erruptions of
his work. It must have been a great grief to Michael Angelo when the old
man came to die if he had not made up this quarrel with him, for he loved
him in a way that is marvellous to us when we consider the character of
the old man as evidenced in the correspondence.

Clement VII. lost no time, after he was elected Pope, in setting Michael
Angelo to work, but again it was against the inclination of the artist,
who passionately desired to complete the Tomb of Julius, partly for the
love of his memory and partly to free himself from the importunity of the
executors, who threatened him with a lawsuit. Michael Angelo replied to
the agent of Clement, Francesco Fattucci, who requested plans for the
Laurentian Library: "I understand from your last that his Holiness our
Lord wishes that the design for the Library should be by my hand. I have
heard nothing and do not know where he wishes it to be built. True,
Stefano talked to me about it, but I did not give my mind to it. When he
returns from Carrara I will inform myself about it from him, and will do
all I can, although it is not my profession."

Clement, who really seems to have had a regard for the artist, and wished
to bind him to his interests, desired to provide for him for life. If
Michael Angelo would have consented to make the vows of celibacy he would
have given him an ecclesiastical appointment, failing that he offered him
a pension. Michael Angelo only asked for fifteen ducats a month. Fattucci,
on January 13, 1524, rebuked him for this modesty, and wrote that "Jacopo
Salviati has given orders that Spina should be instructed to pay you a
monthly provision of fifty ducats." A house also was assigned to him at
San Lorenzo, rent free, that he might be near his work. Stefano di Tomaso,
miniatore, was Michael Angelo's right-hand man at this time, and his name
continually recurs in the Ricordi. He was not altogether a satisfactory
servant, and in April 1524, Antonio Mini seems to have taken his place.
This helps us to date the roofing of the sacristy of San Lorenzo, as in an
undated letter to Pope Clement Michael Angelo says that Stefano finished
the lantern and it was universally admired. This is the work of which it
is recorded that when folk told Michael Angelo it would be better than the
lantern of Brunelleschi, he replied: "Different, perhaps; but better, no!"
In the British Museum there is a drawing with a bit of advice to young
artists, personified in