d
it to be completed. At this time he probably worked upon the statue of
Moses and upon the two chained youths. He devoted himself to the
mausoleum during three years.

Leo X., who was now pope, demanded the services of Michael Angelo to
erect a facade to the Church of San Lorenzo in Florence. The artist
objected to this great work, and declared that he was bound to complete
the tomb for which he had already received money. But Leo insisted upon
his going to Florence. He had much trouble to get his marble from the
quarries--the men were ill there. He was ill himself, and he passed a
year of great anxiety and trouble, when there came word from Rome that
the work must be given up; the building was postponed, and no payment
was made to Michael Angelo! He was much disheartened, but returned to
his work on the mausoleum.

About 1523, when, after many changes, Cardinal Medici was pope, the work
at San Lorenzo was resumed. But in 1525 the pope again summoned Michael
Angelo to Rome. The heirs of Julius were complaining of delay, but at
last the pope insisted upon his great need of the artist, and again he
was sent back to Florence, where the cupola of the new Sacristy to San
Lorenzo was soon finished. Great political confusion now ensued, and
little can be said of Michael Angelo as a sculptor until 1530, when he
again resumed his work on the Sacristy.

He worked with the greatest industry and rapidity, and in a few months
had nearly finished the four colossal figures which rest upon the
sarcophagi of Lorenzo and Giuliano de' Medici. The pope was forced to
command the sculptor to rest. His health was so broken by the sorrow
which the political condition of Florence caused him, and by his anxiety
about the mausoleum of Julius, that there was much danger of his killing
himself with work and worry. He went to Rome, and matters were more
satisfactorily arranged. He returned to Florence, and labored there
until 1534, when Clement VII. died, and Michael Angelo left his work
in San Lorenzo, never to resume it. Unfinished as these sculptures are,
they make a grand part of the wonderful works of this great man. The
statues of the two Medici and those of Morning, Evening, Day, and Night
would be sufficient to establish the fame of an artist if he had done
nothing more. (Fig. 107.)

[Illustration: FIG. 107.--GIULIANO DE' MEDICI. _By Michael Angelo._]

Under the new pope, Paul III., he was constantly employed as a painter,
and archite