[Footnote 161: The ignorant believe that Michelangiolo "nailed a man to a cross and left him there to expire, in order to paint from the life a figure of our Saviour on the cross." See Dati, in his notes of the Life of Parrhasius, who is said to have committed a similar homicide. This story of the latter is probably a fable, and undoubtedly it is so of Michelangiolo. The crucifixions of this artist are often repeated, sometimes with a single figure, sometimes with our Lady and S. John; at other times with two Angels, who collect the blood. Bottari mentions several of these pictures in different galleries. To these we may add the picture of the Caprara palace, and those in the possession of Monsignor Bonfigliuoli and of Sigg. Biancani in Bologna. Sig. Co. Chiappini of Piacenza has a very good one, and there is another in the church of the college of Ravenna.] [Footnote 162: A name given by the Italians to pictures of a dead Christ on the knees of his mother.] [Footnote 163: Bottari, in his _Notes_ to the Letter of Preziado, doubts whether this supposed scholar of Michelangiolo be Galeazzo Alessi, remarking at the same time that this last was rather an architect than a painter. I am inclined to think that the Matteo in question may have been the foregoing Matteo da _Lecce_, or da Leccio, and that owing to one of those errors, which Clerche in his "Arte Critica," calls _ex auditu_, his name in Spain became D'Alessi, or D'Alessio, the letters _c_ and _s_ in many countries being made use of reciprocally. Besides, this _Leccese_, of whom we write in the fourth volume, flourished in the time of Vargas, went to Spain, affected the style of Michelangiolo, and never settled himself in any place from his desire of seeing the world. Memoirs of him appear to have been collected in Spain, by Pacheco, who lived in 1635 (Conca, iii. 252), who in his account, at this distance of time, must have been guided by vulgar report; a bad authority for names, particularly those of foreigners, as was noticed in the Preface. That he should further be called Roman instead of Italian, in a foreign country, and that he should there adopt the name of Perez, not having assumed any surname in Rome, can scarcely appear strange to the reader, and the more so as he is described as an adventurer--a species of persons who subsist upon tricks and frauds.] [Footnote 164: Sebastiano painted it again for the Osservanti of Viterbo; and there is a similar one described in the Carthusian Monastery, at Naples, which is painted in oil, and is supposed to be the work of Bonarruoti.] [Footnote 165: Limbo, among theologians of the Roman Church, is the place where the souls of just men, who died before the coming of our Saviour, and of unbaptized children, are supposed to reside.] [Footnote 166: This noble fresco was ruined during the revolutionary tumults at Rome.--Tr.]