Attempts towards honesty at the Renaissance, for example: always for the benefit of the arts. Michael Angelo's conception of God as the "Tyrant of the World" was an honest one.
I rate Michael Angelo higher than Raphael, because, through all the Christian clouds and prejudices of his time, he saw the ideal of a culture nobler than the Christo-Raphaelian: whilst Raphael truly and modestly glorified only the values handed down to him, and did not carry within himself any inquiring, yearning instincts. Michael Angelo, on the other hand, saw and felt the problem of the law-giver of new values: the problem of the conqueror made perfect, who first had to subdue the "hero within himself," the man exalted to his highest pedestal, master even of his pity, who mercilessly shatters and annihilates everything that does not bear his own stamp, shining in Olympian divinity. Michael Angelo was naturally only at certain moments so high and so far beyond his age and Christian Europe; for the most part he adopted a condescending attitude towards the eternal feminine in Christianity; it would seem, indeed, that in the end he broke down before her, and gave up the ideal of his most inspired hours. It was an ideal which only a man in the strongest and highest vigour of life could bear; but not a man advanced in years! Indeed, he would have had to demolish Christianity with his ideal! But he was not thinker and philosopher enough for that. Perhaps Leonardo da Vinci alone of those artists had a really super-