ch then was the
contract made between the Duke and Michelangelo. But here it has to be
observed, that after all accounts had been made up, Michelangelo
secretly agreed with the agents of his Excellency that it should be
reported that he had received some thousands of crowns above what had
been paid to him; the object being to make his obligation to the Duke
of Urbino seem more considerable, and to discourage Pope Clement from
sending him to Florence, whither he was extremely unwilling to go.
This acknowledgment was not only bruited about in words, but, without
his knowledge or consent, was also inserted into the deed; not when
this was drawn up, but when it was engrossed; a falsification which
caused Michelangelo the utmost vexation. The ambassador, however,
persuaded him that this would do him no real harm: it did not signify,
he said, whether the contract specified a thousand or twenty thousand
crowns, seeing they were agreed that the tomb should be reduced to
suit the sums actually received; adding, that nobody was concerned in
the matter except himself, and that Michelangelo might feel safe with
him on account of the understanding between them. Upon this
Michelangelo grew easy in his mind, partly because he thought he might
have confidence, and partly because he wished the Pope to receive the
impression I have described above. In this way the thing was settled
for the time, but it did not end there; for when he had worked his
four months in Florence and came back to Rome, the Pope set him to
other tasks, and ordered him to paint the wall above the altar in the
Sistine Chapel. He was a man of excellent judgment in such matters,
and had meditated many different subjects for this fresco. At last he
fixed upon the Last Judgment, considering that the variety and
greatness of the theme would enable the illustrious artist to exhibit
his powers in their full extent. Michelangelo, remembering the
obligation he was under to the Duke of Urbino, did all he could to
evade this new engagement; but when this proved impossible, he began
to procrastinate, and, pretending to be fully occupied with the
cartoons for his huge picture, he worked in secret at the statues
intended for the monument."

VII

Michelangelo's position at Florence was insecure and painful, owing to
the undisguised animosity of the Duke Alessandro. This man ruled like
a tyrant of the worst sort, scandalising good citizens by his brutal
immoralities, and terro