. . .en, on the one hand, an awfulness to his work, and verity, which are wanting in the studied composition of the Sistine, on the other it has admitted a puerility commensurate with the narrowness of the religion he had to teach.

78. Greater differences still result from the opposed powers and idiosyncrasies of the two men. Orcagna was unable to draw the nude—on this inability followed a coldness to the value of flowing lines, and to the power of unity in composition—neither could he indicate motion or buoyancy in flying or floating figures, nor express violence of action in the limbs—he cannot even show the difference between pulling and pushing in the muscles of the arm. In M. Angelo these conditions were directly reversed. Intense sensibility to the majesty of writhing, flowing, and connected lines, was in him associated with a power, unequaled except by Angelico, of suggesting aërial motion—motion deliberate or disturbed, inherent or. . . Read More