orATE NORMAETHE NORMAL ADVANCE139and his awful beauty are reflected in these im¬
mortal pictures. All his figures are larger than
the hu...
all life-like fig¬
ures, all ordinary energy, all natural exertions
are, as it were, too feeble, too common for the
masters purpose...
Michael Angelo grasps here
the most powerful, the most enormous: his
painting is the conclusion of all poetry, of all
religious pictur...
it is out of place to discuss the action in his
picture, and it is at least unreasonable if not
unjust to find fault w...
but in this great
work—one of his last—everything aspires espe¬
cially in that direction, everything obtains sig¬
nificance and...
not until the glory of the Almighty is
complete, not until all the blessed have risen to
eternal bliss, and all sinners been cast...
he is in the act of rising from
his judgment seat
the horrible sentence falls
from his lips. The saints at his side—both men
and women—are calm in their blessed state.
They ar...
they dare not, they cannot be elegant
beauty
and grace would destroy the painting. On one
side redeemed souls soar upward
from some
the shroud is falling away, sin encumbers them
heavily, but they struggle and strive upward
in the great rush. The allegory&...
prayer is
effective
his sins are forgiven. He who can¬
not feel how allegory can raise the common to
the sublime will find this situation especially...