,56 OK taste in architecture. Sept, 11. 



were forced by their employers, they brought forth 

 those master pieces that immediately charmed the 

 eye of every beholder. They applied, as it were, the 

 spear of Ithuriel to the latent forms of Greek and 

 Roman art, and produced them once more to be the 

 admiration of the universe. 



The same observations are applicable to the chizzel 

 of Bernini, and to the pencils of the best scholars and 

 succefsors of Raphael, The mind of Michael Angelo, 

 filled with the images of that noble simplicity which 

 characterises the stile of Grecian architecture, saw 

 the deformity and meannefs of double tiers of co- 

 lumns and arches ; and the poverty of a facade with- 

 out deep columnar ftiadows, and projecting parts in 

 the whole, to obviate that flatnefs which nature ab- 

 hors in all her works : that nature which was the 

 model from which his great masters originally co- 

 pied, and which we must copy, if we fliall dare to 

 invent with the hopes of excellence. 



Neither was it the buildings of the ancients alone 

 that Michael Angelo studied, or that formed his tran- 

 scendent taste. 



He studied the beautiful forms of the ancient sta- 

 ■fcues. ^ 



" The quiver'd God In graceful art who stands. 



His arm expended wifh the slacken'd bnw, 



l>ignc flows his ejsy robe, ar.d fair displays 



A manly aotten'd form. The bloo;n of gods 



Seems youthful o'er the beardlcfs che^k. to wave; 



His features yet heroic ardour warms; , 



And sweet subsiding to a native smile, 



Mix'd with the joy elating conquest gives, 



A-sc4CCer'.d ht>\'jn. exaks bis matchlcis air." Thomso*-, 



