which was placed over the doors of S. Petronio, but which was unfortunately destroyed in a popular tumult three years later.
In March, 1508, Michelangelo returned to Rome, hoping to resume his work on the statues of the Tomb, but the Pope ordered him to abandon sculpture for the present and paint the roof of the Sistine Chapel. In vain Michelangelo declared that painting was not his trade, and that Raphael of Urbino was the right man for the work. Julius insisted, and the artist reluctantly began to prepare cartoons for his mighty task. When we consider the immense extent of the chapel roof, and the variety of curves, spandrels, and pendentives which break up its surface, when we remember that this vast space contains some two hundred figures of colossal height, and recall the marvellous beauty and animation of the whole, we begin to realise the stupendous greatness of the work which Michelangelo executed almost entirely alone. The able artists whom he had summoned from Florence to act as his assistants, including Granacci, Bugiardini and Aristotile di San Gallo, failed to satisfy his requirements, and were summarily dismissed. But in spite of endless troubles and disappointments, Michelangelo succeeded in accomplishing the whole work in the space of four years and a half. His letters during this time unfold a piteous tale of petty grievances and wrongs. His enemies were busy at their old intrigues, his servants cheated and annoyed him, and the Pope was absent and short of money. Twice over Michelangelo had to leave his work and travel to Bologna to beg for supplies. Each time he returned without a
