<br><p><b>Identifier</b>: midsummerofitali00stea (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&amp;profile=default&amp;fulltext=Search&amp;search=insource%3A%2Fmidsummerofitali00stea%2F">find matches</a>)<br><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidmidsummerofitali00stea">The midsummer of Italian art</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1911">1911</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1910">1910s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorStearns__Frank_Preston__1846_1917">Stearns, Frank Preston, 1846-1917</a><br><b>Subjects</b>: <br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherBoston__R_G__Badger__Gorham_Press">Boston, R.G. Badger, Gorham Press</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorRobarts___University_of_Toronto">Robarts - University of Toronto</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorUniversity_of_Toronto">University of Toronto</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/midsummerofitali00stea/midsummerofitali00stea#page/n88/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/midsummerofitali00stea">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidmidsummerofitali00stea">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/midsummerofitali00stea/midsummerofitali00stea#page/n88/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>el Angelo, andNapoleon were able to extend the limits of physicalendurance. The terrible energy with which the oldsculptor attacked his marble bore witness to thecumulative temperance and industry of his youth.His sturdy figure, though not graceful, was sym-metrical, and gave an impression of character, evenat a distance. If we place a head of Napoleon beside portraits ofWellington, Washington, Blucher, Moreau, and othergreat leaders of his time, even a boy will perceiveat once that he is superior to all of them ; so thehead of Michel Angelo surpasses in distinction all theother great artists of Italy, and we recognize him asan exceptional man, even by the contour of his head.Like his features, it was strong and massive, and yetrefined as the head of an Apollo. The Italians stilldelight to carve it on gems and cameos. His eyeswere remarkably large, dark, and lustrous ; but fullof tenderness and commiseration. They tell us oflong suffering, unrequited affection, and patient en-durance.</i><br><b>Text Appearing After Image:</b><br><i>MADONNA WITH TWO ATTENDANT ANGELS BY MICHELANGELO National Gallery The Works of Michel Angelo. 63 He possessed all those qualities which are calledvirtues, and, in addition, was reserved, taciturn, andeven haughty. All great artists have to be sincere ;for sincerity is the essence of art : but Michel Angelogave forth his sincerity like an old Hebrew prophet,without regard to the temporary mischief it mightoccasion either to himself or others. His correctingthe drawing of his excellent master, Ghirlandajo, wasneither considerate nor in good manners; but it wasdone in the interest of truth, and there was some-thing wholesome in this, which inclined his contem-poraries to approve of it. He was fortunate to livein an age when intellectual veracity was more re-spected than it is in Italy at present. He was much more like Dante than Shakspeare :not so inexorable as Dante, but the tragical side oflife made so deep and abiding an impression on himas to overcloud the joyous and comic side. Of</i><br><br><b>Note About Images</b><br></p>
<i>Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.</i>
<bdi><a href="https://en.wikipedia.org/wiki/en:Michelangelo" class="extiw" title="w:en:Michelangelo"><span title="Italian sculptor, painter, architect and poet (1475–1564)">Michelangelo</span></a>
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1911<div style="display: none;">date QS:P571,+1911-00-00T00:00:00Z/9</div>
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<ul><li>Source book page: <a rel="nofollow" class="external free" href="https://archive.org/stream/midsummerofitali00stea/midsummerofitali00stea#page/n88/mode/1up">https://archive.org/stream/midsummerofitali00stea/midsummerofitali00stea#page/n88/mode/1up</a></li></ul>