and the devils in a cave, are all hidden and cut
off exactly by the curtains, and the composition generally is positively
improved by their absence. Michael Angelo, no doubt, thought the fresco
would be most seen on such occasions, and designed his work accordingly.
The space hidden, however, he did not neglect, but placed in it some of
his finest work.

The prophet above this end of the chapel is Jonah, whose history is a
symbol of the resurrection of the dead. His presence there makes us
suppose that Michael Angelo always contemplated the possibility of his
having to paint the Last Judgment upon this wall, although he himself
painted the lunettes now covered by the larger composition. The colour of
this fresco is very much darkened by dust and by smoke from the altar
candles; and, as it is more within reach than the vault, it has been
retouched. It should be a source of comfort to those who get tired with
looking upward at pictures in high places, if they will but remember that
their beloved paintings have often been protected from the restorer by
their high position. There is an interesting early copy of this fresco in
the Corsini Gallery in Florence, which, though rather crude, gives us a
good idea of the light tone of the painting in its early state.

This work was received by artists with enthusiasm, reflected in the pages
of Vasari. They came from all parts to study it; in fact, most of the
drawings attributed to Michael Angelo in collections are their studies
from it, and not his studies for it, as they are called. As a general
rule, whenever there are two or more figures drawn in a group, all equally
finished and accurately in the same position as the figures in the fresco,
the drawing may be assumed to be a copy.

Two sections of the public, even then, were unable to receive Michael
Angelo's message of the beauty and purity of the human figure. Not only
scandalous persons, like Aretino, objected to them, but pious people, who
could not and cannot yet be brought to believe in the splendour and
holiness of the Creator's work. Vasari tells us that when Michael Angelo
had almost finished the work Pope Paul came to see it, and Messer Biagio
da Cesena, Master of the Ceremonies, a very particular person, was with
him in the chapel, and was asked what he thought of it. Messer Biagio da
Cesena replied that he considered it highly improper to paint so many
shameless, naked figures in such an honourable building, and t