In the second scene, which came, continuing the same order, to face towards the lateral door that leads out of the church, was figured Pope Clement, who, contrary to the expectation of the public, which thought that his Holiness felt disdain against Michelagnolo on account of his actions in the siege of Florence, not only assures his safety and shows himself lovingly disposed towards him, but sets him to work on the new sacristy and the library of S. Lorenzo, in which places how divinely well he worked has been already told. In this picture, then, there was painted by the hand of Federigo Fiammingo, called Del Padovano, with much dexterity and great sweetness of manner, Michelagnolo showing to the Pope the ground-plan of that sacristy, and behind him were borne, partly by little Angels and partly by other figures, the models of the library and sacristy and of the statues that are there, finished, at the present day; which was all very well composed and executed with diligence. In the third picture, which stood on the first level, like the others described above, and looked towards the high-altar, was a great Latin epitaph composed by the most learned M. Pier Vettori, the sense of which was in the Florentine speech as follows: "The Academy of Painters, Sculptors, and Architects, with the favour and assistance of Duke Cosimo de' Medici, their head and the supreme protector of these arts, admiring the extraordinary genius of Michelagnolo Buonarroti, and seeking to acknowledge in part the benefits received from his divine works, has dedicated this memorial, born from their own hands and from all the affection of their hearts, to the excellence and genius of the greatest painter, sculptor, and architect that there has ever been." The Latin words were these: COLLEGIUM PICTORUM, STATUARIORUM, ARCHITECTORUM, AUSPICIO OPEQUE SIBI PROMPTA COSIMI DUCIS AUCTORIS SUORUM COMMODORUM, SUSPICIENS SINGULAREM VIRTUTEM MICHAELIS ANGELI BONARROTÆ, INTELLIGENSQUE QUANTO SIBI AUXILIO SEMPER FUERINT PRÆCLARA IPSIUS OPERA, STUDUIT SE GRATUM ERGA ILLUM OSTENDERE, SUMMUM OMNIUM QUI UNQUAM FUERINT P.S.A., IDEOQUE MONUMENTUM HOC SUIS MANIBUS EXTRUCTUM MAGNO ANIMI ARDORE IPSIUS MEMORIÆ DEDICAVIT. This epitaph was supported by two little Angels, who, with weeping faces, and extinguishing each a torch, appeared to be lamenting that a genius so great and so rare was now spent. Next, in the picture which came to face towards the door that leads into the cloister, was Michelagnolo making, on account of the siege of Florence, the fortifications of the hill of San Miniato, which were held to be impregnable and a marvellous work. This was by the hand of Lorenzo Sciorini, a pupil of Bronzino and a young man of excellent promise.