[This Bust is from the marble by Alessandro d’Este, and one of those contributed to the Capitoline Museum, at the expense of Canova, when he was President of the Academy of Saint Luke, at Rome. It conveys an idea of coarseness which would hardly seem to belong to Michael Angelo’s natural expression, marked as it is with power and energy. It will be remembered how his nose was broken by a blow from his fellow-student, Torrigiano. He was buried in Sta. Croce, at Florence, his noble monument there being designed and executed under the superintendence of Vasari, the historian of the painters. It consists of a sarcophagus, supported by three figures, representing Painting, Sculpture, and Architecture, and surmounted by his bust (of which No. 143A is a cast) and three crowns, with the motto “tergeminis tollit honoribus.” This tomb and the bust were executed by three sculptors, Domenico Lorenzi, a pupil of Bandinelli, Valerio Cioli, and Giovanni dell’ Opera. There is, in the Capitoline Museum a bust of Michael Angelo, said to be by his own hand; the head is of bronze, and the rest of marble; and in the same place a painted portrait of him, by Andrea del Sarto. Vasari mentions an alto-relievo of him in bronze, by Danielo Ricciarelli, and a medal (“a very close resemblance”) by Cav. Lioni, which was abundantly copied and distributed in his honour.] 143A. MICHAEL ANGELO BUONAROTTI. _Sculptor, Painter, Architect._ 144. TITIAN, or, TIZIANO VECELLIO. _Painter._ [Born at Pieve di Cadore, in Lombardy, 1477. Died at Venice, 1576. Aged 99.] In the works of Titian, Venetian art reached its culminating point. He was the pupil of Bellini; but the disciple soon surpassed his master. Titian first instituted the custom of painting full-length portraits, and his pictures of this kind, of which he painted many, have never been surpassed. In the representation of undraped female forms he also displayed the hand of a master. In softness, transparency, and delicacy of colouring, he stands alone. All his figures seem to express a high consciousness and enjoyment of existence. He was followed, throughout his career, with great honours. Charles V., whose portrait he painted, made him Count Palatine, and he received invitations from other crowned heads. He died of the plague in Venice, and was buried with great ceremony, at a time when raging pestilence had suspended the ordinary rites of burial. Towards the close of his life his subjects were chiefly religious.