Question: What is the name of the painting that depicts soldiers digging a post hold and raising a cross while people look on?
About the article "Michelangelo", section "Figure compositions".

Candidate passages:
The illustration is an oil on canvas, measuring .
The Norman Rockwell Museum describes it as a story illustration for "The Saturday Evening Post", making the essay and this painting complementary works.
However, the painting was also part of a deliberative visual expression of Roosevelt's broad overarching freedoms on canvas.
The painting shows a woman presenting a robust turkey to various generations of her family.
She is the matriarch of the family serving the main entree to her children and grandchildren while wearing an apron in Rockwell's idealistic presentation of family values.
The patriarch of the family looks on with fondness and approval from the head of the table.
In addition to the turkey arriving the table has a bowl of fruit, what appears to be cranberry sauce, celery and pickles.
However, the servings are less prominent than the presentation of white linen, white plates and water-filled glasses.
The people in the painting are not actually eating because the painting depicts a lot of emptiness, especially their plates.
In the background we see billowing curtains.
In addition there is a covered silver serving dish that would traditionally hold potatoes, according to one source.
However, another source describes this as a covered casserole dish.
The table is the central element of the painting.
Its creased tablecloth shows that this is a special occasion for "sharing what we have with those we love".
From the light gleaming through the windows, we can deduce that the painting depicts a mid-afternoon meal. 
Michelangelo's relief of the "Battle of the Centaurs", created while he was still a youth associated with the Medici Academy, is an unusually complex relief in that it shows a great number of figures involved in a vigorous struggle.
Such a complex disarray of figures was rare in Florentine art, where it would usually only be found in images showing either the Massacre of the Innocents or the Torments of Hell.
The relief treatment, in which some of the figures are boldly projecting, may indicate Michelangelo's familiarity with Roman sarcophagus reliefs from the collection of Lorenzo Medici, and similar marble panels created by Nicola and Giovanni Pisano, and with the figurative compositions on Ghiberti's Baptistry Doors.
The composition of the "Battle of Cascina", is known in its entirety only from copies, as the original cartoon, according to Vasari, was so admired that it deteriorated and was eventually in pieces.
It reflects the earlier relief in the energy and diversity of the figures, with many different postures, and many being viewed from the back, as they turn toward the approaching enemy and prepare for battle.
In "The Last Judgement" it is said that Michelangelo drew inspiration from a fresco by Melozzo da Forli in the Church of the Holy Apostles, Rome.
While the work is very different in character to Michelangelo's, Melozzo had depicting figures from different angles, as if they were floating in the Heaven and seen from below.
Melozzo's majestic figure of Christ, with windblown cloak, demonstrates a degree of foreshortening of the figure that had also been employed by Andrea Mantegna, but was not usual in the frescos of Florentine painters.
In "The Last Judgement" Michelangelo had the opportunity to depict, on an unprecedented scale, figures in the action of either rising heavenward or falling and being dragged down.
In the two frescos of the Pauline Chapel, the "Crucifixion of Peter" and the "Conversion of Paul", Michelangelo has used the various groups of figures to convey a complex narrative.
In the "Crucifixion of Peter" soldiers busy themselves about their assigned duty of digging a post hole and raising the cross while various people look on and discuss the events.
A group of horrified women cluster in the foreground, while another group of Christians is led by a tall man to witness the events.
In the right foreground, Michelangelo walks out of the painting with an expression of disillusionment.
The painting depicts African American slaves between two small outbuildings of a plantation sited on a broad river.
"The Old Plantation" is the only known painting of its era that depicts African Americans by themselves, concerned only with each other, though its central activity remains obscure.
Some writers have speculated that the painting depicts a marriage ceremony, with the attendant tradition of jumping the broom.
However, scholars have suggested that the subjects are performing a secular dance: western African dance patterns traditionally include sticks and a variety of body positions.
The headdresses pictured are of West African origin.
The painting features two male musicians, one of whom is playing a stringed instrument that resembles a Yoruba molo; the body of this instrument seems to be a hollow gourd.
The molo is a precursor to the banjo, and this is the earliest known American painting to picture a banjo-like instrument.
The second musician is playing a percussion instrument that may be a Yoruba gudugudu.
The two women hold what look like scarves, but are actually sheguras, rattles made of a gourd enclosed in a net of variable length into which hard objects have been woven. 
The picture depicts a group of so-called "Navvies" digging up the road to build a system of underground tunnels.
It is typically assumed that these were part of the extensions of London's sewerage system, which were being undertaken to deal with the threat of typhus and cholera.
The workers are in the centre of the painting.
On either side of them are individuals who are either unemployed or represent the leisured classes.
Behind the workers are two aristocrats on horseback, whose progress along the road has been halted by the excavations.
The painting also portrays an election campaign, evidenced by posters and people carrying sandwich boards with the name of the candidate "Bobus".
A poster also draws attention to the potential presence of a burglar.
The scene is set on The Mount on Heath Street in Hampstead, London, a side road which rises up from the main road and runs alongside it.
Brown made a detailed study of the location in 1852. 
The painting shows the moment Lazarus re-awakens from death and raises out of his tomb as Christ calls him.
Lazarus (and another corpse in the background) exists in a darker half of the painting while the other living figures are far more illuminated.
Mary and those assembled look on in amazement as Lazarus comes to life.
Sister Wendy Beckett opines that Jesus is portrayed as a weary magician, rather than a triumphant savior.
The painting depicts a parable of spiritual life, the miracle of the hardened sinner receiving first grace (sorrow for sins committed in order to seek penitence and redemption).
Rembrandt used chiaroscuro (contrasts of light and dark) in this painting, with the dark interior of the burial cave and the limited torchlight focusing the attention of the viewer and giving the figures impact.
This is one of relatively few religious subjects from the New Testament that Rembrandt painted, though large numbers of his prints have religious subjects.