to see it,
and the Pope was the first, not having the patience to wait until the
dust caused by the dismantling of the scaffolding had settled.
Thereupon Raffaello da Urbino, who was very excellent in imitation,
after seeing it straightway changed his manner, and without losing any
time, in order to display his ability, painted the Prophets and Sibyls
in the work of the Pace; and at the same time Bramante sought to have
the other half of the chapel entrusted by the Pope to Raffaello. Which
hearing, Michelagnolo complained of Bramante, and revealed to the Pope
without any reserve many faults both in his life and in his
architectural works; of which last, in the building of S. Pietro, as
was seen afterwards, Michelagnolo became the corrector. But the Pope,
recognizing more clearly every day the ability of Michelagnolo,
desired that he should continue the work, judging, after he had seen
it uncovered, that he could make the second half considerably better;
and so in twenty months he carried that work to perfect completion by
himself alone, without the assistance even of anyone to grind his
colours. Michelagnolo complained at times that on account of the haste
that the Pope imposed on him he was not able to finish it in his own
fashion, as he would have liked; for his Holiness was always asking
him importunately when he would finish it. On one occasion, among
others, he replied, "It will be finished when I shall have satisfied
myself in the matter of art." "But it is our pleasure," answered the
Pope, "that you should satisfy us in our desire to have it done
quickly;" and he added, finally, that if Michelagnolo did not finish
the work quickly he would have him thrown down from the scaffolding.
Whereupon Michelagnolo, who feared and had good reason to fear the
anger of the Pope, straightway finished all that was wanting, without
losing any time, and, after taking down the rest of the scaffolding,
threw it open to view on the morning of All Saints' Day, when the Pope
went into the chapel to sing Mass, to the great satisfaction of the
whole city. Michelagnolo desired to retouch some parts "a secco," as
the old masters had done on the scenes below, painting backgrounds,
draperies, and skies in ultramarine, and ornaments in gold in certain
places, to the end that this might produce greater richness and a more
striking effect; and the Pope, having learned that this ornamentation
was wanting, and hearing the work praised so much by