THE POETRY OF MICHELANGELO.
Critics of Michelangelo have sometimes spoken as if the only characteristic of his genius were a wonderful strength, verging, as in the things of the imagination great strength always does, on what is singular or strange. A certain strangeness, something of the blossoming of the aloe, is indeed an element in all true works of art; that they shall excite or surprise us is indispensable. But that they shall give pleasure and exert a charm over us is indispensable too; and this strangeness must be sweet also, a lovely strangeness. And to the true admirers of Michelangelo this is the true type of the Michelangelesque—sweetness and strength, pleasure with surprise, an energy of conception which seems at every moment about to break through all the conditions of comely form, recovering, touch by touch, a loveliness found usually only in the simplest natural things—ex forti dulcedo.
In this way he sums up for them the whole character of mediæval art itself in that which distinguishes it most clearly from classical work, the
