tiger at an angel who has pulled a soul out of his
claws, is equally well conceived; we know nothing like its ferocity
except Rembrandt's sketches of wounded wild beasts. The angels we think
generally disappointing; they are for the most part diminutive in size,
and the crossing of the extremities of the two wings that cover the
feet, gives them a coleopterous, cockchafer look, which is not a little
undignified; the colors of their plumes are somewhat coarse and
dark--one is covered with silky hair, instead of feathers. The souls
they contend for are indeed of sweet expression; but exceedingly earthly
in contour, the painter being unable to deal with the nude form. On the
whole, he seems to have reserved his highest powers for the fresco which
follows next in order, the scene of Resurrection and Judgment.

* * *

"It is, in the main, the traditional Byzantine composition, even more
rigidly symmetrical than usual, singularly contrasting in this respect
with the rush and movement of the preceding compartment. Our Saviour and
the Virgin, seated side by side, each on a rainbow and within a vesica
piscis, appear in the sky--Our Saviour uttering the words of
malediction with uplifted arm, showing the wound in his side, and nearly
in the attitude of Michael Angelo, but in wrath, not in fury--the Virgin
timidly drawing back and gazing down in pity and sorrow. I never saw
this co-equal juxtaposition in any other representation of the Last
Judgment."--Vol. iii., p. 136.

* * *

73. The positions of our Saviour and of the Virgin are not strictly
co-equal; the glory in which the Madonna is seated is both lower and
less; but the equality is more complete in the painting of the same
subject in Santa M. Novella. We believe Lord Lindsay is correct in
thinking Orcagna the only artist who has dared it. We question whether
even wrath be intended in the countenance of the principal figure; on
the contrary, we think it likely to disappoint at first, and appear
lifeless in its exceeding tranquillity; the brow is indeed slightly
knit, but the eyes have no local direction. They comprehend all
things--are set upon all spirits alike, as in that _word-fresco_ of our
own, not unworthy to be set side by side with this, the Vision of the
Trembling Man in the House of the Interpreter. The action is as majestic
as the countenance--the right hand seems raised rather to show its wound
(as the left points at the