which encloses the single subjects, tends
to make the principal masses conspicuous, and gives to the whole
an appearance of that solidity and support so necessary, but so
seldom attended to in soffit decorations, which may be
considered as if suspended. A great number of figures are also
connected with the frame-work; those in unimportant situations
are executed in the colour of stone or bronze; in the more
important, in natural colours. These serve to support the
architectural forms, to fill up and to connect the whole. They
may be best described as the living and embodied _genii_ of
architecture. It required the unlimited power of an architect,
sculptor, and painter, to conceive a structural whole of so much
grandeur, to design the decorative figures with the significant
repose required by the sculpturesque character, and yet to
preserve their subordination to the principal subjects, and to
keep the latter in the proportions and relations best adapted to
the space to be filled.'--_Kugler_.

The pictures from the Old Testament, beginning from the altar, are:--

1. The Separation of Light and Darkness.
2. The Creation of the Sun and Moon.
3. The Creation of Trees and Plants.
4. The Creation of Adam.
5. The Creation of Eve.
6. The Fall and the Expulsion from Paradise.
7. The Sacrifice of Noah.
8. The Deluge.
9. The Intoxication of Noah.

'The scenes from Genesis are the most sublime representations of
these subjects;--the Creating Spirit is unveiled before us. The
peculiar type which the painter has here given of the form of the
Almighty
Father has been frequently imitated by his followers, and even by
Raphael, but has been surpassed by none. Michael Angelo has
represented him in majestic flight, sweeping through the air,
surrounded by _genii_, partly supporting, partly borne along with
him, covered by his floating drapery; they are the distinct
syllables, the separate virtues of his creating word. In the
first (large) compartment we see him with extended hands,
assigning to the sun and moon their respective paths. In the
second, he awakens the first man to life. Adam lies stretched on
the verge of the earth in the act of raising himself; the Creator
touches him with the point of his finger, and appears thus to
endow him with f