Phillipps, Evelyn March: The frescoes in the Sixtine chapel (London: John Murray, 1901)

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THE ROOF

long before been erected in Florence. There
David stands calm and confident, “ with all
the verses of the Psalms in his eyes.” Here
he sweeps down upon his enemy with an
irresistible torrent of supernatural strength.
Michel Angelo has shown his skill in
portraying a moment—we can almost hear
the whistle of the sword through the air,
and feel the heave of the great giant, before
his quivering limbs relax in death.
Opposite is a group of intense tragedy.
Judith has accomplished her terrible mission.
She leaves the chamber, and she and her
maid prepare to fly with their ghastly
burden. The two women’s figures are
thrown out against the background; within
lies the dim room and that silent Thing.
She looks back for a moment, and what a
moment it is ! Holding their breath, they
look and listen—was all indeed so silent ?
Did it move again, or was it only the sighing
of the night wind through the tented canopy?
The tension is horrible, and yet besides, the
painter has contrived to convey, in that
turned head, that long look, some suggestion