to the dominions of the church, and retaining possession of Bologna. Effecting his object, he withdrew from the league; and by a change of policy, and a miscalculation of his strength, quarrelled with Louis XII. who had assisted him in subjecting Bologna. That monarch retook the city, restored the Bentivoglio family, which had been displaced by the papal arms, and the populace throwing down Michael’s statue of the pope, dragged it through the streets, and broke it to pieces. With the mutilated fragments the duke of Ferrara cast a cannon, which he named Julio, but preserved the head entire, as an invaluable specimen of art, although it bore the countenance of his implacable enemy. Michael Angelo resumed Julius’s mausoleum, but the pontiff had changed his mind, and sorely against Michael’s inclination, engaged him to decorate the ceilings and walls of the Sixtine chapel, with paintings in fresco, to the memory of Sixtus VI., the pope’s uncle. For the purpose of commencing these paintings, ropes were let through the ceiling to suspend the scaffolding. Michael asked Bramante the architect, who had arranged this machinery, how the ceiling was to be completed if the ropes were suffered to remain? The answer did not obviate the objection. Michael represented to the pope that the defect would have been avoided if Bramante had better understood the application of mechanical principles, and obtained the pope’s permission to take down the inefficient contrivance and erect another. This he effected; and his machinery was so ample and complete, that Bramante himself adopted it in the building of St. Peter’s. Michael gave this invention to the poor man who was his carpenter in constructing it, and who realized a fortune from the commissions he received for others on the same plan. To indulge his curiosity, and watch the progress of the work, the pope ascended the ladder to the top of Michael’s platform almost daily. He was of an impetuous temper, and impatient to see the general effect from below before the ceiling was half completed: Michael, yielding to his impatience, struck the scaffold; and so eager were men of taste to obtain a view, that before the dust from displacing the machinery had settled, they rushed into the chapel to gratify their curiosity. Julius was satisfied: but Michael’s rivals, and Bramante among the rest, secretly solicited the pope to intrust the completion of the cartoons to Raphael. Michael had intimation of these wiles, and in the presence of Bramante himself, claimed and obtained of the pope the entire execution of his own designs. He persevered with incessant assiduity. In twenty months from the commencement of “this stupendous monument of human genius” it was completed, and on All Saints’ day, 1512, the pontiff himself opened the chapel in person with a splendid high mass, to crowds of devotees and artists. Whatever Julius conceived he hastened with the ardour of youth; he was old, and knowing that he