The 'Pieta' is one of the great sculptor's early works. It is badly placed. It is dwarfed by the heavy architecture above and around it. It is insulted by a pair of hideous bronze cherubs. There is a manifest improbability in the relative size of the figure of Christ and that of the Blessed Virgin. Yet in spite of all, it is one of the most beautiful and touching groups in the whole world, and by many degrees the best work of art in the great church. Michelangelo was a man of the strongest dramatic instinct even in early youth, and when he laid his hand to the marble and cut his 'Pieta' he was in deep sympathy with the supreme drama of man's history. He found in the stone, once and for all time, the grief of the human mother for her son, not comforted by foreknowledge of resurrection, nor lightened by prescience of near glory. He discovered in the marble, by one effort, the divinity of death's rest after torture, and taught the eye to see that the dissolution of this dying body is the birth of the soul that cannot die. In the dead Christ there are two men manifest to sight. 'The first man is of earth, earthy; the second man is the Lord from heaven.' In the small chapel stands a strangely wrought column, enclosed in an iron cage. The Romans now call it the Colonna Santa, the holy pillar, and it is said to be the one against which Christ leaned when teaching in the temple at Jerusalem. A great modern authority believes it to be of Roman workmanship, and of the third century; but those who have lived in the East will see much that is oriental in the fantastic ornamented carving. It matters little. In actual fact, whatever be its origin, this is the column known in the Middle Age as the 'Colonna degli Spiritati,' or column of those possessed by evil spirits, and it was customary to bind to it such unlucky individuals as fell under the suspicion of 'possession' in order to exorcise the spirit with prayers and holy water. Aretino has made a witty scene about this in the 'Cortegiana,' where one of the Vatican servants cheats a poor fisherman, and then hands him over to the sacristan of Saint Peter's to be cured of an imaginary possession by a ceremonious exorcism. Such proceedings must have been common enough in those days when witchcraft and demonology were elements with which rulers and lawgivers had to count at every turn.