It is clear that, between the architectural conception of a roof opening on the skies and these pictures of events which happened upon earth, there is no logical connection.

Indeed, Michelangelo's new system of decoration bordered dangerously upon the barocco style, and contained within itself the germs of a vicious mannerism.
It would be captious and unjust to push this criticism home.

The architectural setting provided for the figures and the pictures of the Sistine vault is so obviously conventional, every point of vantage has been so skilfully appropriated to plastic uses, every square inch of the ideal building becomes so naturally, and without confusion, a pedestal for the human form, that we are lost in wonder at the synthetic imagination which here for the first time combined the arts of architecture, sculpture, and painting in a single organism.

Each part of the immense composition, down to the smallest detail, is necessary to the total effect.

We are in the presence of a most complicated yet mathematically ordered scheme, which owes life and animation to one master-thought.