Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/372

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Proceeding from the principal door of the Church towards the High Altar, the first painting in the second range of the Catafalque appeared, and referring to the Statue of Architecture, it presented Michelagnolo standing before Pope Pius IV., with the Model of the wonderful Cupola of San Pietro in his hand. This Story was over that in which Lorenzo receives Michelagnolo in his garden, the invention and manner of which were highly commended; it was painted by the Florentine Piero Prancia; and the Statue of Architecture, which was to the left of the Story, was by Griovanni di Benedetto, of Castello, who, so much to his credit, also executed the Tiber, one of the rivers in front of the Catafalque, as we have before said. In the second Picture, continuing towards the right and approaching the lateral door into the street, was a Picture to accompany the Statue of Painting, and representing Michelagnolo engaged in the execution of that so much, yet never sufficiently, lauded work, the Last Judgment; that, I say, which serves as the example to all in our vocation of foreshortening, and every other difficulty of the art. To the left of this Painting, which was executed with much grace and diligence by the disciples of Michele di Pidolfo, was the Statue of Painting by Battista del Cavaliere, a youth no less distinguished as a sculptor, than for the modesty and excellence of his life.

In the third Picture, or that towards the High Altar and above the inscription, was a Story relating to Sculpture, and showing Michelagnolo taking counsel with a female figure known to be Sculpture by her accompaniments; the artist has around him certain of the works executed by his hand in that branch of art, and the Figure holds a Tablet, with the words of Boethius: Simili sub imagine formans. Beside this picture, which was painted in a very good manner by Andrea del Minga, was the Statue of Sculpture, extremely well executed by Antonio di Grino Lorenzi. The fourth of these pictures, or that towards the organ, related to the Statue of Poetry, and exhibited the master intent on the writing of some composition. Around him, in a graceful hand, robed as the poets describe them, were the Nine Muses and before them Apollo, crowned with laurel, and bearing the Lyre in one hand; while in the other he held a second CroAvn of Laurel, which he appeared about to place on the head of Michelagnolo. Near to this graceful and beautiful