Michael Aiigelo was commissioned to paant the ceiling of 

 this chapel. He spent four years in executing the eixor- 

 mous task. His first work wOiS to prepare the ceiling by 

 painting an elaborate design in grays. In the lunettes and 

 arched spaces he placed the ancestors of Christ waiting in 

 different attitudes fc-r the coming of the Saviour. Between 

 the windovvs are figures of the prophets and the Sibyls. 

 There are nine panels in the ceiling, containing six pictures 

 from the time of Noah and five from the creation. In his 

 coaiception of the creation INIichael iVngclo' shows no trace 

 of irrcA-erence. His drawing is always good, and his model- 

 ling of the figures suggests sculpture rather than painting. 

 He glorified physical strength and exaggerated muscular 

 development, seeking in this way and through beauty of 

 line to suggest spiritual grandeur. Many of his figures 

 were nude. Ab to this, the lecturer expressed the opinion 

 that in the artist this was compatible -with perfect modesty 

 and chastity of mind, and that immoral euggcstion came 

 onl}'' through impurity of thought' in the artist himself or 

 in the beholder. IMichacl Angelo he described as being a 

 high-minded and high-souled man. In later years he spent 

 eoven j-ears painting the "Last Judgment" on the altar 

 wall. It is the most complete expression of his genius in 

 exaggerated movement and muscular development. Al- 

 together, his work may be said to be unrivalled in the his- 

 tory of painting, in grandeur of conception, eaid boldness of 

 execution. 



At the close of the lecture a hearty vote of thanks, 

 proposed by F. C. Grist and H. B. Wilton, was presented 

 to Professor Young. 



Meeting then adiourned. 



40 



