On the immense plain of the Last Judgment, Michael Angelo has wound up the destiny of man, simply considered as the subject of religion, faithful or rebellious; and in one generic manner has distributed happiness and misery, the general feature of passions is given, and no more.--But had Raphael meditated that subject, he would undoubtedly have applied to our sympathies for his choice of imagery; he would have combined all possible emotions with the utmost variety of probable or real character: a father meeting his son, a mother torn from her daughter, lovers flying into each other's arms, friends for ever separated, children accusing their parents, enemies reconciled; tyrants dragged before the tribunal by their subjects, conquerors hiding themselves from their victims of carnage; innocence declared, hypocrisy unmasked, atheism confounded, detected fraud, triumphant resignation; the most prominent features of connubial, fraternal, kindred connexion.--In a word, the heads of that infinite variety which Dante has minutely scattered over his poem--all domestic, politic, religious relations; whatever is not local in virtue and in vice: and the sublimity of the greatest of all events, would have been merely the minister of sympathies and passions.[76] If opinions be divided on the respective advantages and disadvantages of these two modes; if to some it should appear, though from consideration of the plan which guided Michael Angelo I am far from subscribing to their notions, that the scenery of the Last Judgment might have gained more by the dramatic introduction of varied pathos, than it would have lost by the dereliction of its generic simplicity; there can, I believe, be but one opinion with regard to the methods adopted by him and Raphael in the invention of the moment that characterises the creation of Eve: both artists applied for it to their own minds, but with very different success: the elevation of Michael Angelo's soul, inspired by the operation of creation itself, furnished him at once with the feature that stamps on human nature its most glorious prerogative: whilst the characteristic subtilty, rather than sensibility of Raphael's mind, in this instance, offered nothing but a frigid succedaneum; a symptom incident to all, when after the subsided astonishment on a great and sudden event, the mind recollecting itself, ponders on it with inquisitive surmise. In Michael Angelo, all self-consideration is absorbed in the sublimity of the sentiment which issues from the august Presence that attracts Eve; "her earthly," in Milton's expression, "by his heavenly overpowered," pours itself in _adoration_: whilst in the inimitable cast of Adam's figure, we trace the hint of that half conscious moment when sleep began to give way to the vivacity of the dream inspired. In Raphael, creation is complete--Eve is presented to Adam, now awake: but neither the new-born charms, the submissive grace