books of oracles, which she wished him to buy. The price was exorbitant, and the emperor refused her demand. She then went away, burned three of the books, and, returning with the remaining six, made the same demand. Again her offer was refused, and again she burned three books and returned, still requiring the original price for the three that were left.

Tarquin now consulted the soothsayers, and, acting upon their advice, bought the books, which were found to contain directions concerning the religion and policy of Rome.

For many years they were held sacred, and were carefully preserved in the temple of Jupiter in the Capitol, under the care of official guardians. At length the temple was destroyed by fire, and the original sibylline books perished. In the following centuries they were replaced by scattered papers, collected from time to time in various parts of the empire, purporting to be the writings of the sibyl. These sibylline leaves, as they were called, contained pa.s.sages supposed to be prophetic of the coming of Christ, and this is why the c.u.maean sibyl is placed by Michelangelo among the prophets.

The sibyl is reading aloud from one of her books of oracles. The two little genii standing behind her shoulder, and listening with absorbed attention, hold another book, not yet unclasped, ready for her. She reads her prophecy with keen, searching eyes, and a manner that is almost stern. We can see in the large, strong features the determination of her character.

It is not a gentle face, and not pleasing, but it is full of meaning.

We read there the record of the centuries which have pa.s.sed over her head, bringing her the deep secrets of life. Yet the prophecies are still unfulfilled, and there is a look of unsatisfied longing in her wrinkled old face.

You will notice that the outlines of the c.u.maean sibyl are drawn in an oval figure similar to that inclosing the Delphic sibyl. Here, however, the oval is of a more elongated form, and the left side is broken midway by the introduction of the book.

The old writer Pausanias, writing his "Description of Greece," in the second century, says that the people of c.u.mae showed a small stone urn in the temple of Apollo containing the ashes of the sibyl. For many centuries her cavern was pointed out to travellers in a rock under the citadel of c.u.mae. Finally the fortifications of the city were undermined, but to this day a subterranean pa.s.sage in the rock on which they were built is still shown as the entrance to the sibyl's cave.