warrior angel a vantage ground in warring against the evil "powers of the air" and driving off plague, drought and murrain.

MICHAEL 1, RHANGABE, or RHAGABE, Byzantine emperor: d. about 845. He succeeded Stauracius in 811 and after carrying on war with the Bulgarians was deposed in 813 by Leo V, an Armenian general in his service, and spent the rest of his life in a convent.

MICHAEL II Balbus (THE STAMMERER), Byzantine emperor: d. 829. He came of an obscure Phrygian family, but was ennobled by Leo V. The latter, however, suspecting Michael of conspiracy against him, ordered the Phrygian to be put to death. Michael saved himself by the assassination of Leo and became emperor in 820. During his reign Sicily and Crete were lost to the Western empire.

MICHAEL III (THE DRUNKARD), Byzantine emperor: d. 867. He was a grandson of Michael II, and in 842 succeeded his father, Theophilus, though his mother Theodora continued regent till 856. With his uncle, Bardas, he made an expedition against the Bulgarians in 861 and converted the king of Bulgaria. In 866 he associated Basilius the Macedonian with himself in the government and was assassinated by him the next year,

MICHAEL IV (THE PAPHLAGONIAN), Byzantine emperor: d. 1041. He received his surname from the place of his nativity, and became chamberlain to Zöe, wife of the Emperor Romanus III. On the death of Romanus in 1034 he became emperor and the husband_of Zöe, who is presumed to have murdered Romanus because of her love for Michael.

MICHAEL V, Calaphates (THE CALKER), Byzantine emperor. He was a nephew of Michael IV, whom he succeeded on the throne. His banishment of the Empress Zöe led to a revolt in Constantinople, in which he was overthrown and compelled to retire to a convent.

MICHAEL VI (THE WARRIOR), Byzantine emperor. He succeeded the Empress Theodora in 1056, but after the expiration of a year was deposed by Isaac Comnenus and spent the rest of his life in a convent. He was the last of the Macedonian dynasty.

MICHAEL VII, Ducas or Parapinaces, Byzantine emperor. He was the son of Constantine XI, and came to the throne in 1071. He was a weak monarch, the prey of unscrupulous favorites, and an insurrection in 1078 drove him from the throne and into a monastery.

MICHAEL VIII, Palæologus, Byzantine emperor b. 1234; d. 1282. After having commanded the French mercenaries employed by the emperor of Nicæa he became one of the guardians of the Emperor John Lascaris in 1259. The next year he was proclaimed joint emperor of Nicæa in 1260, and the next year, after deposing his colleague Lascaris, became sole monarch. In the same year he wrested Constantinople from the Latins and was shortly afterward crowned emperor of the Byzantine empire. He made an unsuccessful attempt to effect the union of the Western and Eastern Churches.

MICHAEL IX, Palæologus, Byzantine emperor: d. 1320. He was the son of Andro

MICHAEL, Arthur, American chemist: b. Buffalo, N. Y., 7 Aug. 1853. He was educated at the universities of Berlin and Heidelberg, and at the École de Médécine de Paris. He was professor of chemistry at Tufts College in 1882-89 and in 1894-1907, and was professor emeritus there in 1907-12. Since 1912 he has been professor of organic chemistry at Harvard University. He is a member of the National Academy of Sciences. He has made extensive researches in pure chemistry and published reports of his investigations in the Proceedings of the National Academy of Sciences; the American Chemical Journal; and the 'Berichte der deutschen hemischen Gesellschaft.'

MICHAEL, Attaliates, Byzantine jurist: lived in 11th century. He wrote a history of the years 1034-79; and published a succinct and methodic abridgment of the Basilicæ (1073).

MICHAEL, a pastoral narrative in 482 lines of blank verse, by William Wordsworth, was composed and published in 1800. In a letter to Fox, 14 Jan. 1801, Wordsworth writes: "In the two poems, The Brothers' and 'Michael,' I have attempted to draw a picture of the domestic affections, as I know they exist among a class of men who are now almost confined to the north of England. They are small independent proprietors of land. here called statesmen, men of respectable education, who daily labor on their little properties

Their little tract of land serves as a rallyingpoint for their domestic feelings, as a tablet upon which they are written, which makes them objects of memory in a thousand instances, when they would otherwise be forgotten. The theme of Michael, as suggested in Wordsworth's letter, has two phases: the love of a "statesman" for his little landed property in the hills, and of a father for his son. The story of the poem is founded upon fact. To Michael and his wife in their old age is born a son, Luke, whom his father cherishes both as a companion and as his heir. When Luke is 18 years old, Michael, through the fault of another, loses a portion of his property. Luke must go to the city and there earn enough to redeem the land. Before the boy leaves, he lays the corner-stone of the sheepfold which he and his father were to build together, now left for the old man to build alone. Far away in the city, Luke is finally led away by bad companions and is heard from no more. The old father's heart is broken; the sheepfold, symbol of his faith and love, is never finished.

'Michael' is an illustration of Wordsworth's theory that the emotions find their best soil in common life, where they "are incorporated with the beautiful and permanent forms of nature." Michael himself is perhaps Wordsworth's ideal man, and, possibly because he was the type best known to the poet, is more clearly portrayed and more highly individualized than any other of Wordsworth's characters. He has the ruggedness, strength

MICHAEL AND HIS LOST ANGEL. Mr. Henry Arthur Jones during his long career as a playwright wrote more than half a hundred plays which may be roughly divided into three categories,— melodramas, comedies of manners and serious plays. Of the latter group 'Michael and His Lost Angel' is generally regarded by writers on modern drama as the most notable. This consensus of opinion is the more interesting in view of the fact that although on 15 Jan. 1896 the play received the rare distinction of a simultaneous production in London and New York, with Forbes-Robertson and Marion Terry in the principal rôles in London and Henry Miller and Viola Allen in New York. It failed in both places, was withdrawn in its second week and has never been revived. The two chief characters are familiar ones on the stage and especial favorites with Jones, namely, the priestly ascetic and the worldly siren. The opening scene is thoroughly effective. Michael Feversham, an austere young clergyman, has forced the erring daughter of his secretary to public confession of her sin in the church before all the townspeople. When Audrie Lesden, a mysterious and charming new parishioner, presently appears on the scene we are left in no doubt from the moment of her entrance that she is the temptress; her tempting, indeed, is so obvious, the fall of Michael so predestined, and the expiation of his guilt by public confession so plainly foreshadowed in the first scene, that there are no surprises. A more serious defect is that the author fails to enlist the sympathy of his audience for either of his main characters. Michael remains a "holier than thou» prig with what the Freudians would call an "impurity complex," and Audrie is so patently selfish and frivolous that only an actress of very great personal charm could make Michael's infatuation convincing.

MICHAEL KOHLHAAS. This story by Heinrich von Kleist was published as the first of his Erzählungen, "Stories" (1810), after a fragment of the story had been issued in a periodical, Phoebus, two years before. Michael Kohlhaas, an upright and highly respected horse-dealer, is wantonly wronged by a young nobleman; after fruitless efforts to obtain justice from the legally constituted authorities, he

resolves to take matters into his own hands, even in rebellion against the social order which has failed to afford him protection. With pathetic obstinacy he still insists upon the simple terms of his original claim, even after the forces which he has gathered about him have engaged in a kind of civil war. Ultimately he gains his contention, recompense for his loss and the punishment of the privileged offender, but he himself suffers death as a penalty for crimes committed while seeking justice in his own way. The outlines of the story Kleist took from the career of Hans Kohlhase (executed in 1540), which was probably familiar to him both by oral tradition and through the chronicles of Hafftitz and Leutinger. But Kleist used the artist's prerogative and altered the material at will, creating the characters anew, and supplying the substance with an ethical problem. Through a sense of personal wrong, following his own conception of justice, a man of spotless integrity becomes a criminal and an outlaw. The problem of so-called folk-justice, which is here illustrated, has been notably treated elsewhere in German literature, conspicuously in Ludwig's 'Erbförster.' Kleist followed his historical source in introducing Martin Luther into the story of his hero, and presents a firmly drawn portrait of the German reformer. The story is a masterpiece of narrative skill; it is all narrative, without description of people or of places, without comment or sentiment; it moves forward with the simplicity of a chronicle, one event following another in tragic and inevitable succession. 'Michael Kohlhaas' is one of the most powerful stories in the whole range of German fiction. It was translated into English by Frances H. King in 'The German Classics (Vol. IV).

HARVEY W. THAYER.

MICHAEL OBRENOVITCH III, ō-brĕn'ō-vich, Prince of Serbia: b. Kragujevatz, 4 Sept. 1823; d. near Belgrade, 29 May 1868. He was the youngest son of Prince Milosh, and after the abdication of his father, in 1839, and the death of his brother Milan Obrenovitch II, in 1840, he succeeded to the throne of Serbia. His effort to continue the policy of his father, which was to free Serbia and the Christian peoples of the Balkans generally from Turkish rule, met with the support of Russia and the determined opposition of Turkey and Austria, together with that of the party which had deposed his father. A revolt in 1842 resulted in the election of Alexander Karageorgevich as Prince of Serbia, and Prince Michael was forced to leave the country. In 1858 his father, Prince Milosh Obrenovitch II, was recalled to the throne and upon his death in 1860 Michael succeeded him. He at once set about securing the emancipation of Serbia's internal affairs from Turkish domination, secured an understanding with Montenegro, Greece, Austria and the Bulgarian, Bosnian and Albanian leaders for either support or non-intervention in case of war with Turkey, and demanded the withdrawal of Turkish troops from Serbian fortresses. He was supported in his demands by the influence of Great Britain, Russia and Austria, and Turkey yielded, the forts being surrendered 26 April 1867. He largely reorgan

ized the administration of public affairs, strengthened the military organization, and placed his country in the ranks of civilized European states. A plot against him was organized by the followers of the deposed Karageorgevich dynasty and resulted in his assassination. He was succeeded by a cousin, Michael Obrenovitch IV.

MICHAELIS, mē-ka-a'līs, Adolf, German archæologist: b. Kiel, 22 June 1835; d. Strassburg, 10 Aug. 1910. He was educated at the universities of Berlin, Leipzig and Kiel, and in 1862 became professor at Griefswald. He was appointed professor of classical philology and archæology at Tübingen in 1865, and from 1872 he was professor of archæology at Strassburg. He became a member of the German Central Archæological Institute at Rome in 1874 and published a history of its activities (Berlin 1879). He edited O. Jahn's 'Bilderchroniken' (1873) and Springer's Handbuch der Kunstgeschichte' (1898, 1901, 1904, 1907). His chief publication was his critical edition of Tacitus' 'Dialogus de Oratoribus' (1868). He was also author of the archæological treatises 'Der Parthenon (1871); 'Ancient Marbles in Great Britain' (trans. by Fennell, 1882); 'Strassburger Antiken' (1901); 'A Centry of Archæological Discoveries' (trans. by Kahnweiler, 1908), etc.

MICHAELIS, Georg, German statesman: b. 1857. After entering the civil service hę acted as a teacher in the German school at Tokio from 1885 to 1889. On his return to Germany he served in various provincial posts as a state attorney. He was appointed director of the Churches and Schools Administration in 1897 and after a period of office in Breslau he became under-secretary in the Prussian ministry of finance. Early in the European War Herr Michaelis, while retaining his post in the ministry, was selected as director of the "War Corn Office," one of the first establishments set up to deal with the food problem. On the fall of Bethmann-Hollweg in July 1917 Dr. Michaelis, then an almost unknown bureaucrat, was appointed Imperial Chancellor by the Kaiser. The appointment occasioned much surprise and speculation; the only one of the eight imperial chancellors of the German Empire from Bismarck to the end of the European War who was not a member of the nobility, Dr. Michaelis was destined to a short and inglorious tenure of that high office. After little more than three months he was dismissed. The charges against him were somewhat obscure and can only be described as a general accusation of incompetence — inability to procure peace or to satisfy any political party in Germany. The Socialist organ, Vorwärts, declared that "the remaining of this man in office constitutes a paralysis of all political functions of the empire abroad and at home." Count Hertling (q.v.) was appointed Chancellor on 1 Nov. 1917 and Michaelis retired from the stage decorated with the Chain of the Grand Cross of the Red Eagle.

MICHAELIS, Johann David, yō'hän dä'ved mē'hä-a'lis, German biblical scholar: b. Halle, Prussia, 27 Feb. 1717; d. Göttingen, 22 Aug. 1791. He studied at the University of Halle, traveled in Great Britain and Holland, became professor of philosophy at Göttingen in

1746, and professor of Oriental languages there in 1750. He was one of the editors (1753-70) of the Göttingen gelehrte Anzeigen, and served for a time as librarian to the university. Modern biblical criticism in Germany sees in Michaelis one of its forerunners, whose works are of interest in the history of its development. They include his 'Hebräische Grammatik) (1778); 'Einleitung in die göttlichen Schriften des neuen Bundes'; 'Mosaisches Recht'; 'Moral) (1792-1823); 'Orientalische und exegetische Bibliothek (1786-93). Consult his Lebensbeschreibung von ihm selbst abgefasst,' ed. by Hassencamp (1793), and his letters (1794–96). Consult the Life' by Smend (1896).

MICHAELIS, Karin (MRS. CHARLES EMIL STANGELAND), Danish author: b. Randers, 20 March 1872. Her maiden name was BeckBröndum, and she was married in 1895 to Sophus Michaëlis (q.v.), from whom she later separated. She was married to Charles Emil Stangeland, an American, in 1912. Author of 'Hoit Spil (1898); 'Hellig Enfold' (1903); 'Den Farlige Alder' (1910); 'Grev Sylvanus Hævn (1911).

MICHAËLIS, Karoline. See VASCONCELLOS, KAROLINE MICHAELIS.

MICHAELIS, mi-kà-ä'lis, Sophus, Danish author: b. Odense, 14 May 1865. He was educated at the University of Copenhagen and afterward engaged in extensive foreign travel. He is known as a novelist, poet and dramatist, and also made translations of Flaubert's 'Salammbô'; 'Sucassin et Nicollete'; and (Tentation de Saint Antoine.' He edited Kunst in 1900-06. Author of 'Solblomster' verse (1893); Æbelo,' romance (1895); Livets Fest (1900); Palmerne' (1904); the (Giovanna' novels 'Dödedansen' (1900); (1901); and the dramas Revolutionsbryllup' (1906); 'Den Evige Sövn' (1912), etc.

MICHAELIUS, mē-kä'lē-oos, Jonas, first Dutch Reformed minister in America: b. in the north of Holland, 1577; d. Holland, after 1637. He studied at Leyden, had a country church in Holland from 1612 to 1616; was sent to San Salvador, Brazil, in 1624; was transferred thence to Guinea in 1626; and in 1628 went to Manhattan, where he organized a consistory after the Dutch Reformed government, remaining probably until 1633. His last years were spent in Holland. A letter written by him in 1628, and now preserved in the New York Public Library, describes the condition of the New York Indians, urging work among the children; it is published in the New York Historical Society's 'Collections' (1880).

MICHAELMAS, mik'el-mas, the feast of Saint Michael and All Angels, 29 September. The festival was first appointed by Pope Felix III, 480. In the Greek Church it did not originate earlier than the 12th century. It was an old custom in England to mark the day by electing civil magistrates, perhaps in allusion to the analogy between the superintendence of magistrates and that of guardian angels, of whom Saint Michael was reported the prince. A more famous custom is that of eating roast goose, the origin of which has long exercised the wisdom of antiquaries. The traditional Michaelmas goose has been traced at least as

far back as the 10th year of Edward IV; and it is said that one of the strongest objections of the English commonalty to the reformation of the calendar was based on the confusion which would follow if Michaelmas day was not celebrated when stubble geese are in their highest perfection. There is an old proverb "If you eat goose on Michaelmas day, you will never want money all the year round.» Consult Chambers's Book of Days.'

MICHAL, wife of King David and younger daughter of King Saul. After David was driven away from court and his life saved by Michal, who favored his escape, her father married her to Phalti, from whom David eventually recovered her, but was permanently alienated from her by her levity and want of sympathy with his enthusiastic joy over the return of the ark to Jerusalem.

MICHALOWSKI BLASTING POWDER. See EXPLOSIVES.

MICHAUD, Joseph François, zhō-zěf frän-swä, French historian: b. Albens, Savoy, 19 June 1767; d. Passy, 30 Sept. 1839. He became a journalist at Paris, where he wrote for Royalist papers and stoutly upheld the monarchy; and in 1794 established the Quotidienne. His opposition to the Revolution brought upon him sentence of death (27 Oct. 1795), and though the sentence was later revoked, he was finally exiled by the Directory and went into hiding in the Juras. He was allowed to return under the consulate, but remained an apologist of the Bourbons, and at the Restoration took up the publication of the Quotidienne. The well-known 'Biographie moderne was published under his direction and part of the 'Biographie universelle' He was elected to the Academy in 1823. Among his more important works are 'Histoire de l'Empire de Mysore' (1801); 'Histoire de Croisades (1812-22); 'Dernier règne de Buonaparte' (1815); and Collection de mémoires pour servir à l'histoire de France depuis le XIIIme Siècle' (1836-39).

MICHAUT, mē-shō, Gustave Marie Abel, French literary critic and educator: b. Perrigny, 20 Feb. 1870. He was educated at the École Normale Supérieuer, was professor at the University of Fribourg, Switzerland, in 1894-1904, and has since been lecturer at the University of Paris. He lectured in the United States in 1911. He was laureate of the French Academy in 1896, 1901, 1903, 1907. Author of 'Edition des Pensées de Pascal' (1896); 'Des Discours sur le passions de l'amour de B. Pascal' (1900); Les Pensées Marc-Aurèle (1901); 'Etude sur le livre d'amour de Sainte-Beuve (1905); 'De la poésie française jusqu'au regne Henri quatrieme (1908); Honoré d'Urfé, poems (1909); Pages de critique et d'histoire litteraire' (1910); Anatole France; etude psychologique' (1914), etc.

MICHAUX, André, än-drā mē-shō, French botanist: b. Satory, Versailles, 7 March 1746; d. Madagascar, 16 Nov. 1802. His father, a rich farmer, took him into partnership, but the death of his wife soon after their marriage drove him to the study of botany and to travel. He traveled through France and England in 1779-81; then through Persia and to the borders of Tibet (1782-85); and in 1785 to North

America, where he made an exhaustive study of the flora of the Atlantic Coast, and near Charleston, S. C., and in Bergen County, N. J., established large nurseries. In 1800 he set out to investigate the flora of Madagascar, where he died. He wrote a 'History of the Oaks of North America) (1801) and Flora BorealiAmericana (1803).

MICHAUX, François André, French botanist: son of André Michaux (q.v.): b. Versailles, 1770; d. Vauréal, 23 Oct. 1855. He was his father's assistant, and in 1802 and 1806 was sent to North America by the French government. He wrote a Journal' of his travels, translated into English (1805); The Naturalization of American Forest Trees (1805); and the important 'North American Sylva) (3 vols., 1810-13), translated by Hillhouse (1817-19) and completed, for western America, by Nuttall (1842-50).

MICHEL, me'shel', Claude (Clodion), French sculptor: b. Nancy, 20 Dec. 1738; d. Paris, 29 March 1814. He went to Paris in 1755 and studied sculpture under his uncle, Lambert Sigisbert Adam, and later under Pigalle. He was awarded the grand prize for sculpture at the Académie Royale in 1759, and in 1761 the first silver medal for studies from life. He lived in Rome in 1762-71, studying and working, the years 1767-71 being especially productive. He was invited to Petrograd by Catherine II, his fame being widespread by this time, but eventually decided upon his return to Paris. He rapidly gained a large patronage, executing orders for the Chapter of Rouen, the Direction Générale and the States of Languedoc. His work ranged from serious groups and statues of splendid line and noble conception, to delicate statuettes, usually of terra cotta, and portraying cupids, fauns, nymphs and similar subjects. During the Revolution he returned to his birthplace, Nancy, where most of his time until 1798 was spent in modeling decorations for houses. He is perhaps best known for his statuettes, which are treasured in both private and public collections. Among his work may be mentioned the statue of Montesquieu; the 'Dying Cleopatra'; 'Vestal Crowned with Flowers; a mantelpiece in the South Kensington Museum; and the statue and relief of Saint Cecelia in the Cathedral at Rouen. In New York his work is represented at the Metropolitan Museum by statuettes in the Morgan and Altman collections. Consult Thirion, 'Les Adam et Clodion' (1885); Jacquot, 'Les Adam et les Michel et Clodion' (1898).

MICHEL, Dan (Dominus or Master), or MICHEL OF NORTHGATE, English translator and brother in the cloister of Saint Augustine of Canterbury: lived 1340. He is known only through his translation of a French moral treatise written in 1279 by Frère Laurens (Latin name Laurentius Gallus), for Philip III, of France. The French manuscript is entitled 'Le Somme des Vices et des vertus'; and Dan Michel's translation into the Kentish dialect is known as 'The Syenbite of Inwit,' i.e., The Again-biting of the Inner Wit,' or 'The Remorse of Conscience.' The manuscript is autographed by Dan Michel and dated 1340. It is preserved in the Arundel manuscript 57, and is of high philological value as an authentic and dated specimen of the Kent dialect of the 14th

century. Consult editions by Stevenson for the Roxburghe Club (1855); Morris for the Early English Text Society (1876).

MICHEL, Francisque Xavier, French archæologist: b. Lyons, 18 Jan. 1809; d. Paris, 18 May 1887. He was educated at Lyons and became known for his work in editing French manuscripts of the Middle Ages. He was sent to England in 1833 and to Scotland in 1837 for the purpose of making researches for the French government. He was appointed professor of foreign literature at the Faculté des lettres at Bordeaux in 1839. He edited numerous manuscripts written between the 11th and 14th centuries, among them 'Chanson de Roland' and 'Roman de la Rose.' He later translated into French many works of Goldsmith, Shakespeare, Sterne and Tennyson; and he author of 'Histoire des races naudites de la France et de l'Espagne (2 vols., 1847); 'Recherches sur le Commerce pendant le moyen-âge (2 vols., 1852-54); Etudes de Philologie comparée sur l'argot' (1856); 'Histoire du commerce et de la navigation á Bordeaux (2 vols., 1867-71), etc.

was

MICHEL, François Emile, frän-swä a-mēl mē-shěl, French painter and art critic: b. Metz, 19 July 1828; d. 24 May 1909. After studying under Migette and Marechal, he made his début in the Salon in 1853, since which he has produced 'Summer Nights' (1872); (Sowing in Autumn' (1873); The Harlem Sound' (1885); the two latter being now in the Luxembourg. He was elected to the Institute in 1892. Among his works are 'Rembrandt (1886); Jacob van Ruysdael et les paysagistes de l'école de Haarlem' (1890); Le maitres du paysage (1906); 'Nouvelles études sur l'histoire de l'art' (1908); 'La forêt de Fontainebleu) (1909).

MICHEL, Louise, French anarchist: b. Vroncourt, Upper Marne, France, 29 May 1830; d. Paris, 9 Jan. 1905. When very young she wrote verses of unusual power and in 1860 opened a school in Paris. In the Franco-German War she tended the sick and wounded and took part in the sorties from Paris; and during the government of the Commune in 1871 she fought at the barricades, was made prisoner, sentenced to deportation for life, and spent some years in New Caledonia, but was pardoned by the amnesty of 1880 and returned to Paris, where she edited 'La Révolution sociale' and continued her anarchistic teachings. She was imprisoned in 1883 and in 1886, later made her home in London, where she continued her work and returned to Paris in 1895. Her sobriquet, "The Red Virgin of Montmartre," was a tribute to the purity of her life. She published 'Le Coq Rouge'; 'Les Méprisées'; 'Ses Mémories'; 'L'Ere Nouvelle.' Consult Gerault, E., 'La bonne Louise' (1906).

MICHELANGELO, Buonarroti, mi-kělăn’je-lô or me-kel-än'jā-lo, boo-ō-när-rō'tē, whose name during his lifetime was written as Michelagnolo (or Michelangiolo) di Ludovico di Buonarroti-Simoni; Italian sculptor, painter and architect: b. Caprese, Tuscany, 6 March 1475; d. Rome, 18 Feb. 1564. The family was well established as a family of citizens in Florence; but had been allowed heraldic bearings, a custom not unusual in relation to the controlling families of the Italian cities.

At a very early age Michelangelo became a student of fine art, entering first the workshop of Domenico Bigordi, called Ghirlandajo, and studying also in a primitive kind of art school which had been formed in the palace and gardens of Lorenzo dei Medici. It appears that the extraordinary abilities of the boy were noticed by his patrons and also by the artists of the epoch from the first. Michelangelo thought of himself only as a sculptor, and he put his energies into the study of bas-relief and statuary; studying the remains of GræcoRoman antiquity which were accessible, and producing works of such importance as caused surprise to his contemporaries, although most of these very early works are either lost altogether or are uncertain- pieces which are usually ascribed to this epoch not having certain ascriptions. The earliest very important work which has remained to us is the Pietà, which is now in a chapel of Saint Peter's Church at Rome. The figures are slightly larger than life, the Madonna holding the body of Christ on her lap in a not unusual attitude; a belt passing over the left shoulder of the Virgin is inscribed with the name of Michelangelo the Florentine: which is for years the only case in which Michelangelo signed a piece with his name. The famous group of the Madonna and Child in the Church of Notre Dame at Bruges, in Belgium, is generally accepted as the work of Michelangelo, and if so, was of this early epoch. The reason for its transportation to Bruges is disputed. An entirely authentic piece of the time is a colossal David, which having been for three centuries in the open air at the portal of the Palazzo Vecchio at Florence, is now under shelter in the Accademia in the same city. This extraordinary work is a frank attempt to render the as yet imperfectly developed form of a very young

man.

The only portable painting which can with certainty be ascribed to Michelangelo belongs to the closing years of the 15th century, when Michelangelo was approaching the age of 25 years. This is the circular picture, a Madonna with the Child and Saint Joseph, in the Uffizi Gallery. The fact of his producing this and several other small works of painting is not to be counted against his accepted position as a sculptor; for most of the artists of the time practised in the different arts, and it is probable that Michelangelo was at this time much less in the habit of painting than were other sculptors of well-known ability. His own continual occupation upon works of pure form in marble was a sufficient reason for his continued abstention from the sister arts.

With the election of Pope Julius II began the Roman life of Michelangelo, for he was called upon by the new Pope in 1505 to build a great monument which the Pope desired to finish within his own lifetime. This monument was never completed, however, and the controversies and other difficulties which arose continually with regard to it, embittered a large part of the great artist's life and consumed time which could but ill be spared from actual work. The great statue of Moses, which was executed at a somewhat later time (not to be exactly fixed), was the only very important piece of statuary completed for this tomb.

In 1506 Michelangelo returned to Florence,