eeling and life. This picture displays a
wonderful depth of thought in the composition, and the utmost
elevation and majesty in the general treatment and execution. The
third subject is not less important, representing the Fall of
Man, and his Expulsion from Paradise. The tree of knowledge
stands in the midst; the serpent (the upper part of the body
being that of a woman) is twined around the
stem; she bends down towards the guilty pair, who are in the act
of plucking the forbidden fruit. The figures are nobly graceful,
particularly that of Eve. Close to the serpent hovers the angel
with the sword, ready to drive the fallen beings out of Paradise.
In this double action, this union of two separate moments, there
is something peculiarly poetic and significant: it is guilt and
punishment in one picture. The sudden and lightning-like
appearance of the avenging angel behind the demon of darkness has
a most impressive effect.'--_Kugler_.

The lower portion of the ceiling is divided into triangles, occupied by
the Prophets and Sibyls in solemn contemplation, accompanied by angels
and genii. Beginning from the left of the entrance their order is--

1. Joel.
2. Sibylla Erythraea.
3. Ezekiel.
4. Sibylla Persica.
5. Jonah.
6. Sibylla Libyca.
7. Daniel.
8. Sibylla Cumaea.
9. Isaiah.
10. Sibylla Delphica.

'The prophets and sibyls in the triangular compartments of the
curved portion of the ceiling are the largest figures in the
whole work; these, too, are among the most wonderful forms that
modern art has called into life. They are all represented
seated, employed with books or rolled manuscripts; genii stand
near or behind them. These mighty beings sit before us pensive,
meditative, inquiring, or looking upwards with inspired
countenances. Their forms and movements, indicated by the grand
lines and masses of the drapery, are majestic and dignified. We
see in them beings, who, while they feel and bear the sorrows of
a corrupt and sinful world, have power to look for consolation
into the secrets of the future. Yet the greatest variety
prevails in the attitudes and expression: each figure is full of
individuality. Zacharias is an aged man, busied in calm and
circumspect investigation; Jeremiah is bowed down, absorbed in
thought,