But, in the poetical works of Michel Angelo, as in his works of sculpture and design, there is a side of grace and delicacy; the fire of a masculine and profound tenderness circulates, so to speak, in all the members of this marvellous body. Angelo's regularity of morals was never altered by doubts; it acquired, even at an early period, the externals of a rigid austerity. But had he, in his youthful years, experienced the power of a real love? We have nothing to reply to those who, after an attentive perusal of his writings, see in them nothing more than a _jeu-d'esprit_ produced by a vain fantasy. But to those who think, with us, that truth and force of expression suppose reality and depth of sentiment--to those who discover the burning traces of a passion which has conquered the heart, and imprinted a new direction on the thoughts of the writer, in the precious metal of this classical versification, we propose to follow us for a few moments. We shall seek whatever historical vestiges have been left of the object of this affection, as durable as sincere: we shall afterwards examine the manner in which Michel Angelo has expressed it in his rhyme; what order of philosophical and religious ideas developed themselves in his mind, in intimate connexion with the ardour that penetrated his heart; whatever influences, in short, which a love, whose object quitted this life so early, appears to have exercised upon the whole duration of a career prolonged, with so great _eclat_, for more than sixty years afterwards.[51]
The smallest acquaintance with the character of Michel Angelo would lead to the belief that, according to the expression of his epoch, he could "have fixed his heart nowhere but in a lofty sphere. The conjectures which have been formed bore reference to the house of the first citizen of Florence and of Italy, at the period of Angelo's entrance on his career, to the family of the grandson of Cosmo Pater Patriæ," of the man to whom the disinterested voice of foreigners and of posterity has confirmed all that his contemporaries attributed to him, in the great work of the Italian Renaissance--scientific, literary, artistic even--namely, the chief and most brilliant honour.