When the week before last I asked for explanations of the horns on Michelangelo’s Moses (for which, click here, one reader of this happy Corner made an especially good suggestion: Ask Roger Kimball. Roger is an editor of The New Criterion and author of the marvelous new book, The Rape of the Masters: How Political Correctness Sabotages Art. Here’s Roger’s reply:

I have not pondered the question much, but I am skeptical of the “cornu” interpretation: I suspect that the horns represent not Michelangelo’s interpretation of a passage from Exodus but rather his effort to provide a visual and emotional correlative for the kind of severe religious sublimity that Moses embodied. A quality that is often discerned in Michelangelo’s work is terribilità: a term that is hard to define but that embraces the sublime….What we see in Moses here–Moses the law-giver, Moses the chap who has just had an awful (in the old sense) encounter with God–is the results of an artist’s effort to represent visually something that exceeds the boundaries of the representable: the horns are a sort of objective correlative of that overwhelming moral awesomeness: forbidding, grotesque, yet commanding. That, anyhow, is how it appears to me at first blush. (The proper question here, I suspect, is not “What does it mean?” but “How does it feel?” That is, the issue…is less one of symbols and semantics than one of aesthetic force and religious passion.)

Herewith, at last, a completely satisfying explanation of what Michelangelo was attempting. The convention of portraying Moses with horns may very well have arisen because of a mistranslation of one or two terms of Hebrew into Latin. But Michelangelo uses it not out of confusion or ignorance but for the high purposes of his art.

In a single paragraph, an entire course in art appreciation. With thanks to Roger–and to the reader who suggested I ask him.