ir prevailing tone is a calm and
meditative sweetness. The cry of distress is indeed there, but as a mere
residue, a trace of bracing chalybeate salt, just discernible in the
song which rises as a clear, sweet spring from a charmed space in his
life.

This charmed and temperate space in Michelangelo's life, without which
its excessive strength would have been so imperfect, which saves him
from the judgment of Dante on those who "wilfully lived in sadness," is
then a well-defined period there, reaching from the year 1542 to the
year 1547, the year of Vittoria's death. In it the lifelong effort to
tranquillise his vehement emotions by withdrawing them into the region
of ideal sentiment, becomes successful; and the significance of Vittoria
there is, that she realises for him a type of affection which even in
disappointment may charm and sweeten his spirit. In this effort to
tranquillise and sweeten life by idealising its vehement sentiments,
there were two great traditional types, either of which an Italian of
the sixteenth century might have followed. There was Dante, whose little
book of the Vita Nuova had early become a pattern of imaginative love,
maintained somewhat feebly by the later followers of Petrarch; and since
Plato had become something more than a name in Italy by the publication
of the Latin translation of his works by Marsilio Ficino, there was the
Platonic tradition also. Dante's belief in the resurrection of the body,
through which, even in heaven, Beatrice loses for him no tinge of
flesh-colour, or fold of raiment even--and the Platonic dream of the
passage of the soul through one form of life after another, with its
passionate haste to escape from the burden of bodily form
altogether--are, for all effects of art or poetry, principles
diametrically opposite; and it is the Platonic tradition rather than
Dante's that has moulded Michelangelo's verse. In many ways no sentiment
could have been less like Dante's love for Beatrice than Michelangelo's
for Vittoria Colonna. Dante's comes in early youth: Beatrice is a child,
with the wistful, ambiguous vision of a child, with a character still
unaccentuated by the influence of outward circumstances, almost
expressionless. Vittoria is a woman already weary, in advanced age, of
grave intellectual qualities. Dante's story is a piece of figured wood,
inlaid with lovely incidents. In Michelangelo's poems, frost and fire
are almost the only images--the refining fire of