chapel, and chiselled his name upon the girdle which crosses the
Madonna's breast and supports her flowing garments. His name is not
found on any of his other works, and we can understand why he felt
proud of such a masterpiece. Though made when on the very threshold of
his career, it was never surpassed even in his later years. Some
other artist afterwards designed the two little bronze cherubs who
hold a crown over the Madonna's head. They are quite out of harmony
with the impressive dignity of the figures below.

Michelangelo's early love of Greek sculpture taught him many lessons,
which were worked out in this group. It has, first of all, that
perfect repose which was the leading trait in classic art. There is
nothing strained or violent in the positions. Besides this, the
figures are so arranged that on all sides, as in a Greek statue, the
lines are beautiful and harmonious.

But the subject itself is one which would have been too sad for the
pleasure-loving Greek. To the pagan the thought of death was something
to be avoided. Michelangelo's statue teaches the highest lesson of
religious faith,--the beauty of resigned sorrow and the sublimity of
sacrificing love.




VII

CHRIST TRIUMPHANT

(_Cristo Risorto_)