The old masters indeed are simpler; their characteristics
are written larger, and are easier to read, than their analogues in all
the mixed, confused productions of the modern mind. But when once we
have succeeded in defining for ourselves those characteristics, and the
law of their combination, we have acquired a standard or measure which
helps us to put in its right place many a vagrant genius, many an
unclassified talent, many precious though imperfect products of art. It
is so with the components of the true character of Michelangelo. That
strange interfusion of sweetness and strength is not to be found in
those who claimed to be his followers; but it is found in many of those
who worked before him, and in many others down to our own time, in
William Blake, for instance, and Victor Hugo, who, though not of his
school, and unaware, are his true sons, and help us to understand him,
as he in turn interprets and justifies them. Perhaps this is the chief
use in studying old masters.
1871.
LEONARDO DA VINCI
HOMO MINISTER ET INTERPRES NATURAE
In Vasari's life of Leonardo da Vinci as we now read it there are some
variations from the first edition.
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