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An excerpt of a review from the Princeton Review, Volume 42: The Wonders of Italian Art. By Louis Viardot. Twenty-eight engravings. The former rich in anatomical and physiological instruction popularized; the latter opening to the great reading public the wealth and magnificence of art in the land of artists. We take from it the following extract: - MICHAEL ANGELO'S REVENGE ON BIAGIO. The fresco of Michael Angelo was not yet finished when it was nearly being destroyed. From the denunciation of his chamberlain, Biagio of Cesena, who considered the painting more suitable for a bath-room or even a tavern than for the pope's chapel, Paul III. had, for a short time, the wish to have it destroyed. To revenge himself on his denunciator, Michael Angelo condemned Biagio to the pillory of immortality. He painted him among the condemned under the form of Minos, and according to the fiction of Dante in the fifth canto of the 'Inferno: ' Stravvi Minos orribilmente e ringia, that is to say, with the ass's ears of Midas and a serpent for s girdle, which recalls the lines of an old Spanish romance, on the King Rodrigo, crying out from his tomb: - Ya me comen, ya me comen, Por do mas pecado habia. Biagio complained to the pope, demanding that at least his features should be effaced. 'In what part of his picture has he placed you?' asked the pope 'In hell.' - 'If it had been in purgatory, we could have got you out, but in hell, nulla est redemptio.'

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