Page:Studies in the history of the renaissance (IA studiesinhistor01pategoog).djvu/103

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v.
THE POETRY OF MICHELANGELO.
81

orthodoxy the catholic church had passed beyond him, and he was a stranger to it. In earlier days, when its beliefs had been in a fluid state, he too might have been drawn into the controversy; he might have been for spiritualising the papal sovereignty, like Savonarola; or for adjusting the dreams of Plato and Homer with the words of Christ, like Pico of Mirandula. But things had moved onward, and such adjustments were no longer possible. For himself, he had long since fallen back on that divine ideal which, above the wear and tear of creeds, has been forming itself for ages as the possession of nobler souls. And now he began to feel the soothing influence which since that time the catholic church has often exerted over spirits too noble to be its subjects, yet brought within the neighbourhood of its action; consoled and tranquillised, as a traveller might be, resting for one evening in a strange city, by its stately aspect and the sentiment of its many fortunes, just because with those fortunes he has nothing to do. So he lingers on; a revenant, as the French say, a ghost out of another age, in a world too coarse to touch his faint sensibilities too closely; dreaming in a worn-out society, theatrical in its life, theatrical in its art, theatrical even in its devotion, on the morning of the world's history, on the primitive form of man, on the images

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