79. What Michael Angelo could do by expression of countenance alone, let the Pieta of Genoa tell, or the Lorenzo, or the parallel to this very head of Orcagna's, the face of the man borne down in the Last Judgment with the hand clenched over one of the eyes. Neither in that fresco is he wanting in dramatic episode; the adaptation of the Niobe on the spectator's left hand is far finer than Orcagna's condemned queen and princess; the groups rising below, side by side, supporting each other, are full of tenderness, and reciprocal devotion; the contest in the center for the body which a demon drags down by the hair is another kind of quarrel from that of Orcagna between a feathered angel and bristly fiend for a diminutive soul--reminding us, as it forcibly did at first, of a vociferous difference in opinion between a cat and a cockatoo. But Buonaroti knew that it was useless to concentrate interest in the countenances, in a picture of enormous size, ill lighted; and he preferred giving full play to the powers of line-grouping, for which he could have found no nobler field. Let us not by unwise comparison mingle with our admiration of these two sublime works any sense of weakness in the naivete of the one, or of coldness in the science of the other. Each painter has his own sufficient dominion, and he who complains of the want of knowledge in Orcagna, or of the display of it in Michael Angelo, has probably brought little to his judgment of either. 80. One passage more we must quote, well worthy of remark in these days of hollowness and haste, though we question the truth of the particular fact stated in the second volume respecting the shrine of Or San Michele. Cement is now visible enough in all the joints, but whether from recent repairs we cannot say:--