Perhaps it would be unfair to attribute to indifference Montaigne’s comparative silence over Italian painting. In his day it was not the fashion to write so copiously as at present concerning this particular phase of art, nor was it deemed necessary that every third-rate painter should possess his exponent and prophet. Whatever the reason, Montaigne passed it by in silence, save in a few instances, and the cause of his appreciation in these cases was evidently that the pictures possessed historic interest. At Caprarola he found portraits of Henry II. of France, Catherine dei Medici and their two sons. He mentions the pictures at Loreto, referring probably to the _ex voto_ daubs and not to the works of Signorelli and Melozzo da Forli. In his visit to the Vatican he notices a certain gallery which was being decorated with views of Italy, ancient and modern, by the order of Gregory XIII., the reigning Pope, and also those by Vasari in the Sala Regia depicting recent events of history which could hardly fail to interest him--the battle of Lepanto, the massacre of S. Bartholomew, and the death of Coligny. At Padua he praises the gardens of the Arena, but leaves unnoticed the chapel and its frescoes: probably he had never heard Giotto’s name. He has much to say of the Piazza at Siena, of the fountain and of the bronze wolf, but only a few words as to the exterior of the Cathedral, and not one about the many works of art within. At the Certosa at Pavia he mentions the carven façade and the tomb of Gian Galeazzo Visconti, but ignores the paintings. Sculpture seems to have had much greater fascination for him: he gives the names of many of the great works in the Vatican and Capitol, and praises Michael Angelo’s “Moses” and his statues in the Medici Chapel at Florence. He makes special mention of “la belle fame qui est aus pieds du Pape Pol tiers en la nouvelle église de S. Pierre,” the statue which the prudery of a later Pontiff caused to be encased in robes of bronze.