214 Sloan's Architectural Review and Builders' Journal. [Sept., men who were not only great, in the history of their nation ; but who will be celebrated, in all time to come. There reposes Alfieri, who poured out his restless soul in strains of tragedy. The monument of Machiavelli, — who was so greatly in advance of his times, next demands a moment's attention. The. distant traveler then reads the in- scription on the tomb of Galileo, the martyr of science ; and next his eye rests on the name of Buonarotti ! Who was Buonarotti? he mentally asks himself; and Fame replies, The artist, who painted the Vatican, with the terrors of the Last Day of Judgment, who designed the magnificent and stu- pendous dome of St. Peter's, the creator of the famous statue of Moses. Let us for a moment dwell on his life and works. It was the age, in which talent seemed to attain a species of unnatural preco- city. Italy arose from her slumbers. The intellect, with which she was filled, began to bud and blossom. The poet strung his magic lyre ; and drew from its chords sounds of the most ravishing melodjr. The artist threw upon his can- vas, the forms of grace and beauty ; painted the agonies of a crucified and risen Lord ; the holy dignity of the Vir- gin Mother ; and the surpassing loveli- ness of her Divine Child. The sculp- tor wrought figures, which the fire of Prometheus seemed to warm into life. Bacon too, though rather later, orna- mented that century; and opened the vast domains of thought, where the metaphysician might speculate, and the hard-working man, draw plain and homely lessons of wisdom, to guide his everyday life : for of what use is philoso- phy, if it does not lighten the cares of life, and teach men to profit by experi- ence? Cimabue and Giotto, as before re- marked, were the fathers and restorers of modern Italian art. With these were associated Leonardo Da Vinci, the painter of the " Last Supper," Ra- phael, Correggio, Giorgione, Titian, and, in Germany, Albert Durer — a rare gal- axy ! Leonardo Da Vinci, not only ex- celled as a painter ; but also was an extremely skilful mathematician, archi- tect and engineer. But genius properly belongs to no age or country exclu- sively. It is the gift of God to the human race. No matter on whom be- stowed, it is the emanation of that same Almighty Power, which, even in the meanest of his works, is alwaj r s grand and magnificent. Fine intellects invariably exert a strong influence in all ages, and the schol- ar's industry, the historian's research and the metaphysician's ingenuity, can al- ways draw new sources of improvement and delight from the fountains of litera- ture and science. Michael Angelo Buonarotti was born at Chiusi, in Tuscany, March 6th, 1474. His father was mayor of the town ; and the family were descended from the Counts of Canossa, an ancient feudal stock, though somewhat decayed. Some writers, however, assign Settio- naro, near Florence, as his birth-place. From his earliest years, he evinced a striking love for sculpture ; and when his tiny hands could grasp a plaything, the mallet and chisel were his favorite toys. This disposition was reproved by his father, who told him, that he sprang from an exceedingly ancient house, and that the Lords of Canossa had never yet carried the hod or handled the trowel. But the chisel of his son was destined to give to the world those mysterious creations, which will ex- cite the wonder of all future ages. The pride of race was not so extinct in Michael Angelo's soul, as his father imagined. When after times had award- ed to him his just meed of fame, and pupils from all parts flocked to his studio, he would take none but gentle- men. Even in youth, kindred minds seek their mates. The intimate friend of the boy architect, was Granacci, a pupil of
