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Updated: June 18, 2025
The absorbing tasks imposed upon Buonarroti's energies by Paul III., which are mentioned in this epistle to the French king, were not merely the frescoes of the Cappella Paolina, but also various architectural and engineering schemes of some importance.
Whatever may be ultimately thought about the question of their authorship and pictorial merit, their interest to the student of Italian painting in relation to mediaeval thought will always remain indisputable. Few buildings in the length and breadth of Italy possess such claims on our attention as the Cappella degli Spagnuoli.
Siena, Pisa, Assisi, Orvieto, Naples, and Avignon can still boast of wall and easel pictures from his hand; and though it has been suggested that he took no part in the decoration of the Cappella degli Spagnuoli, the impress of his manner remains at Florence in those noble frescoes of the "Church Militant" and the "Consecration of S. Dominic."
Out of these marbles the sculptor carved a noble bas-relief of the Dead Christ and the two admirable effigies of the duke and duchess, which now adorn the Certosa of Pavia. His task was probably finished before the close of the following year, and the tomb was set up in the Cappella maggiore of S. Maria delle Grazie, at a cost of upwards of 15,000 ducats.
His opus number has already reached forty-three, and it is eked out to a very small degree by such imponderous works as organ and piano solos, hymns, and songs. In 1893, Parker won the National Conservatory prize for a cantata, and in 1898 the McCagg prize for an a cappella chorus. Parker's piano compositions and secular songs are not numerous.
I think of the most lovely buildings I know in Europe of the Alhambra at Granada, of the Cappella Palatina in the palace at Palermo. And Edfu I place with them Edfu utterly different from them, more different, perhaps, even than they are from each other, but akin to them, as all great beauty is mysteriously akin.
When the Last Judgment was finished, Michelangelo not unreasonably hoped that he might resume his work upon the Tomb of Julius. But this was not to be. Antonio da San Gallo had just completed the Chapel of the Holy Sacrament in the Vatican, which is known as the Cappella Paolina, and the Pope resolved that its frescoes should be painted by Buonarroti.
His wife the ex-Queen, had retired in 1815 to Frankfort and to Brussels, where she was well received by the King, William, and where she stayed till 1823, when she went to Florence, dying there in 1845. Her monument is in the Cappella Riccardi, Santa Croce, Florence.
Strip a chapel of the fifteenth century of ornamental adjuncts, and an uninteresting shell is left: what, for instance, would the façades of the Certosa and the Cappella Colleoni be without their sculptured and inlaid marbles?
They have been published by the Arundel Society. These frescoes were begun in 1499. It may be mentioned that in this year, on the refusal of Perugino to decorate the Cappella di S. Brizio, the Orvietans entrusted that work to Signorelli. Uffizzi and Sala del Cambio.
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