e images of the saints! Finally, to sum up, if you had
taken counsel in your composition of the universe, the abyss and
paradise of the glorious and terrible sketch which I sent you and of my
instructions, and of the knowledge which the world has so praised in me,
I dare say that no one would have regretted it."[71]

This venomous letter was, unluckily, not a simple act of vengeance and
of blackmail. It was the hypocritical echo of many sincere
protestations. A Florentine in 1549 called Michelangelo "the creator of
that vileness, irreproachable in art but not in faith," and he added,
"All the modern painters and sculptors imitate such Lutheran
abominations.[72] They paint and carve even in the least important
churches only such figures as are calculated to destroy faith and
devotion; but I hope that some day God will send His saints to overthrow
such idolatries." The trial of Veronese in a certain measure justifies
these accusations. Brought before the Inquisition on July 18, 1573, for
the indecency of his Feast in the House of Simon, Veronese did not fail
to intrench himself behind the example of the Last Judgment.[73] It is
true that the Inquisition undertook nobly the defense of Michelangelo
against him.

"Do you not know that in representing the Last Judgment, in which we can
not imagine any clothing, there was no ground for painting any? But what
is there in those figures that is not inspired by the Holy Spirit? There
are neither buffoons nor dogs, nor arms or other mockeries...."

But Rome had not so lofty a spirit; the ideas of Biagio and Aretino made
their way. Neither the European glory of Michelangelo nor his favour
with the popes nor the respect inspired by the nobility of his life and
his well-known faith succeeded in protecting the Last Judgment from the
zeal of the bigots. Paul IV Caraffa had for a while the idea of
covering up the entire fresco. By his order Daniele da Volterra clothed
the nakedness which wounded Aretino's modesty (in 1559-1560) and gained
for this the surname of "Braghettone."

Under Pius V in 1566 Girolamo da Fano continued this holy work. This was
not enough to satisfy the wrath of the good people, for in 1596 Clement
VIII Aldobrandini again wanted to have the Judgment painted out. He was
prevented by a protest from the Academy of St. Luke.[74] Indeed, until
the eighteenth century the work of Michelangelo was shamelessly
redressed, retouched and repainted.[75] It is therefore imposs