ing these labours, their senses are bewildered at the mere thought of what other paintings executed, or to be executed, must needs appear, when brought into comparison with this paragon.
Truly fortunate may that man be esteemed, and happy are his recollections, who has been privileged to behold this wonder of our age. Thrice blessed and fortunate art thou, O Paul III., since Grod has permitted that under thy protection was sheltered that renown which the pens of writers shall give to his memory and thine own! How highly are thy merits enhanced by his art![1] A great happiness, moreover, has most assuredly been his birth for the artists of our time, since by the hand of Michelagnolo has been removed the veil of all those difficulties which had previously concealed the features of Painting, Sculpture, and Architecture: seeing that in his works he has given the solution of every difficulty in each one of those arts.
At this work Michelagnolo laboured eight years. He gave it to public view on Christmas day, and (as I think) in the year 1541. This he did to the amazement and delight, not of Pome only but of the whole world. For myself, I, who was at Venice that year, and went to Pome to see it, was utterly astounded thereby.[2]
Now Pope Paul had caused a Chapel, called the Pauline, to be built by Antonio da Sangallo, as we have before related, in imitation of that erected by Nicholas V., and he now resolved that Michelagnolo should there paint two large stories; in one of them our artist accordingly depicted the Conversion of St. Paul: Our Saviour Christ is seen in the air above, with a multitude of angels, nude figures, exhibiting the most graceful movements. On the earth beneath them lies Paul, fallen from his horse, stunned and bewildered; some of the soldiers standing around are about to raise him up, while others, terrified by the voice and the majesty of Christ, are betaking themselves to flight: their movements and attitudes are of singular beauty; the horse
- ↑ Let our readers take patience, remembering that Michael Angelo was the revered and beloved master of our excellent Giorgio.
- ↑ Michael Angelo caused a copy in oil to be made by Marcello Venusti, for the Cardinal Alessandro Famese, and from the Palace of that House this picture ultimately came into the possession of the King of Naples. Of the numerous engravings from the Last Judgment we have not space here to make mention.
