But the work that established his fame as a great sculptor is the Pieta, now in St. Peter's at Rome (Fig. 105). He was twenty-five years old when he executed this work, and from that time was acknowledged to be the greatest sculptor of Italy--a decision which has never been reversed. Soon after this Michael Angelo returned to Florence, and his first important work was a Madonna, now at Bruges; it is life-size, and one of his finest sculptures. There was at this time an immense block of marble which had lain many years in the yard to the workshops of the cathedral. Several sculptors had talked of making something from it, and now Michael Angelo was asked by the consuls to make something good of it. He had just taken an order for fifteen statues for the Piccolomini tomb at Siena; but when he saw the immense block he gave up the Siena work, and contracted to make a statue in two years. He was to be paid six gold florins a month, and as much more as could be agreed upon when the work was done. He first made a model in wax of his David; it was very small, and is now in the Uffizi. In the beginning of 1504, after about two years and a half had been spent upon it, the work was done, and a discussion then arose as to where it should be placed. At length it was decided to put it where Michael Angelo himself wished it to be, next the gate of the palace where the Judith of Donatello then stood. The statue weighed eighteen thousand pounds, and its removal was a work of great importance. I shall not give all the details of it here, but shall quote what Grimm says: "The erection of this David was like an occurrence in nature from which people are accustomed to reckon. We find events dated so many years after the erection of the giant. It was mentioned in records in which there was not a line respecting art." [Illustration: FIG. 106.--MICHAEL ANGELO'S DAVID.] In 1527 the statue was injured by a stone thrown in a riot. At length it began to show the effect of time and weather, and the people of Florence talked of removing it for better preservation. There was much feeling against this; the Florentines feared that misfortunes would fall upon them if this great work were disturbed; but at last, in 1873, it was placed in the Academy of Fine Arts. It represents the youthful David at the moment when he declares to Goliath, "I come unto thee in the name of the Lord of Hosts." The beautiful figure is muscular and pliant, and the face is full of courage. (Fig. 106.)