Of Michelangelo at Rome and Carrara, whither he went to superintend in person the quarrying of the marble that was to be transferred to life and where he had endless vexations and mortifications, I say nothing. Enough that the election of his boy friend Giovanni de' Medici as Pope Leo X in 1513 brought him again to Florence, the Pope having a strong wish that Michelangelo should complete the façade of the Medici family church, S. Lorenzo, where we now are. As we know, the scheme was not carried out, but in 1520 the Pope substituted another and more attractive one: namely, a chapel to contain the tombs not only of his father the Magnificent, and his uncle, who had been murdered in the Duomo many years before, but also his nephew Piero de' Medici, Duke of Urbino, who had just died, in 1519, and his younger brother (and Michelangelo's early playmate) Giuliano de' Medici, Duke of Nemours, who had died in 1516. These were not Medici of the highest class, but family pride was strong. It is, however, odd that no memorial of Piero di Lorenzo de' Medici, who had been drowned at the age of twenty-two in 1503, was required; perhaps it may have been that since it was Piero's folly that had brought the Medici into such disgrace in 1494, the less thought of him the better. Michelangelo took fire at once, and again hastened to Carrara to arrange for marble to be sent to his studio in the Via Mozzi, now the Via S. Zenobi; while the building stone was brought from Fiesole. Leo X lived only to know that the great man had begun, the new patron being Giulio de' Medici, natural son of the murdered Giuliano, now a cardinal, and soon, in 1523, to become Pope Clement VII. This Pope showed deep interest in the project, but wished not only to add tombs of himself and Pope Leo X, but also to build a library for the Laurentian collection, which Michelangelo must design. A little later he had decided that he would prefer to lie in the choir of the church, and Leo X with him, and instead therefore of tombs Michelangelo might merely make a colossal statue of him to stand in the piazza before the church. The sculptor's temper had not been improved by his many years' experience of papal caprice, and he replied to this suggestion with a letter unique even in the annals of infuriated artists. Let the statue be made, of course, he said, but let it be useful as well as ornamental: the lower portion to be also a barber's shop, and the head, since it would be empty, a greengrocer's. The Pope allowed himself to be rebuked, and abandoned the statue, writing a mild and even pathetic reply.