estminster, and at Hampton Court. Afterwards he went to Spain and
came to a bad end there, as Condivi says. He died in the prisons of
the Inquisition, he had been condemned for destroying a figure of
the Madonna of his own carving; his patron paid him insufficiently,
so he went to the house, hammer in hand, and destroyed the statue,
with this unfortunate result. He starved himself to death in prison
as a worse fate awaited him. See Vasari.

59 Can this refer to the Second Edition of "The Lives of the Painters,
Sculptors, and Architects," by the kindly Giorgio Vasari?

60 --_The Temptation of Saint Anthony_, from the engraving by Martin
Schongauer.

61 Ghirlandaio.

62 There is a drawing in the Louvre of a faun's head, in pen and ink,
by Michael Angelo, over a red chalk drawing by an inferior hand. It
does not appear to be this drawing mentioned by Vasari, but a
caprice possibly of the same period, in which the master has
undertaken to draw a head with a pen, in which the projections and
indentations of the profile shall contradict the outline of the
conventional red chalk drawing below.

63 Vasari tells us that one of these pulpits had not been placed in its
position in the church even when Michael Angelo's funeral service
was held there in 1564, so it is quite likely that it was still in
the workshop in 1489.

64 That is the Hellenic work of the degenerate Greeks in Italy: all
that was to be seen in his day.

65 Page 10.

66 All the works of Michael Angelo, whether sculpture, painting, or
drawing partake of the nature of bas-relief, that old Tuscan art
developed to such good purpose by the Florentines. The marks of his
chisel hatch out the forms and develop the planes just as the
parallel strokes of his pen cut out the reliefs of his drawings from
the paper. His method of sculpture in the round was that of a carver
of bas-reliefs. He gradually cut away the background more and more
until the relief was actually the highest relief possible, the
round. Every piece of sculpture Michael Angelo executed is the
better for a background, whether niche or wall, for they all partake
of this bas-relief nature; and his paintings and drawings may every
one of them be thought of as bas-reliefs, and so it is with all the
work