At near eighty years, he began in marble a group of four figures for a dead Christ; because, he said, to exercise himself with the mallet was good for his health. And what did he accomplish? It does not fall within our design to give an account of his works, yet for the sake of the completeness of our sketch we will name the principal ones. Sculpture he called _his_ art, and to it he regretted afterwards he had not singly given himself. The style of his paintings is monumental; and even his poetry partakes of that character. In sculpture, his greatest work is the statue of Moses in the Church of Pietro in Vincolo, in Rome. It is a sitting statue of colossal size, and is designed to embody the Hebrew Law. The lawgiver is supposed to gaze upon the worshippers of the golden calf. The majestic wrath of the figure daunts the beholder. In the Piazza del Gran Duca at Florence, stands, in the open air, his David, about to hurl the stone at Goliah. In the Church called the Minerva, at Rome, is his Christ; an object of so much devotion to the people, that the right foot has been shod with a brazen sandal to prevent it from being kissed away. In St. Peter’s, is his Pietà, or dead Christ in the arms of his mother. In the Mausoleum of the Medici at Florence, are the tombs of Lorenzo and Cosmo, with the grand statues of Night and Day, and Aurora and Twilight. Several statues of less fame, and bas-reliefs, are in Rome and Florence and Paris. His Paintings are in the Sistine Chapel, of which he first covered the ceiling with the story of the creation, in successive compartments, with the great series of the Prophets and Sibyls in alternate tablets, and a series of greater and smaller fancy-pieces in the lunettes. This is his capital work painted in fresco. Every one of these pieces, every figure, every hand and foot and finger, is a study of anatomy and design. Slighting the secondary arts of coloring, and all the aids of graceful finish, he aimed exclusively, as a stern designer, to express the vigor and magnificence of his conceptions. Upon the wall, over the altar, is painted the Last Judgment. Of his designs, the most celebrated is the cartoon representing soldiers coming out in the bath and arming themselves; an incident of the war of Pisa. The wonderful merit of this drawing, which contrasts the extremes of relaxation and vigor, is conspicuous even in the coarsest prints.