e
ceiling. This is a plausible explanation of what is striking--namely,
that the story of the Deluge is quite differently planned from the
other episodes upon the vaulting. Yet I think it must be rejected,
because it implies a total change in all the working Cartoons, as well
as a remarkable want of foresight.

Condivi continues: "While he was painting, Pope Julius used oftentimes
to go and see the work, climbing by a ladder, while Michelangelo gave
him a hand to help him on to the platform. His nature being eager and
impatient of delay, he decided to have the roof uncovered, although
Michelangelo had not given the last touches, and had only completed
the first half--that is, from the door to the middle of the vault."
Michelangelo's letters show that the first part of his work was
executed in October. He writes thus to his brother Buonarroto: "I am
remaining here as usual, and shall have finished my painting by the
end of the week after next--that is, the portion of it which I began;
and when it is uncovered, I expect to be paid, and shall also try to
get a month's leave to visit Florence."

V

The uncovering took place upon November 1, 1509. All Rome flocked to
the chapel, feeling that something stupendous was to be expected after
the long months of solitude and seclusion during which the silent
master had been working. Nor were they disappointed. The effect
produced by only half of the enormous scheme was overwhelming. As
Vasari says, "This chapel lighted up a lamp for our art which casts
abroad lustre enough to illuminate the World, drowned, for so many
centuries in darkness." Painters saw at a glance that the genius which
had revolutionised sculpture was now destined to introduce a new style
and spirit into their art. This was the case even with Raffaello, who,
in the frescoes he executed at S. Maria della Pace, showed his
immediate willingness to learn from Michelangelo, and his
determination to compete with him. Condivi and Vasari are agreed upon
this point, and Michelangelo himself, in a moment of hasty
indignation, asserted many years afterwards that what Raffaello knew
of art was derived from him. That is, of course, an over-statement;
for, beside his own exquisite originality, Raffaello formed a
composite style successively upon Perugino, Fra Bartolommeo, and
Lionardo. He was capable not merely of imitating, but of absorbing and
assimilating to his lucid genius the excellent qualities of all in
whom he