s a Madonna who is holding her Son in her arms,
wrought by the sculptor Scherano da Settignano from a model by
Michelagnolo; which statues are passing good. In two other rectangular
niches, above the Active and the Contemplative Life, are two larger
statues, a Prophet and a Sibyl seated, which were both executed by
Raffaello da Montelupo, as has been related in the Life of his father
Baccio, but little to the satisfaction of Michelagnolo. For its
crowning completion this work had a different cornice, which, like
those below, projected over the whole work; and above the terminal
figures, as a finish, were candelabra of marble, with the arms of Pope
Julius in the centre. Above the Prophet and the Sibyl, in the recess
of each niche, he made a window for the convenience of the friars who
officiate in that church, the choir having been made behind; which
windows serve to send their voices into the church when they say the
divine office, and permit the celebration to be seen. Truly this whole
work has turned out very well, but not by a great measure as it had
been planned in the original design.

[Footnote 1: 1534.]

[Illustration: THE LAST JUDGMENT

(_After the fresco by =Michelagnolo=. Rome: The Vatican, Sistine
Chapel_)

_Anderson_]

Michelagnolo resolved, since he could not do otherwise, to serve Pope
Paul, who allowed him to continue the work as ordered by Clement,
without changing anything in the inventions and the general conception
that had been laid before him, thus showing respect for the genius of
that great man, for whom he felt such reverence and love that he
sought to do nothing but what pleased him; of which a proof was soon
seen. His Holiness desired to place his own arms beneath the Jonas in
the chapel, where those of Pope Julius II had previously been put; but
Michelagnolo, being asked to do this, and not wishing to do a wrong to
Julius and Clement, would not place them there, saying that they would
not look well; and the Pope, in order not to displease him, was
content to have it so, having recognized very well the excellence of
such a man, and how he always followed what was just and honourable
without any adulation or respect of persons--a thing that the great
are wont to experience very seldom. Michelagnolo, then, caused a
projection of well baked and chosen bricks to be carefully built on
the wall of the above-named chapel (a thing which was not there
before), and contrived that it shoul