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In page The Last Judgment (Michelangelo):

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On these points, a long-lasting rhetorical comparison of Michelangelo and Raphael developed, in which even supporters such as Vasari participated. Raphael is held up as the exemplar of all the grace and decorum found lacking in Michelangelo, whose outstanding quality was called by Vasari his terribiltà, the awesome, sublime or (the literal meaning) terror-inducing quality of his art.[7] Vasari came to partly share this view by the time of the expanded 2nd edition of his Lives, published in 1568, though he explicitly defended the fresco on several points raised by the attackers (without mentioning them), such as the decorum of the fresco, and "amazing diversity of the figures", and asserted it was "directly inspired by God", and a credit to the Pope and his "future renown".[8]