In 1503 he undertook twelve statues for the Cathedral of Florence, but began only one, a St. Matthew, which was never finished and is now in the Accademia delle Belle Arti. His vacillating, uncertain genius, wherein discouragement succeeded to enthusiasm, drove him into planning works with fierce energy and then almost immediately so diverted his attention that he could not force himself to finish them. [Illustration: DAVID Accademia delle Belle Arti, Florence.] In 1504 the Florentine Signory brought him into competition with another great irresolute, Lionardo da Vinci, whose universal intellectual curiosity was, no less than the temperament of Michelangelo, an eternal obstacle to the achievement of his great undertakings. The two men seem to have met about 1495. They could not have understood each other very well, for they both stood alone, each in his own way. Lionardo was now fifty-two years old. When he was thirty he had left Florence, where the bitterness of the political and religious passions was unbearable to his delicate and slightly timid nature and to his serene and sceptical intelligence which was interested in everything but refused to take sides. Driven back to Florence by the death or ruin of his protectors, the Duke of Milan and Cæsar Borgia, he came into contact there from the very first with Michelangelo entirely absorbed in his own faith and passions, however changing they might be, and who, while he hated the enemies of his party and of his faith, hated still more those who had neither party nor faith. Brutally and publicly, on many occasions, Michelangelo made Lionardo feel his aversion for him. When the Gonfalonier Soderini put the two in direct competition in a common work, the decoration of the Council Hall in the Palace of the Signory, the rivalry was intense. In May, 1504, Lionardo began the cartoon of the Battle of Anghiari. In August, 1504, Michelangelo received the order for the cartoon for the Battle of Cascine. Florence was divided into two camps keenly enthusiastic for one or the other of the rivals. Time has made them equal, for both pictures have disappeared. Michelangelo's cartoon, finished in March, 1505, was apparently destroyed about 1512, during the disturbances in Florence which resulted from the return of the Medici, and even the fragments which in 1575 were still preserved by the Strozzi in Mantua have been lost.[18] As for Lionardo's fresco, he succeeded in destroying it himself. He took it into his head to try to perfect the technique of fresco and he gave himself up once more to his evil spirit of invention and once more everything was lost. He tried a glaze of oil which did not hold, and the painting which he abandoned in 1506 in discouragement by 1550 no longer existed.