day, while the delicacy of their finish surpasses that of any miniature. But of a truth the number of the figures, with the grandeur and dignity of the composition, are such, while the expression of every passion proper to humanity is so fully and so wonderfully expressed, that no words could do the work justice. The proud, the envious, the avaricious, or the luxurious, are easily distinguished by one who examines with judgment, the master having given his attention to every point, and maintained the truth of Nature in each expression, attitude, and circumstance, of whatever kind; a ihing which, however great and admirable, was not impossible to Michelagnolo, who was ever prudent and observing. He had seen many men and lived much in the world, thereby acquiring the knowledge which philosophers seek to obtain from books and reflection.
The man of j udgment and one well versed in Art will here perceive the latter in all its force, and will discover thoughts and emotions in these figures such as were never depicted by any other than Michelagnolo himself. Here we may learn how the attitude may be varied even in the most extraordinary gestures of young men and old, male and female; and who can fail to perceive herein the greatness of his art, as well as the grace which had been imparted to him by Nature, when they move the hearts of the ignorant almost as they do those of men well versed in the matter? Foreshortenings are here seen which give the appearance of the most perfect relief, with a softness and delicacy of every part, showing what paintings may be when executed by good and true masters: but in some of these figures there are outlines turned by Michelagnolo in a manner that could have been effected by no other than himself. At a word, we have here the true Last Judgment, the real Condemnation, the effectual Resurrection. For our arts this work is, in short, the example of a great picture sent by God to men, thereby to show them how Fate proceeds, when spirits of the highest order are permitted to descend to this our earth, bearing Avithin them the grace and divinity of knowledge as innate, or a part of themselves. Those who had before believed themselves acquainted with Art, are led bound and captive by the work before us, and, gazing on the evidence of power in these contours, they tremble and fear as if some great Spirit had possessed himself of the art of design; examin-
