Chapter 4

execution of his designs to any subordinates. This is also a point of the highest importance to insist upon. Had he been other than he was--a gregarious man, contented with the _à peu près_ in art--he might have sent out all those twelve Apostles for the Duomo from his workshop. Raffaello would have done so; indeed, the work which bears his name in Rome could not have existed except under these conditions. Now nothing is left to us of the twelve Apostles except a rough-hewn sketch of S. Matthew. Michelangelo was unwilling or unable to organise a band of craftsmen fairly interpretative of his manner. When his own hand failed, or when he lost the passion for his labour, he left the thing unfinished. And much of this incompleteness in his life-work seems to me due to his being what I called a dreamer. He lacked the merely business faculty, the power of utilising hands and brains. He could not bring his genius into open market, and stamp inferior productions with his countersign. Willingly he retired into the solitude of his own self, to commune with great poets and to meditate upon high thoughts, while he indulged the emotions arising from forms of strength and beauty presented to his gaze upon the pathway of experience.