Right Wall:
Absolution of the Emperor Henry IV., by Gregory VII.: Federigo and Taddeo Zucchero.

Left Wall:
Massacre of St. Bartholomew: Vasari.

Opposite Wall, towards the Sala Regia:
Return of Gregory XI. from Avignon.
Benediction of Frederick Barbarossa by Alexander III., in the Piazza of S. Marco: Giuseppe Porta.

On the right is the entrance of the Pauline Chapel (Cappella Paolina), also built (1540) by Antonio di Sangallo for Paul III. Its decorations are chiefly the work of Sabbatini and F. Zucchero, but it contains two frescoes by Michael Angelo.

"Two excellent frescoes, executed by Michael Angelo on the side walls of the Pauline Chapel, are little cared for, and are so much blackened by the smoke of lamps that they are seldom mentioned. The Crucifixion of St. Peter, under the large window, is in a most unfavourable light, but is distinguished for its grand, severe composition. That on the opposite wall—the Conversion of St. Paul—is still tolerably distinct. The long train of his soldiers is seen ascending in the background. Christ, surrounded by a host of angels, bursts upon his sight from the storm-flash. Paul lies stretched on the ground—a noble and finely-developed form. His followers fly on all sides, or are struck motionless by the thunder. The arrangement of the groups is excellent, and some of the single figures are very dignified; the composition has, moreover, a principle of order and repose, which, in comparison with the Last Judgment, places this picture in a very favourable light. If there are any traces of old age to be found in these works, they are at most discoverable in the execution of details."—Kugler, p. 308.

On the left of the approach from the Scala Regia is the Sistine Chapel (Cappella Sistina), built by Bacio Pintelli in 1473 for Sixtus IV. The lower part of the walls of this wonderful chapel was formerly hung on festivals with the tapestries executed from the cartoons of Raphael; the upper portion is decorated in fresco by the great Florentine masters of the fifteenth century.

"It was intended to represent scenes from the life of Moses on one side of the chapel, and from the life of Christ on the other, so that the old law might be confronted by the new,—the type by the typified."—Lanzi.

The following is the order of the frescoes, type and anti-type together:

Over the altar—now destroyed to make way for the Last Judgment:

1. Moses in the Bulrushes: Perugino.1. Christ in the Manger: Perugino.
(Between these was the Assumption of the Virgin, in which PopeSixtus IV. was introduced, kneeling: Perugino.)
On the left wall, still existing:On the right wall, still existing:
2. Moses and Zipporah on the wayto Egypt, and the circumcisionof their son: Luca Signorelli.2. The Baptism of Christ: Perugino.
3. Moses killing the Egyptian, anddriving away the shepherds fromthe well: Sandro Botticelli.3. The Temptation of Christ: Sandro Botticelli.
4. Moses and the Israelites,after the passage of the Red Sea:Cosimo Rosselli.4. The calling of the Apostles on the Lake of Gennesareth: Domenico Ghirlandajo.
5. Moses giving the Lawfrom the Mount: Cosimo Rosselli.5. Christ's Sermon on the Mount: Cosimo Rosselli.
6. The punishment of Korah,Dathan, and Abiram, who aspireduncalled to the priesthood:Sandro Botticelli.6. The institution of the Christian Priesthood. Christ giving the keys to Peter:Perugino.
7. The last interview of Mosesand Joshua: Luca Signorelli.7. The Last Supper: CosimoRosselli.
On the entrance wall:
8. Michael bears away thebody of Moses (Jude 9):Cecchino Salviati.8. The Resurrection: DomenicoGhirlandajo, restored by Arrigo Fiamingo.