90 THE FINE ARTS. 
is the Madonna for the church of the Annunciation in Florence. In France 
there are a Zobit and the Angel, two Holy Families, and a Charity. 
The last named picture, of which we have given a sketch (pl. 17, fig. 7), 
was painted on wood; but as the worms had got into it, it was trans- 
ferred from the wood to canvas, a rather difficult process, but which has 
frequently been attempted in recent times with good success. Another 
very fine picture by this master is the Descent from the Cross, or the Entomb- 
ment of Christ (pl. 16, fig. 8), which was formerly in the Pitti palace, but 
is likewise now in Paris. His Zast Supper, in the refectory of St. Salvi, 
saved Florence in the year 1529 from destruction by fire; for at the taking 
of the city, the soldiers, who had already destroyed the church, were only 
restrained from setting fire to the monastery by the beauty of the picture. 
Andrea died of the plague in 1530. The most distinguished of his pupils 
were Francesco Saviati and Giorgio Vasari, although these afterwards 
worked more after Michael Angelo. We must here mention also Franci- 
abigi and Domenico Puligo, the latter of whom acquired Andrea’s beautiful 
coloring and dusky tone, but was unable to master his correct drawing 
and certainty of outline. 
Michael Angelo Buonarotti, of whom we must now speak particularly, 
was born in 1474 in the town of Caprese, and manifested at an early age a 
strong inclination for the arts of design; he was accordingly placed under 
the instructions of Domenico Ghirlandaio, after which the Duke Lorenzo 
de’ Medici took him into the school of design founded by himself, where 
he enjoyed the instructions of Bertoldo the sculptor. Here he greatly 
distinguished himself and wrought both as painter and sculptor; in seulp- 
ture especially he executed several admirable works in Bologna and in 
Florence, of which his beautiful statue of David (in 1504) in the latter place 
deserves particular mention. After Michael Angelo had given considerable 
proofs of his talent as a painter, he was commissioned along with Leonardo 
da Vinci to decorate the senate-hall with historical paintings; and the 
cartoon which he then sketched, representing a scene from the Pisan War, 
was perhaps his best performance. Unhappily it was destroyed at the 
taking of Florence along with a number of other treasures of art. Julius 
IL., through the many proofs of favor he bestowed on Michael Angelo, was 
the cause of much ill will towards the artist. This feeling produced an 
attempt to withdraw him from sculpture which made him celebrated, and in 
consequence he received the commission to paint the vaulted ceiling of the 
Sixtine chapel; he executed the task very unwillingly, completing the 
painting in the incredibly short space of twenty months, after which 
he returned to sculpture. Under Pope Clement VII. Michael Angelo 
began the cartoon for the Last Judgment in the Sixtine chapel; he com- 
menced painting it under Paul III. in the year 1534, and in seven years it 
was finished. This, the grandest work of art of its time, soon gave offence 
by the excessive nakedness of its figures, and Paul IV. was inclined to have 
it entirely effaced from the wall, though he afterwards contented himself 
with letting Daniel of Volterra paint drapery over the offensive places, a 
task which procured for the artist the nickname of the “ Breeches-maker” 
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