Was born at Castel Caprese, near Arezzo, in 1475. In 1488 he entered the school of Ghirlandaio, the master giving a small payment for the boy’s services. His precocious abilities soon attracted the notice of Lorenzo de’ Medici, and until the death of that prince in 1492, Michelangelo worked under his especial patronage. His earliest drawings show a spontaneous power which made Fuseli say that “as an artist he had no infancy;” but for many years he confined himself almost entirely to sculpture; and some of his greatest achievements in that kind of art were executed before he undertook his first considerable work with the pencil. This was the “Cartoon of Pisa,” finished in 1505, and intended as a design for a mural picture to face that of Leonardo in the Council Hall at Florence. This cartoon is lost, but a copy in monochrome, containing probably the whole of the composition, exists in England. During its progress he had broken off to visit Rome, and execute some sculptural work for the pope; and in 1508 he went to Rome again to begin the great achievement of his life, the frescoes of the Sistine Chapel. The paintings of the ceiling illustrate the Creation and the Fall of Man, together with other scenes and figures typical of the Redemption. The middle part of the ceiling is divided into nine compartments, containing the “Creation of Eve” (placed in the center, as symbolizing the woman of whom the Messiah was born), the “Creation of Adam,” the “Temptation, Fall and Expulsion” in one composition, the “Separation of Light from Darkness,” the “Gathering of the Waters,” the “Creation of the Sun and Moon,” the “Deluge,” the “Thanksgiving of Noah,” and the “Drunkenness of Noah.” At the corners of the ceiling are four designs of the great deliverances of the children of Israel, the Brazen Serpent, David and Goliath, Judith with the head of Holofernes, and the punishment of Haman. There are six windows on each side of the chapel; the lunettes which surround them, and the spaces above them, are occupied by groups of the ancestors of Christ. Between the windows, at the springing of the vault, are colossal seated figures of the Prophets and Sibyls who foretold the coming of the Savior. They are arranged alternately as follows:—Jeremiah, Persian Sibyl, Ezekiel, Erythræan Sibyl, Joel, Delphic Sibyl, Isaiah, Cumæan Sibyl, Daniel, Libyan Sibyl; Jonah and Zachariah are placed one at each end of the chapel, between the historical compositions at the angles of the ceiling. These single figures are the most striking features of the design, and calculated skilfully to help the architectural effect. The side walls of the chapel, below the springing of the vault, had already been decorated with frescoes executed by Sandro Botticelli, Cosimo Rosselli, Ghirlandaio, Luca Signorelli, and Perugino. Michelangelo’s frescoes were finished toward the end of the year 1512. Vasari’s statement that he painted them all in twenty months