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after him, insomuch that since then they have found easy the difficulties of that manner; wherefore I do not marvel that the works of Luca were ever very highly extolled by Michelagnolo, nor that in certain parts of his divine Judgment, which he made in the chapel, he should have deigned to avail himself in some measure of the inventions of Luca, as he did in the angels, the demons, the division of the Heavens, and other things, in which Michelagnolo himself imitated Luca's method, as all may see. In this work Luca portrayed himself and many of his friends; Niccolo, Paolo, and Vitelozzo Vitelli, Giovan Paolo and Orazio Baglioni, and others whose names are not known. In the Sacristy of S. Maria at Loreto he painted in fresco the four Evangelists, the four Doctors, and other saints, all very beautiful; and for this work he was liberally rewarded by Pope Sixtus. It is said that a son of his, most beautiful in countenance and in person, whom he loved dearly, was killed at Cortona; and that Luca, heart-broken as he was, had him stripped naked, and with the greatest firmness of soul, without lamenting or shedding a tear, portrayed him, to the end that, whenever he might wish, he might be able by means of the work of his own hands to see that which nature had given him and adverse fortune had snatched away. Being then summoned by the said Pope Sixtus to work in the chapel of his Palace in competition with many other painters, he painted therein two scenes, which are held the best among so many; one is Moses declaring his testament to the Jewish people on having seen the Promised Land, and the other is his death. [Illustration: THE LAST JUDGMENT (_Detail, after the fresco by =Luca Signorelli=. Orvieto: Duomo_) _Anderson_] Finally, having executed works for almost every Prince in Italy, and being now old, he returned to Cortona, where, in those last years of his life, he worked more for pleasure than for any other reason, as one who, being used to labour, neither could nor would stay idle. In this his old age, then, he painted a panel for the Nuns of S. Margherita at Arezzo, and one for the Company of S. Girolamo, which was paid for in part by Messer Niccolo Gamurrini, Doctor of Laws and Auditor of the Ruota,[9] who is portrayed from life in that panel, kneeling before the Madonna, to whom he is being presented by a S. Nicholas who is in the same panel; there are also S. Donatus and S. Stephen, and lower down a n
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