After arriving at Florence, Michelagnolo devoted himself during the three months that he stayed there to finishing the cartoon for the Great Hall, which Piero Soderini, the Gonfalonier, desired that he should carry into execution. During that time there came to the Signoria three Briefs commanding them to send Michelagnolo back to Rome: wherefore he, perceiving this vehemence on the part of the Pope, and not trusting him, conceived the idea, so it is said, of going to Constantinople to serve the Grand Turk, who desired to secure him, by means of certain Friars of S. Francis, to build a bridge crossing from Constantinople to Pera. However, he was persuaded by Piero Soderini, although very unwilling, to go to meet the Pope as a person of public importance with the title of Ambassador of the city, to reassure him; and finally the Gonfalonier recommended him to his brother Cardinal Soderini for presentation to the Pope, and sent him off to Bologna, where his Holiness had already arrived from Rome. His departure from Rome is also explained in another way--namely, that the Pope became angered against Michelagnolo, who would not allow any of his works to be seen; that Michelagnolo suspected his own men, doubting (as happened more than once) that the Pope disguised himself and saw what he was doing on certain occasions when he himself was not at home or at work; and that on one occasion, when the Pope had bribed his assistants to admit him to see the chapel of his uncle Sixtus, which, as was related a little time back, he caused Buonarroti to paint, Michelagnolo, having waited in hiding because he suspected the treachery of his assistants, threw planks down at the Pope when he entered the chapel, not considering who it might be, and drove him forth in a fury. It is enough for us to know that in the one way or the other he fell out with the Pope and then became afraid, so that he had to fly from his presence.