Above all this, on the right hand, were four orders of animals, with horns at their mouths, blowing like winds and causing tempests on the sea, and helping to increase the danger of the ship. The first order was of lions, wolves, and bears. The inscription bore, _these are the potent Barons and unjust Governors_. The second order were dogs, pigs, and he-goats; their inscription was, These are evil councillors, the parasites of the nobles. The third order were rams, dragons, and foxes; their inscription was, These are the false officers, judges, and notaries. The fourth order consisted of hares, cats, goats, and apes; their superscription bore, that they were the populace, thieves, murderers, adulterers, and spoilers. Above all was painted heaven; in the midst of which was the divine Majesty coming to judgment; out of his mouth proceeded two swords, one pointing one way, the other, the other: on one hand was St. Peter, on the other St Paul, in prayer. And when the people saw this allegory every one marvelled.” [150] Rienzi’s nick-name, from Nicolo Rienzi. [151] Reynold’s, in his Fifth Discourse, says that Michael Angelo “never needed, or seemed to disdain, to look abroad for foreign help,” and contrasts this _originality_ with Raffaelle’s practice of using occasionally the inventions of his predecessors. But Reynolds, if he had been acquainted with the work of Signorelli, would have seen that Michael Angelo took from him, not only single figures of great power, but at least one group of importance, which he used with little change in the Last Judgment. [152] “BE STILL, AND KNOW THAT I AM GOD.” [153] At Dresden. [154] In Venice. [155] In Venice. [156] In Rome. [157] At Bologna. [158] In Spain. [159] In the possession of the Duke of Wellington. [160] Raffaelle’s engraved designs of the same subject are still more charming than those of the Farnesina. The decorations of his own villa, near the Porta del Popolo, and those still existing in Mr. M----’s villa, on the Palatine Hill, yield to neither. [161] Hans Hemelink is said to have been a soldier, who, after receiving a severe wound, was cured in the hospital at Bruges; and that the first of his pictures that attracted public attention, he painted in consequence of a vow made while under cure. Having recovered his health, and fulfilled his vow at home, he went on a pilgrimage to Saint Jago de Compostella, in Spain, and was heard no more of. The fine picture described formed part of the Boiserée collection. There are two exquisite heads in the Florence Gallery, by Hemelink. [162] These designs are the originals of the set of prints usually called Raffaelle’s Bible. [163] In our National Gallery. [164] At Rome in the Borghese. [165] In Spain. [166] At Paris. [167] At Dresden. [168] At Vienna. [169] At Rome, in the church of the Trinità del Monte. [170] Florence Gallery. [171] At Naples, in the church of San Martino.