been planned in the original design. [Footnote 1: 1534.] [Illustration: THE LAST JUDGMENT (_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine Chapel_) _Anderson_] Michelagnolo resolved, since he could not do otherwise, to serve Pope Paul, who allowed him to continue the work as ordered by Clement, without changing anything in the inventions and the general conception that had been laid before him, thus showing respect for the genius of that great man, for whom he felt such reverence and love that he sought to do nothing but what pleased him; of which a proof was soon seen. His Holiness desired to place his own arms beneath the Jonas in the chapel, where those of Pope Julius II had previously been put; but Michelagnolo, being asked to do this, and not wishing to do a wrong to Julius and Clement, would not place them there, saying that they would not look well; and the Pope, in order not to displease him, was content to have it so, having recognized very well the excellence of such a man, and how he always followed what was just and honourable without any adulation or respect of persons--a thing that the great are wont to experience very seldom. Michelagnolo, then, caused a projection of well baked and chosen bricks to be carefully built on the wall of the above-named chapel (a thing which was not there before), and contrived that it should overhang half a braccio from above, so that neither dust nor any other dirt might be able to settle upon it. But I will not go into the particulars of the invention and composition of this scene, because so many copies of it, both large and small, have been printed, that it does not seem necessary to lose time in describing it. It is enough for us to perceive that the intention of this extraordinary man has been to refuse to paint anything but the human body in its best proportioned and most perfect forms and in the greatest variety of attitudes, and not this only, but likewise the play of the passions and contentments of the soul, being satisfied with justifying himself in that field in which he was superior to all his fellow-craftsmen, and to lay open the way of the grand manner in the painting of nudes, and his great knowledge in the difficulties of design; and, finally, he opened out the way to facility in this art in its principal province, which is the human body, and, attending to this single object, he left on one side the charms of colouring and the caprices and new fantasies of certain minute and delicate refinements which many other painters, perhaps not without some show of reason, have not entirely neglected. For some, not so well grounded in design, have sought with variety of tints and shades of colouring, with various new and bizarre inventions, and, in short, with the other method, to win themselves a place among the first masters; but Michelagnolo, standing always firmly rooted in his profound knowledge of art, has shown to those who know enough how they