nd Goliath in the Louvre, which is painted on both sides, are
only two faces of one of his statues. Rosso and Salviati were also
sculptors.

[150] The verses of Giovanni Strozzi (1545) are well known:

La Notte, che tu vedi in si dolci atti
Dormir, fu da un Angelo scolpita
In questo sasso, e perche dorme, ha vita.
Destala, se nol credi, e parleratti.

The night which you see sleeping so peacefully was carved by an angel in
this rock. Since she sleeps, she lives. If you do not believe it awake
her and she will speak to you.

[151] The same thing is true of Girolamo Muziano of Brescia. Even the
School of Milan was affected. Lomazzo makes of Michelangelo the ruler of
all painting. The imitation of Michelangelo spread especially in
sculpture, and there the decadence was dizzying.

[152] "Journal du Voyage du Cavalier Bernin en France," par M. de
Chantelou. ("Gazette des Beaux Arts," Vol. XXIX, p. 453.)

[153] _Ibid._, Vol. XXI, p. 383.

[154] Ed. Frey, XLIX.

Michelangelo said one day to Ammanati, "Nelle mie opere caco sangue."

Varchi said to him one day, "Signor Buonarroti, avete il cervello di
Giove." Michelangelo answered, "Si vuole il martello di Vulcano per
farne uscire qualche cosa." (Quoted by E. Delacroix in his Journal, Vol.
II, p. 429.)

[155] Michelangelo said to Cardinal Salviati, who was ministering to him
on his death-bed, that he only regretted two things: not to have done
all he should have for his salvation, and to be dying just as he was
learning the alphabet of his profession. (Journal de Bernin, Vol. XXI,
p. 388.)

[156] Vasari, "Vite," Preamble to the Third Part.

Lionardo spent six years in painting some hair, but Corregio only an
hour, and with four strokes of his brush gained just the same effect.
(Journal de Bernin, Vol. XX, p. 453.)

[157] He went so far as to canonise himself while he was still alive,
after a vision in which he saw a miraculous aureole around his own head.

Nothing shows more surely the gulf which separated Michelangelo from his
disciples than the comparison of his sombre poetry with the proudly
exultant sonnet which serves as preamble to the memoirs of Cellini.

[158] See what Vasari writes of the revolution of Giorgione in 1507 when
Giorgione began to "pose before him living and natural things, to
represent them as nearly as he could by painting directly with colour
without making any drawing." He adds that Giorgione did not perceive
that it