[64] Perugino had painted the Assumption with a portrait of Sextius IV kneeling, Moses saved from the waters, and the Birth of Christ. [65] Léon Dorez has found recently in the records of the private accounts of Paul III the exact dates of the work, April-May, 1536, to November 18, 1541. [66] Thus Vittoria Colonna had herself described the Last Judgment to Michelangelo: "Christ comes twice, the first time he is all gentleness; he only shows his great kindness, his clemency and his pity; he comes for the sinners and the sick, to give peace, light and forgiveness, all glowing with charity, clothed in humanity.... The second time he comes armed and shows his justice, his majesty, his grandeur and his almighty power, and there is no longer any time for pity or room for pardon." (Letter of Vittoria between 1535-1546, probably to Bernadino Ochino,--Carteggio de Vittoria Colonna, p. 242.) [67] We know that Michelangelo, to revenge himself, portrayed Biagio from memory in the Hell of his Last Judgment under the form of Minos with a huge serpent wound about his legs in the midst of a mountain of devils. (Vasari.) [68] We must not, however, imagine that Michelangelo any more than his contemporaries had the courage to show openly to Aretino the contempt which he must have felt for him. If he declined the offer of collaboration in the Last Judgment which Aretino had baldly made him and for which he had outlined a detailed program, it was only with many compliments and much flattery. (Letter of September, 1537.) Even though Aretino did not obtain from him the gift for which he asked, we find, nevertheless, that he had received in September, 1535, through Vasari, a head in wax and a sketch for a St. Catherine. But he did not consider himself satisfied. [69] The "Hypocrite," dedicated to Guidobaldo II, Duke of Urbino. (See Pierre Gaultier, "L'Aretin," 1895.) [70] Gherardo Perini and Tommaso dei Cavalieri--thus Aretino in passing adds to the accusation of impiety an allusion to the evil reports about the habits of Michelangelo. Two lines lower down he will accuse him of theft. [71] _In postscript:_ Now that I have a little discharged my anger against the cruelty with which you have repaid my devotion, and have made you see, I believe, that if you are "divino" I am not "d'acqua," tear up this letter as I do, and reflect. For I am a man to whom even Kings and Emperors answer. [72] Gaye Carteggio, Vol. II, p. 500. [73] A. Baschet "P. Veronese devant le Saint Office," 1880. [74] "Missirini: Memorie per servire alla storia della romana Accademia di S. Luca." (Cited by E. Müntz, "Histoire de l'Art pendant la Renaissance," Vol. III, p. 126.) [75] In 1762 Stefano Pozzi was polishing it under Clement VIII. Abbé Richard, in his "Voyage d'Italie," says that he saw "some very mediocre artists occupied in covering with draperies the most beautiful nude figures of the painting and of the ceiling."