hat it was
not a fit work for the Pope's chapel, but more suitable to a bagno or an
inn. Michael Angelo nettled by this resolved to revenge himself at once.
As soon as they left the chapel he set to work and drew Messer Biagio's
portrait, from memory, in hell as Minos, with a great serpent twisted
round his legs, surrounded by a crowd of devils. Messer Biagio complained
to the Pope, who asked him where he was placed? "In hell," was the reply.
"Then I can do nothing to help you," said the Pope; "had the painter sent
you to purgatory I would have used my best efforts to get you released,
but I exercise no influence in hell, _ubi nulla est redemptio_." Some
years afterwards Paul IV. objected to the naked figures, and employed
Daniele da Volterra to patch draperies on to some of them, with Michael
Angelo's consent, whereby Daniele obtained the nickname of Il Braghettone,
or the breeches-maker. Daniele did his work with a good deal of
discretion, hiding as little of the original fresco as possible: the
additions are unfortunately offensive in colour. The early engravings show
the picture in its original state, and show that the additions are not so
many or so important as might be supposed, as most of the larger masses of
draperies are seen to be Michael Angelo's own work. When the Pope obtained
Michael Angelo's consent to this alteration, the artist replied to his
messenger: "Tell his Holiness this is a small matter, and can easily be
set right. Let him look to setting the world in order: to reform a picture
costs no great trouble." Pius V. also employed Girolamo da Fano to make
some further alterations. These retouches _a secco_ have destroyed to a
great extent the atmospheric quality and the relation of the planes in
Michael Angelo's suave true-fresco method, which, as may be seen in the
vault, gives the grey half-tints of the flesh-tones in a way only equalled
by Andrea del Sarto in fresco and Rembrandt in oil painting.

As soon as Michael Angelo had finished the Last Judgment, Paul III. set
him to work again to fresco the walls of the chapel of the Holy Sacrament,
just completed by Antonio da San Gallo, and now known as the Cappella
Paolina. Michael Angelo had hoped to complete the Tomb of Julius at once,
with his own hand, but the Pope's determination necessitated further
negotiations with the Duke of Urbino. The Duke wrote to Michael Angelo
upon March 6, 1542, saying that he would be quite satisfied if the three
statue