This adjusted, Michael Angelo immediately proceeded to comply with the wishes of the Pope: if Paolo was inferior to Giulio in impetuosity, he was his equal in fervour of attachment to art, and excelled him, if not every other name which patronage has distinguished, in personal respect and public homage to the artist. No work ever received countenance and honours equal to those conferred on the Last Judgement of Michael Angelo, from its plan to its ultimate finish by Paolo Farnese. His first visit to the artist was attended by a train of ten cardinals:[77] though ambitious to have the work consecrated to his own name, in deference to Michael Angelo's attachment to the memory of Giulio, he submitted to his refusal of displacing the arms of De Rovere at the top of the picture, in favour of the Farnesian.[78] Induced by the specious sophistry of Sebastian del Piombo to prefer oil to fresco in the execution of the work, he permitted the wall to be prepared for that purpose, but on Michael Angelo's declaring oil painting an art for women only and sedentary tameness, he yielded to the decision, and patiently saw the whole apparatus dashed to the ground. When, before its final disclosure to the public, he took a private view of the whole composition at the Chapel, less convinced than irritated by the bigoted philippic of an attendant prelate against the daring display of immodest nudity, he acquiesced in the artist's well-known revenge, and refused to revoke or mitigate the punishment inflicted on the unlucky critic.[79]