eir whims with distracted energies and a lamentable
waste of time. The incompleteness which marks so much of his
performance was due to the rapid succession of these imperious
masters, each in turn careless about the schemes of his predecessor,
and bent on using the artist's genius for his own profit. It is true
that nowhere but in Rome could Michelangelo have received commissions
on so vast a scale. Nevertheless we cannot but regret the fate which
drove him to consume years of hampered industry upon what Condivi
calls "the tragedy of Julius's tomb," upon quarrying and road-making
for Leo X., upon the abortive plans at S. Lorenzo, and upon
architectural and engineering works, which were not strictly within
his province. At first it seemed as though fortune was about to smile
on him. In Julius he found a patron who could understand and
appreciate his powers. Between the two men there existed a strong bond
of sympathy due to community of temperament. Both aimed at colossal
achievements in their respective fields of action. The imagination of
both was fired by large and simple rather than luxurious and subtle
thoughts. Both were _uomini terribili_, to use a phrase denoting
vigour of character and energy of genius, made formidable by an
abrupt, uncompromising spirit. Both worked with what the Italians call
fury, with the impetuosity of daemonic natures; and both left the
impress of their individuality stamped indelibly upon their age.
Julius, in all things grandiose, resolved to signalise his reign by
great buildings, great sculpture, great pictorial schemes. There was
nothing of the dilettante and collector about him. He wanted creation
at a rapid rate and in enormous quantities. To indulge this craving,
he gathered round him a band of demigods and Titans, led by Bramante,
Raffaello, Michelangelo, and enjoyed the spectacle of a new world of
art arising at his bidding through their industry of brain and hand.

II

What followed upon Michelangelo's arrival in Rome may be told in
Condivi's words: "Having reached Rome, many months elapsed before
Julius decided on what great work he would employ him. At last it
occurred to him to use his genius in the construction of his own tomb.
The design furnished by Michelangelo pleased the Pope so much that he
sent him off immediately to Carrara, with commission to quarry as much
marble as was needful for that undertaking. Two thousand ducats were
put to his credit with Alamanni Salvi