Page:Architectural Review and American Builders' Journal, Volume 1, 1869.djvu/260

 216 Sloan's Architectural Review and Builders' Journal. [Sept., made all his preparations himself; even mixing his colors. In the beginning he painted the Deluge. The figures were too small — a fault corrected in the other parts. The centre of the ceiling has four large and five small compartments : — the creation of the sun and moon ; Adam, and the expulsion from Paradise ; the Deluge ; the gathering of the waters ; the Almighty separating light from darkness ; the creation of Eve ; the Sacrifice of Noah ; and Noah's Vineyard are represented in the five small com- partments. The artist has placed the prophets and sibyls, who foretold the coming of the Redeemer, in the curved part of the ceiling. These are of won- drous beauty, and full of character. Below these, again, are groups repre- senting the earthly genealogy of Christ. These figures are full of grace and ten- derness ; and appeal strongly to the imagination. When the Sistine Chapel was completed, Michael Angelo was but thirty-nine. Julius III. expired in 1513 ; and was succeeded by Leo X., of the house of Medici ; but the new sovereign did not greatly admire the genius of Michael Angelo. Perhaps the stern, unbending disposition of the great sculp- tor aid not accord with the gay temper of the pontiff. Raphael was the latter's favorite, and Michael Angelo was almost neglected. During the reign of this prince, Michael Angelo was sent to Florence to superintend the building of the Church of San Lorenzo, and the completion of Santa Croce ; but scarcely any thing was effected. Clement VII., another prince of the house of Medici, ascended the pontifical throne in 1523 ; and was anxious to build a chapel in the church of St. Lorenzo at Florence, to receive the tombs of his ancestors. Six of our artist's greatest works adorn this building. The statue of the Duke Lo- renzo has long been famed as one of his greatest efforts. Rogers, the great poet, mentions it, as one of the most real, and unreal things, that ever came from the chisel ; and thus describes it : " Nor then forget that chamber of the dead, Where the gigantic shades of night and day, Turned into stone, rest everlastingly There, from age to age. Two ghosts are sitting on their sepulchres. That is the Duke Lorenzo. Mark him well ! He meditates— upon his hand his head, That from beneath his helm-like bonnetscowls ! Is it a face, or but an eyeless skull ? 'Tis lost in shade ; yet like the basilisk, It fascinates, and is intolerable." But peace did not long reign over Italy. Rome was taken and sacked by the army of the Constable cle Bourbon in 1527. Again the Medici were com- pelled to abdicate the government and retire from Florence. Michael Angelo's varied talents were at once acknowledged, and he projected a plan for the defence of the city. He was, next to Leonardo da Vinci, the most skilful engineer of the century ; and even now his fortifications, rams and other warlike machines would be of great service in a protracted siege. The city was surrendered by treachery, and he fled ; but was reinstated in his former position by the intercession of the Pope. Paul III. now sat in the chair of Peter. This pontiff, though sev- enty years of age, was anxious to complete the interior of the Sis- tine Chapel, which had been left un- finished by Julius III. and Leo X., and he asked Michael Angelo to complete his design. The Last Judgment is represented on the wall, at the upper end of the Sistine Chapel. The Mes- siah is in the centre, in the act of pro- nouncing the dread sentence : " Depart from me, ye accursed, into everlasting fire 1" The Virgin Mother sits alone by the side of her Divine Son; the prophets, Apostles and martyrs are on the sides. Angels, bearing the cross, the crown of thorns, and other emblems of the pas- sion, hover in the air. There is another group of the Celestial ministers, lower down, holding the Book of Life, and sounding the awful trumpet. The blessed ascend, and demons haul down the condemned to everlasting fire. There are at least two hundred figures in this work. The fresco has manj - faults ; and