Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/47

 fiends, and Satan sitting on a throne at the entrance; right, the blessed; between them, the Archangel Michael; and at the bottom, they who are rising from the dead. Among those whom the angels are bearing to heaven are Dante and Fra Angelico, the poet and painter who have most successfully depicted the nether world. Cornelius' most remarkable work. Designed in Rome, finished in 1840.—Larousse, ix. 1082.

By Jean Cousin, Louvre; canvas, H. 4 ft. 9 in. × 4 ft. 7 in. First plane, left, the dead coming out of their graves and angels holding sickles; middle, the resurrected precipitating themselves into a cavern; right, demons dragging sinners. Second plane, a circular temple at which the elect are received by angels; middle, the resurrected running in opposite directions; right, a tower beside a moat and a bridge leading to a ruined edifice with a gibbet. In background, a destroyed city. Above, Christ in glory, surrounded by angels, the elect, etc. Engraved by Pierre de Jode.—Cat. Louvre; Larousse, ix. 1082.

By Giotto, S. M. dell' Arena, Padua; fresco, on wall above the door. On each side of three small windows, two warrior angels seem to hold back a curtain, disclosing the celestial hall of justice; beneath them, legions of warriors with swords and shields, and angels with flags and tapers, hold guard in three divisions over the majesty of the Saviour, who sits below in a glory; at the four cardinal points, archangels sound trumpets, while the Redeemer blesses the chosen with his right hand and curses the evil-doers with his left; on each side, on thrones, sit the Apostles; to left of the Saviour's feet, the Virgin, crowned and leading St. Anna, heads the procession of the happy; amongst them, in a corner, to left, stand three figures in profile, the central one of which is said to be Giotto himself; the cross, in the centre, separates the elect from the damned; between it and the procession to Paradise, the donor, Enrico Scrovegno, kneels before a group of three female figures, presenting to their notice a model of the chapel, held by a priest in white; below, left, the resurrection; and right, the bottomless abyss, with Lucifer sitting amidst fire and struggling souls. Painted in 1305-6; one of a series of frescos, illustrating the lives of the Virgin and the Saviour, in the chapel erected in 1303 by Enrico Scrovegno, a rich citizen of Padua who had been ennobled by the republic of Venice.—Vasari, ed. Mil., i. 400; C. & C., Italy, i. 271, 289; Selvatico, Sulla Cappellina degli Scrovegni, etc. (Padua, 1836); Baldinucci; Cicognara.

By Michelangelo, Sistine Chapel, Vatican, Rome; fresco, on end wall opposite entrance, H. 54 ft. 6 in. × 43 ft. 8 in. In centre, Christ, sitting on the great white throne, with the Virgin at his right, surrounded by angels and apostles; above, the Holy Ghost and God the Father, with angels and seraphs on each side bearing the instruments of the Passion; below the feet of Christ are St. Bartholomew, holding in his right hand the knife with which he was flayed, and in his left his skin; St. Lawrence, with the gridiron on which he was martyred, and other martyrs, and below them the seven angels, with their trumpets, and the recording angels; on each side, the companies of the blessed are received into glory, while below them the damned are meeting their punishment; in left corner, rent rocks and opening graves, with angels aiding the elect and demons dragging down the lost; at the right, Charon is crossing the Styx in his boat, crowded with the condemned, who pass into the presence of Minos. Contains 314 figures, counting heads, and many of them are heads and shoulders only. Painted in 1534-41. Regarded by the critics of the day as the painter's masterpiece, but ranks in our time after the frescos of the ceiling. Greatly deteriorated through time, smoke, and attempted repairs. Restored first in 1555-59 by Daniele da Volterra, who draped certain nude figures; retouched in 1566 by Giuliano del Fano, and again in