Breeches-maker." Other corrections were proposed by different critics, and some alterations made. Angelo was censured for mixing sacred with profane history; for introducing the angels of revelation with the Stygian ferryman; Christ sitting in judgment, and Minos assigning his proper station to each of the damned. To this profanity, he added satire; in Minos, he portrayed the features of the Master of Ceremonies, who in the hearing of the pope, had pronounced this picture more suitable for a Bagnio than a church; and an officious Cardinal, he placed among the damned, with a fiend dragging him by the testes down to hell.
MICHAEL ANGELO'S COLORING.
The coloring of Michael Angelo has been generally
criticised as being too cold and inharmonious,
but the best critics now consider that it was admirably
adapted to his design. His chief characteristics
were grandeur and sublimity, and whatever partook
of the sublime and the terrible, he portrayed with a
fidelity that intimidates the beholder. It is an error
to suppose that he could not color delicately and
brilliantly when he chose. During his residence at
Florence, he painted an exquisite Leda for Alphonso,
Duke of Ferrara. Michael Angelo was so much
offended at the manner of one of the courtiers of
that prince, who was sent to bring it to Ferrara,
that he refused to let him have it, but made it a
present to his favorite pupil, Antonio Mini, who car-
