From those who have ambition to tread in this great walk of the art,
Michael Angelo claims the next attention. He did not possess so many
excellences as Raffaelle, but those he had were of the highest kind. He
considered the art as consisting of little more than what may be attained
by sculpture, correctness of form, and energy of character. We ought not
to expect more than an artist intends in his work. He never attempted
those lesser elegancies and graces in the art. Vasari says, he never
painted but one picture in oil, and resolved never to paint another,
saying it was an employment only fit for women and children.

If any man had a right to look down upon the lower accomplishments as
beneath his attention, it was certainly Michael Angelo: nor can it be
thought strange that such a mind should have slighted or have been
withheld from paying due attention to all those graces and embellishments
of art which have diffused such lustre over the works of other painters.

It must be acknowledged likewise, that together with these, which we wish
he had more attended to, he has rejected all the false though specious
ornaments which disgrace the works even of the most esteemed artists; and
I will venture to say, that when those higher excellences are more known
and cultivated by the artists and the patrons of arts, his fame and
credit will increase with our increasing knowledge. His name will then
be held in the same veneration as it was in the enlightened age of Leo
the Tenth: and it is remarkable that the reputation of this truly great
man has been continually declining as the art itself has declined. For I
must remark to you, that it has long been much on the decline, and that
our only hope of its revival will consist in your being thoroughly
sensible of its depravation and decay. It is to Michael Angelo that we
owe even the existence of Raffaelle; it is to him Raffaelle owes the