Includes Jerry Goldsmith's score for the documentary "The Artist Who Did Not Want to Paint."

After production of "The Agony and The Ecstasy" had already had been completed, Twentieth Century-Fox decided to produce a documentary prologue to be shown before the film. Titled "The Artist Who Did Not Want to Paint," the twelve and a half minute documentary was beautifully photographed, narrated by voice actor Marvin Miller and scored by the not-yet-legendary Jerry Goldsmith.

Goldsmith’s composition is actually one of the most fragile and delicate he ever wrote. The piece was not included on the original soundtrack album of Alex North’s score. For the first time it is presented with the score it was written to precede.

THE ARTIST WHO DID NOT WANT TO PAINT
Prologue music composed and conducted by Jerry Goldsmith.
1. Prologue - The Artist Who Did Not Want To Paint (12:23)
i. Rome
ii. Florence
iii. The Crucifix
iv. The Stone Giants
v. The Agony of Creation

AGONY AND THE ECSTASY
Music composed and conducted by Alex North.
2. Prelude - The Mountains of Carrara (2:57)
3. The Warrior Pope (2:40)
4. The Medici (2:34)
5. The Sketch of The Apostles (3:12)
6. Sketch Destroyed (:58)
7. Genesis (3:36)
8. The Sistine Chapel (3:01)
9. The Contessina (2:47)
10. Painting (2:26)
11. The Agony (3:58)
12. Michelangelo’s Recovery (2:13)
13. Festivity In St. Peter’s Square (2:07)
14. Julius In The Garden (1:23)
15. Back To St. Peter’s (:56)
16. The War (2:06)
17. The Battle Field (1:58)
18. New Cardinal (2:00)
19. Michelangelo’s Magnificent Achievement and Finale (2:39)
20. To Work, My Son (Finale) (1:05)

Bonus Track:
21. Mountain Scene (3:37)

Adapted by Philip Dunne from the novel by Irving Stone, "The Agony and the Ecstacy" is the story of the 16th century war of wills between Renaissance artist Michelangelo (Charlton Heston) and "warrior pope" Julius II (Rex Harrison). Commissioned to paint a religious fresco on the ceiling of the Sistine Chapel, the independent-minded Michelangelo balks at the assignment. He is virtually strongarmed into accepting the job by Pope Julius, who wants to leave something for future generations to remember him by. Director Carol Reed deftly juggles screen time between the Pope's activities on the battlefield and Michelangelo's slow, arduous completion of his monumental task. The film also gingerly approaches the subject of Michelangelo's sexual orientation vis-a-vis his relationship with the Contessina de Medici (Diane Cilento). Too long and limited in subject matter to score at the box office, "The Agony and the Ecstacy" holds up pretty well when seen today, especially when viewed in a wide-screen print. 1965