probably still unsurpassed. The story of the head of the principal personage having been left incomplete is a vulgar error, as might be easily proved by reference to the early literature of Italian art. The well-known portrait of Mona Lisa, in purity of drawing, sweetness of simple and natural expression, has an equal only in the works of Raphael. But the influence of this master extended much more widely than the sphere of individual examples: he first united the science of anatomy with that of painting, and both with nature; and thus may truly be said to have prepared the art for the coming greatness. To the majesty of Michael Angelo's genius the reader has already done homage. If in sculpture the grandeur of his conceptions was admired, in painting this greatness is still more wonderful, but unfortunately, not less singular and remote from nature. Yet, than the painting of Buonarotti there is perhaps no instance of intellectual power more truly grand in the entire history of mind. Previous to leaving his native Florence, where he was born, of a noble family, in 1474; and whence he fled, when his country became false to herself and to freedom, architecture and sculpture had formed his principal studies. Design he had pursued little farther than as indispensably connected with these: of painting, as a separate science, he was of course comparatively ignorant. In this state of knowledge, he received orders to complete the paintings in the Sistine Chapel, upon which several of the artists, already mentioned, had before been engaged. Yet, at this time, Michael Angelo was unacquainted with the mechanical processes of fresco. To produce the designs was to him a labour of ease; and these he endeavored to have executed by artists brought from Florence; but on trial, dismissed them in all save utter hopelessness. Rising in the strength and perseverance of indomitable genius, he resolved to begin art anew, and to depend henceforth solely on his own resources. Shutting himself up in the fated chapel, preparing the materials with his own hands, after many trials and failures,--after beholding the first piece finished to his satisfaction, moulder and mildew almost before his admiring eye--he at length triumphed, achieving in the course of years the most adventurous undertaking in modern art, under circumstances, too, that while they encourage all, leave to none who aspires to the moral dignity of talent even the shadow of an apology for irresolution or indolence.