XXVIII, p. 93.

[60] _Ibid._, C and CL, pp. 105, 106.

[61] The work on the fortifications of Rome directed by Antonio da San
Gallo dates from his reign and also the construction of the Capitol, the
raising of the statue of Marcus Aurelius, the completion of the Farnese
Palace, the construction of the Via Paola, of the Sala Regia and the
Pauline Chapel at the Vatican, the Caffarelli and Spada palaces, the
Villa Medici, etc.

[62] As a matter of fact Michelangelo did not actually receive any
income from this source until 1538, and after many difficulties he lost
it in 1547.

[63] Later on the subject was treated after the sketches of Michelangelo
in the Chapel of S. Gregorio at Santa Trinita. (See Vasari.)

[64] Perugino had painted the Assumption with a portrait of Sextius IV
kneeling, Moses saved from the waters, and the Birth of Christ.

[65] Leon Dorez has found recently in the records of the private
accounts of Paul III the exact dates of the work, April-May, 1536, to
November 18, 1541.

[66] Thus Vittoria Colonna had herself described the Last Judgment to
Michelangelo: "Christ comes twice, the first time he is all gentleness;
he only shows his great kindness, his clemency and his pity; he comes
for the sinners and the sick, to give peace, light and forgiveness, all
glowing with charity, clothed in humanity.... The second time he comes
armed and shows his justice, his majesty, his grandeur and his almighty
power, and there is no longer any time for pity or room for pardon."
(Letter of Vittoria between 1535-1546, probably to Bernadino
Ochino,--Carteggio de Vittoria Colonna, p. 242.)

[67] We know that Michelangelo, to revenge himself, portrayed Biagio
from memory in the Hell of his Last Judgment under the form of Minos
with a huge serpent wound about his legs in the midst of a mountain of
devils. (Vasari.)

[68] We must not, however, imagine that Michelangelo any more than his
contemporaries had the courage to show openly to Aretino the contempt
which he must have felt for him. If he declined the offer of
collaboration in the Last Judgment which Aretino had baldly made him and
for which he had outlined a detailed program, it was only with many
compliments and much flattery. (Letter of September, 1537.) Even though
Aretino did not obtain from him the gift for which he asked, we find,
nevertheless, that he had received in September, 1535, through Vasari, a
head in wax and a sketch for a St. Catherine. But he