The expression of his face is the
noblest I have seen in any work of art in Rome; the face that has risen
through suffering; calm, compassionate, immutable. The Madonna seems like
a girl beside this stalwart form, and she draws close to her son with
naive timidity at the vast concourse which crowds about them. Her face is
expressive of resignation and compassion rather than any joyful feeling.
The left side of this vast painting, in which the bodies of men and women
are rising from their graves, is less interesting than the right side,
where the saints and blessed are gathered together above and the sinners
are hurled down below. Michael Angelo's saints and apostles look like
vigorous men of affairs, and are all rather stout and muscular. The
attitudes of some of them are by no means conventional, but they are
natural and unconstrained. St. Peter, holding forth the keys, is a
magnificent figure. The group of the saved who are congregated above the
saints is the pleasantest portion of the picture. Here Damion and Pythias
embrace each other; a young husband springs to greet the wife whom he
lost too early; a poor unfortunate to whom life was a curse is timidly
raising his eyes, scarcely believing that he is in paradise; men with
fine philosophic heads converse together; and a number of honest serving-
women express their astonishment with such gestures as are customary
among that class of persons.
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