and for natives--became persons eminent in art, as we have since seen. For among those who studied the cartoon were Aristotile da San Gallo, the friend of Michelagnolo, Ridolfo Ghirlandajo, Raffaello Sanzio of Urbino, Francesco Granacci, Baccio Bandinelli, and the Spaniard Alonzo Berughetta, and then there followed Andrea del Sarto, Franciabigio, Jacopo Sansovino, Rosso, Maturino, Lorenzetto, Tribolo, who was then a boy, Jacopo da Pontormo, and Perino del Vaga; and all these became excellent Florentine masters. The cartoon having thus become a school for craftsmen, it was taken into the Great Upper Hall in the house of the Medici; and this was the reason that it was left with too little caution in the hands of the craftsmen, insomuch that during the illness of Duke Giuliano, while no one was expecting such a thing, it was torn up and divided into many pieces, as has been related elsewhere, and scattered over various places, to which some pieces bear witness that are still to be seen in Mantua, in the house of M. Uberto Strozzi, a gentleman of that city, where they are treasured with great reverence; and, indeed, they seem to the eye things rather divine than human. [Illustration: YOUNG CAPTIVE (_After =Michelagnolo=. Paris: Louvre_) _Alinari_] The name of Michelagnolo, by reason of the Pietà that he had made, the Giant in Florence, and the cartoon, had become so famous, that in the year 1503, Pope Alexander VI having died and Julius II having been elected, at which time Michelagnolo was about twenty-nine years of age, he was summoned with much graciousness by Julius II, who wished to set him to make his tomb; and for the expenses of the journey a hundred crowns were paid to him by the Pope's representatives. Having made his way to Rome, he spent many months there before he was made to set his hand to any work. But finally the Pope's choice fell on a design that he had made for that tomb, an excellent testimony to the genius of Michelagnolo, which in beauty and magnificence, abundance of ornamentation and richness of statuary, surpassed every ancient or imperial tomb. Whereupon Pope Julius took courage, and thus resolved to set his hand to make anew the Church of S. Pietro in Rome, in order to erect the tomb in it, as has been related in another place. And so Michelagnolo set to work with high hopes; and, in order to make a beginning, he went to Carrara to excavate all the marble, with two assistants, receiving a thousand crowns on that account from Alamanno Salviati in Florence. There, in those mountains, he spent eight months without other moneys or supplies; and he had many fantastic ideas of carving great statues in those quarries, in order to leave memorials of himself, as the ancients had done before him, being invited by those masses of stone. Then, having picked out the due quantity of marbles, he caused them to be loaded on board ship at the coast and then conveyed to Rome, where they filled half the Piazza di S. Pietro,