Having thus freed the sculptor from all cares regarding the monument, Paul III. required his services for the completing of the decoration of the Sistine Chapel. The entire altar wall i 1S meters by 16) was to be covered by a painting of the "Last Judgment," the cartoon for which had been executed under Clement V11.; it was carried out in 1534-41. It is the largest fresco in the world, containing above a hundred figures, over life size. The centre of the composition is Christ, a beardless figure of Herculean proportion, in the act of condemnation, and the Virgin sits shrink ing beside Him. From all sides the terrified masses stream to the judgment seat. Below the graves are opening and the dead become flesh. The colors have suffered much from dust and can dle smoke, and the grand figures are much de faced. Their nudity having aroused adverse criticism, Paul IV. employed Daniele da Volterra to clothe the most conspicuous examples—a task for which he received the name of '11 Braccetone.' Michelangelo's last paintings (finished in 1550) were for the same patron—two large frescoes in the Pauline Chapel: the "Conversion of Saint Paul" and the "Crucifixion of Peter," both of which were spoiled by restoration.
The last years of the artist's life were devoted chiefly to architecture. In 1546 be designed the beautiful cornice of the Farnese Palace, and in 1547 he was appointed chief architect of Saint Peter's. He accepted the post as a religious duty, refusing all pay, and until his death, through the reigns of five popes, he filled with credit this responsible position. Only the cupola of the present edifice, for which he left a model, was carried out, at least in part, according to his plans. Unfortunately he left no model for the whole church. We know, however, that he returned to Bramante's plan of a Greek cross, and that his design waa much superior to the present building. (See SAINT PETER'S CHURCH. ) Dis architectural works included plans for the Po•ta l'ia, and the transformation of the Baths of Diocletian into Santa Maria de:irli Angeli, which was unfortunately rebuilt during the eighteenth century, although his court of a hundred eolumns survives. The general plan of the Capitoline Hill is due to him, the grand staircase and the Palace of the Senators being after his designs. He made a number of grand designs for the Church of the Florentines at Rome, and one for the well-known staircase of the Laurentian Library, Florence, which was carried out by Finally, his plan: were followed in the new fortifications of Rome.
The latter part of Alichelangelo's life was dominated by deep religious feeling, which found expression in his drawings and poetry. besides
the grand religious paintings and works of archi tecture upon which he was engaged. Of wonder ful pathos and deep religious feeling is the un finished sculptured group, the "Deposition from the Cross." which now stands behind the high altar in the Cathedral of Florence. But the Florentine patriot. was revealed in his bust of Brutus I ilu.co Nazionalef, carved when Duke Alessandro was assassinated by Lorenzino in 1 5 3 9. Though living almost like a hermit. Michelangelo received every honor that could come to an artist. Yoder successive popes he was chief architect, painter, and sculptor of the Vatican; lie was made head of the new ..\cailemy id Florence. Popes. kings, and princes sought the honor of a work by his hand. ile died Feb ruary IS, 1.i14. His body was conveyed secretly from Rome and buried at Santa Croce. the Pantheon of Florence. Ilis house in Florence was left by Ihe last surviving member of the family to the city, and is now used as a museum of his works, containing the family archives.
In appearance lie was of medium height and broad-shouldered; lie had a large head, with broad forehead and protruding, temples. small eyes. and a nose disfigured by a fist blow of Tirrigiano, a fellow pupil in the „Medici Gardens. De was of a noble and generous character. If lovingly treated, any favors could be obtained from him; but if treated otherwise. not even the popes could influence him. Some of his most charming traits were his devotion to his family; his obedience and humility toward his father, a querulous and whimsical man; and his kindness to his greedy brothers. Ile was kind and gentle to his dependents, and fair in his judgment of other artists; but if he thought himself ridiculed his tongue cold be sharp enough. The sad experiences of a highly sensitive nature tended to ninke him increasingly suspicions and irrita ble. Nevertheless, he remained charitable and generous, and he was scrupulously honest at a time when this was a virtue exceedingly rare.
No biography of Nlichelangelo could molt 1111'11 Gin of the beautiful friendships which formed the chief joy of his 'kenning years. Chief among these was his friendship for Vittoria Colonna. The popular idea, which sees in this noble old lady the artist's Juliet, is quite erroneous, for their !elation was based on a common love of literature and art and common religions views. In l'avalicri, a handsome and accomplished young Roman nobleman, as in other young friends, he saw an idealization of youthful beauty.