standing behind the
central group on either hand of the Virgin, have incomparable beauty of
form. The supreme style of the Sistine is here revealed to us in embryo.
Whether the "Entombment," also unfinished, and also in the National
Gallery, belongs to this time, and whether it be Michael Angelo's at all,
is a matter for the experts to decide. To my perception, it is quite
unworthy of the painter of the Doni "Holy family;" nor can I think that
his want of practice in oil-painting will explain its want of charm and
vigour.

[301] It has long been believed that Baccio Bandinelli destroyed Michael
Angelo's; but Grimm, in his Life of the sculptor (vol. i. p. 376, Eng.
Tr.), adduces solid arguments against this legend. A few studies,
together with the engravings of portions by Marc Antonio and Agostino
Veneziano, enable us to form a notion of the composition. At Holkham
there is an old copy of the larger portion of the cartoon, which has been
engraved by Schiavonetti, and reproduced in Harford's _Illustrations_,
plate x.

[302] _Vita_, p. 23. Cellini, the impassioned admirer of Michael Angelo,
esteemed this cartoon so highly, that he writes: "Sebbene il divino
Michelagnolo fece la gran cappella di Papa Julio da poi, non arrivo mai a
questo segno alla meta: la sua virtu non aggiunse mai da poi alla forza
di quei primi studj."

[303] The cartoon was probably exhibited in 1505. See Gotti, vol. i. p.
35.

[304] Gotti, pp. 277-282.

[305] Springer, in his essay, _Michael Agnolo in Rome_, p. 21, makes out
that this large design was not conceived till after the death of Julius.
It is difficult to form a clear notion of the many changes in the plan of
the tomb, between 1505 and 1542, when Michael Angelo signed the last
contract with the heirs of Julius.

[306] In the Uffizzi at Florence. See Heath Wilson, plate vi.

[307] Boboli Gardens, Bargello, Louvre. These captives are unfinished.
The "Rachel" and "Leah" at S. Pietro in Vincoli were committed to pupils
by Michael Angelo.

[308] "Che mi fosso messo a fare zolfanelli.... Son ogni di lapidato,
come se havessi crucifisso Cristo.... io mi truovo avere perduta tutta la
mia giovinezza legato a questa sepoltura."

[309] Gotti, p. 42. Grimm makes two visits to Carrara in 1505 and 1506,
vol. i. pp. 239, 243.

[310] See his letter. Gotti, p. 44.

[311] Our authorities for this episode in Michael Angelo's biography are
mainly Vasari and Condivi. Though there may be exaggera