Bramante had persuaded the Pope that it was unlucky to have his tomb erected, but advised him to employ Michelangelo in painting the chapel built by his uncle Sixtus IV.

Of Michelangelo at Rome and Carrara, whither he went to superintend in person the quarrying of the marble that was to be transferred to life and where he had endless vexations and mortifications, I say nothing.

Such was the man who called Michelangelo to Rome at the commencement of 1505.

Ghirlandaio's place in this room is interesting on account of his relation to Michelangelo as first instructor; but by the time that the great master's "Holy Family," hanging here, was painted all traces of Ghirlandaio's influence had disappeared, and if any forerunner is noticeable it is Luca Signorelli.

His obstinacy in employing Michelangelo for so many years, in spite of his reluctance and entreaties, on a work which his own fickleness and the war in Lombardy ought to have made him abandon, has, there can be no doubt, deprived us of some admirable works.

No previous tradition, unless it was the genius of Greek or Greco-Roman antiquity, supplied Michelangelo with the motive force for this prentice-piece in sculpture.

His statues were not only the first really great statues since the Greeks, but are still (always leaving Michelangelo on one side as abnormal) the greatest modern examples judged upon a realistic basis.

The Duke of Urbino loudly complained, openly accusing Michelangelo of want of good faith.

It was bought out of the collection of Cardinal Fesch, and pronounced to be a Michelangelo by the Munich painter Cornelius.

We do not know for certain whether Julius, when he summoned Michelangelo from Florence, had formed the design of engaging him upon a definite piece of work.

Botticelli's best patron was Piero de' Medici, who took him into his house, much as his son Lorenzo was to take Michelangelo into his, and made him one of the family.

This is the last glimpse we have of Michelangelo before his flight from Rome.

" II Our records are very scanty, both as regards personal details and art-work, for the life of Michelangelo during the pontificate of Adrian VI.

IV It would be impossible to take leave of Michelangelo without some general survey of his character and qualities.

Having thus jeered him, they let him go; and he, when he returned home and complained to Michelangelo, so convinced the latter of the truth of his vision that Michelangelo after two days left Florence with a couple of comrades, dreading that if what Cardiere had predicted should come true, he would no longer be safe in Florence.

Julius then maintained the cause of Michelangelo against the deputies.

I know not what could be more honourable to Michelangelo than such words, or a greater proof of the high account in which he is held by his Holiness.

From this period the historian follows Michelangelo through an important stage of his active career, showing how "the hand that rounded Peter's dome," and created so many other of the greatest works of art, toiled on with patient heroism, in spite of hinderances almost incredible.

We cannot quarrel with Michelangelo about the face and head.