The organs, which are of a formidable size, have rows of pipes laid transversely, like so many cannon with their muzzles pointed at you; they look very menacing and warlike. The private chapels have each an organ, only of a smaller size. In the _retablo_ of one of these chapels we beheld a painting of such exceeding beauty, that I am even now at a loss to what master to ascribe it, unless it be to Michael Angelo. This magnificent work of art possesses, most undeniably, all the characteristic marks of the Florentine school, when in its most flourishing state, and would form the principal attraction in any gallery however rich. Michael Angelo, however, hardly ever painted in oil colours, and his pictures are fabulously scarce; I am inclined to think that it was painted by Sebastian del Piombo, after a cartoon, and on a drawing of this sublime artist. It is well known that Michael Angelo was jealous of Raphael's success, and that he sometimes employed Sebastian del Piombo, in order to unite colouring to drawing, and thus beat his young rival. However this may be, it is very certain that the picture is admirable. The Virgin Mary is represented seated, with her drapery disposed in majestic folds; she is covering with a transparent scarf the divine form of the infant Jesus, who is standing up by her side. From out the ultramarine of the sky two angels are contemplating her in silence, while in the background is seen a severe landscape, with some rocks and fragments of walls. The head of the Virgin possesses an amount of majesty, serenity, and force, of which it is utterly impossible to convey an adequate idea by mere words. The lines which join the neck to the shoulders are so pure, so chaste, and so noble, the face breathes such an expression of sweet maternal satisfaction, the hands are so divinely treated, and the feet are so remarkable for their elegance and grand style, that I found it almost impossible to tear myself away. Add to this marvellous design, simple, solid, well-sustained colouring, without any claptrap devices, or little tricks of chiaroscuro, but a certain look of fresco which harmonizes perfectly with the tone of the architecture around, and you have a _chef-d'œuvre_ such as is to be found only in the Florentine or Roman school.