MICHELANGELO— MINZOCCHI. 105 usual tenderness of feeling. At the age of sixty this great painter com- menced his second great undertaking in this chapel, after a cessation of twenty years, the Last Judgment, on the altar wall; and he finished it within seven years. If we consider the number of fig^es, the boldness of the conception, the variety of move- ment and attitude, the masterly draw- ing, or the extraordinary and difficult foreshortening, this immense work cer- tainly stands alone in the history of art though it is inferior in sublimity and grandeur to the scheme of the ceiUng ; there is a fine small copy of it in the Gallery at Naples, made by Marcello Venusti, who executed some other of Michelangelo's designs in oil colours. Michelangelo himself never painted in oils, his only authentic easel picture is in distemper, it is an early work, and is in the tribune of the Uffizj, at Florence. His scholars and others were allowed to paint from his draw- ings and cartoons, several such works are dispersed in various galleries, as the paintings of Michelangelo himself, as the so-called " Dream," in the National Gallery, London. This ex- traordinary man devoted the last years of his life exclusively to the building of St Peter's, at Bome, at which he laboured without remuneration. Works, Bome, Vatican, the ceiling of the Sistine Chapel, frescoes from the Old and New Testament — the Creation, Fall and Bedemption of Man.. On the end wall of the same chapel, the Last Judgment; Pauline Chapel, the Crucifixion of St. Peter; and the Conversion of St Paul. Flo- rence, the Uffi^, a Holy Family, tem- pera, (^Vasariy Condivi, Duppa, Qua- tremere de Quincy,) MILANI, AuBEUAMo, &. at Bologna, 1675, d, at Bome, 1749. Bolognese School. Pupil first of his uncle Giulio Cesare Milani, afterwards of Cesare I Gennari and Lorenzo Pasinelli. He studied and copied with great assiduity the works of the Carracci, and com- pletely succeeded in attaining the ma- terial aim of that School, Milani be- coming eminently academic in his execution, more especially in drawing: the later years of his life were spent in Bome. He etched a few plates. Works, Bologna, Santa Maria della Vita, St. Jerome: church of La Purita, the Besurrection. Bome, San Barto- lomeo de' Bergamaschi, the Behead- ing of John the Baptist: Palazzo Pan- fih, &G, {Crespi.) MILANO, Giovanni da, painted in 1365. Tuscan School. The scholar and assistant of Taddeo Gaddi. Ya- sari mentions works by him in Milan, Salona, Florence, Arezzo, and Assisi. Bumohr pronounced Giovanni (whom he calls da Melano, from an inscrip- tion), both in comeliness of form and character, of the first rank, and supe- rior to his contemporaries, not except- ing even Giotto or Gaddi. Works, Assisi, Lower Church, the Crucifixion, Ssc, FlorencOi Ognissanti, Gondi Dini Chapel, Saints: Academy, the Bead Christ (1365), engraved in Bosini's work. {Bumohr.) MINZOCCHI, Francesco, called II Yecghio di San Beknabdo, h. at Forli, 1513, d. 1574. Bolognese School. He studied the works of Marco Pahne- giani of Forli, and afterwards those of Pordenone; and Yasari enumerates him among the scholars of Barto- lomeo Genga. In general he did not treat his sacred subjects with the customary prescriptive dignity and pro- priety; be followed rather the natu- ralist and genre treatment of the Bas- sans, rivalling even Dutch accuracy of representation. In the chapel of San* Francesco di Paula, in the Basilica of Loreto, he painted, in fresco, the Sacri- fice of Melchisedec, and the Miracle of the Manna, two of his most charac-
