This splendid series forms a worthy predella to the epic work of Michael Angelo above; that they are worthy the one of the other is the highest compliment that can be paid to either.

These stories well repay prolonged study, and help to keep our mind fresh to enjoy the idea of the advance Michael Angelo made in the art of painting.

It is very instructive to compare his work with these frescoes of men who were almost his contemporaries.

Above the altar three of this series were destroyed to make way for the Last Judgment; they were all three by Perugino, and represented the Assumption of the Virgin in the centre, the Nativity on the right, and the finding of Moses on the left.
At the opposite end, over the great door, were two pictures by Domenico del Ghirlandaio, representing the Resurrection of Christ, and Michael contending with Satan for the Body of Moses, completing the series of the lives of the Redeemer and of his prototype in the Old Testament: Moses, the Deliverer.

These last two works were destroyed for the ridiculous caricatures of Arrigo Fiammingo and Mattei da Lecce.