not derive advantage from its study, or, because of his partiality to Vinci and his hatred to Buonarotti he wished to remove a subject of comparison that might exalt the reputation of the latter above that of the former.
MICHAEL ANGELO'S LAST JUDGMENT.
Lanzi says, "In the succeeding pontificates (to
that of Julius II.) Michael Angelo, always occupied
in sculpture and architecture, almost wholly abandoned
painting, till he was induced by Paul III. to
resume the pencil. Clement VII. had conceived
the design of employing him in the Sistine chapel,
on two other grand historical pictures—the Fall of
the Angels, over the gate; and the Last Judgment,
in the opposite façade, over the altar. Michael Angelo
had composed designs for the Last Judgment,
and Paul III. being aware of this, commanded, or
rather entreated, him to commence the work; for
he went to his house, accompanied by ten Cardinals,—an
honor, except in this instance,unknown in the annals
of the art." This sublime work was finished by
Michael Angelo in eight years, and was exhibited
in 1541. Vasari says that at the suggestion of Fra
Sebastiano del Piombo, the Pope desired that it
should be painted in oil; but Michael Angelo positively
declined to undertake it, except in fresco, saying
"that oil painting was an employment only fit
for women, or idlers of mean capacity." Varchio
in his funeral oration says, "Such was the delicacy
