At length Francesco Maria I. took up the forgotten memorial of his uncle, whose over-ambition of monumental honours had meanwhile led to a total oversight of his place of sepulture. As early as 1525, we find the Duke addressing complaints and threats to Buonarroti, whom he charged with idleness, after receiving prepayment of his stipulated price, unaware apparently that he had been overborne by higher authority, and thus compelled to employ himself on commissions less germane to his feelings and tastes. A misunderstanding in regard to the sums so advanced further complicated this unfortunate affair, which was throughout fraught with disappointment and annoyance to Michael Angelo. It slept on till 1532, when a further modification was made of the plan to a single façade whereon six statues were to be placed; but amid competing calls upon his "fearless and furious" chisel or pencil, little progress was made in the next ten years. Irritated by continual exercise of the papal control, such as his independent spirit could ill brook, fretting at the uncongenial labours often thrust upon him, and galled by repeated allegations against his gratitude and his integrity, Buonarroti turned his eyes to Urbino, as a home where his genius would be appreciated without sacrificing his freedom of action, and took steps to retire thither and redeem his pledge to the Duke. But in Paul III. he had a yet more exacting task-master, from whom there was no escape, and in November, 1541, Cardinal Ascanio Parisani wrote to Duke Guidobaldo that the Pope having commissioned the sculptor to paint the Last Judgment, which would occupy his undivided attention during several years, to the exclusion of the monument, he had to propose, at the instance of his Holiness, a new arrangement, whereby the statues for its reduced design, so far as not already finished by Michael Angelo, were committed to other artists, working upon his models and under his eye. Yielding gracefully to the necessity of the case, the Duke wrote the following letter.[225] [Footnote 225: There is a copy of it in the Magliabechiana Library, class viii., No. 1392, to which Gaye has from other sources supplied the date of 6th March, 1542. Carteggio, II., 289-309. From him, Ciampi, Vasari, and Condivi, we have condensed the very confused details respecting the monument of Julius which have come down to us.] "Most excellent Messer Michelangiolo,