In 1503 Julius II. succeeded to the pontificate, and summoned Michael An gelo to Rome. The sculptor could as little brook opposition as the Pope, and their dealings were continually inter rupted by bitter quarrels and recrimina tions. The Pope commissioned the sculp tor to design his tomb. For 40 years Michael Angelo clung to the hope that he would yet complete the great monu ment in honor of Pope Julius and his own genius. But intrigue and spite were too strong for him. Other demands were continually made upon his energy, and the sublime statue of Moses is the best fragment that is left to us of the tomb of Julius. Various difficulties arose be tween the Pope and the sculptor. In stead of being allowed to work on the monument, Michael Angelo was ordered to decorate the ceiling of the Sistine Chapel. In 1508 Michael Angelo began this work for which his training had ill adapted him. However, he set himself resolutely to the toil, and in four years achieved a masterpiece of decorative design. Michael Angelo, however, had not forgotten the monument of Pope Julius, and no sooner had he finished his work in the Sistine Chapel than he returned with eagerness to the tomb.
In 1513 Pope Julius II. died, and, though he had commanded the cardinals, Santi Quattro and Aginense, to see that his monument was completed in accord ance with his expressed wishes, the car dinals were thrifty men, and demanded a more modest design. This was fur nished, but before the work could be undertaken, Pope Leo X. had dispatched
Michael Angelo on business of his own to Florence. Leo was of the Medici family, and professed no interest in the tomb of his predecessor; his whole anx iety was to do honor to his ancestors by the adornment of Florence. He therefore, commissioned Michael Angelo to rebuild the facade of the Church of San Lorenzo and enrich it with sculp tured figures. For eight years Michael Angelo was forced to devote himself to toil as idle as that of Sisyphus. The sculptor remained in Florence still work ing on the tomb of Julius and building the Sacristy of San Lorenzo. In 1528 the unsettled state of his native city turned him again from the practice of his art. He devoted himself heart and soul to the science of fortification, and , in 1529, Florence was besieged, Michael Angelo was foremost in its de fense. The city was forced to surrender in the following year. He resumed his work upon the tombs of the Medici, and completed the monuments to Giuliano and Lorenzo de Medici, which are among the greatest of his works. In 1537 he began to paint "The Last Judgment" for the Sistine Chapel, which was finished and displayed on Christmas Day, 1541, and was the master's last pictorial achieve.. ment. In the following year he was appointed architect of St. Peter's. To this work he devoted his wonderful gen ius with zeal and loyalty and for al most all that is best in this remarkable edifice we are indebted to him. While still engaged in this work, he died on Feb. 18, 1564.