It became necessary for Michelagnolo to go to Rome to see Pope Clement, who, although angry with him, yet, as the friend of every talent, forgave him everything, and gave him orders that he should return to Florence and have the library and sacristy of S. Lorenzo completely finished; and, in order to shorten that work, a vast number of statues that were to be included in it were distributed among other masters. Two he allotted to Tribolo, one to Raffaello da Montelupo, and one to Fra Giovanni Agnolo, the Servite friar, all sculptors; and he gave them assistance in these, making rough models in clay for each of them. Whereupon they all worked valiantly, and he, also, caused work to be pursued on the library, and thus the ceiling was finished in carved woodwork, which was executed after his models by the hands of the Florentines Carota and Tasso, excellent carvers and also masters of carpentry; and likewise the shelves for the books, which were executed at that time by Battista del Cinque and his friend Ciappino, good masters in that profession. And in order to give the work its final perfection there was summoned to Florence the divine Giovanni da Udine, who, together with others his assistants and also some Florentine masters, decorated the tribune with stucco; and they all sought with great solicitude to give completion to that vast undertaking. Now, just as Michelagnolo was about to have the statues carried into execution, at that very time the Pope took it into his head to have him near his person, being desirous to have the walls of the Chapel of Sixtus painted, where Michelagnolo had painted the vaulting for Julius II, his nephew. On the principal wall, where the altar is, Clement wished him to paint the Universal Judgment, to the end that he might display in that scene all that the art of design could achieve, and opposite to it, on the other wall, over the principal door, he had commanded that he should depict the scene when Lucifer was expelled for his pride from Heaven, and all those Angels who sinned with him were hurled after him into the centre of Hell: of which inventions it was found that Michelagnolo many years before had made various sketches and designs, one of which was afterwards carried into execution in the Church of the Trinità at Rome by a Sicilian painter, who stayed many months with Michelagnolo, to serve him and to grind his colours. This work, painted in fresco, is in the Chapel of S. Gregorio, in the cross of the church, and, although it is executed badly, there is a certain variety and terrible force in the attitudes and groups of those nudes that are raining down from Heaven, and of the others who, having fallen into the centre of the earth, are changed into various forms of Devils, very horrible and bizarre; and it is certainly an extraordinary fantasy. While Michelagnolo was directing the preparation of the designs and cartoons of the Last Judgment on the first wall, he never ceased for a single day to be at