There is no
philosophic analysis of the individual Platonism which is apparent, not
only in his poems, but in some of his paintings,--no exhibition of its
connection with the other portions of his intellectual development.
Michel Angelo's ideas of beauty, of the relation of the arts, of the
connection between Art and Religion, deserve fuller investigation than
they have yet received. His tremendous power has exerted such a control
over sensitive, imaginative, and weak minds, that even his errors have
been accepted as models, and his false ideas as principles of authority.
Mr. Harford's book will do little to assist in the formation of a true
judgment upon these and similar points.
But we will not confine our notice to assertions; we will exhibit at
least some of the minor faults upon which our assertions are based,--for
it would demand larger space than we could give to enter upon the
illustration of the principal faults of the book. First, then, for
inaccuracies of statement,--which are the less to be excused, as Mr.
Harford had ample opportunity for correctness. For instance, in the
description of the tombs of the Medici, Mr. Harford writes of the famous
figures of Aurora and Twilight, Day and Night: "The four figures that
adorn the tombs are allegorical; and they are specially worthy of
notice, because they first set the example of connecting ornamental
appendages of this description with funereal monuments.
Pages:
334
335
336
337
338
339
340
341
342
343
344
345
346
347
348
349
350
351
352
353
354
355
356
357
358