It appears that Michelangelo intended to settle down for several years in his native city in order to decorate the Sala del Consiglio, for which he was to receive three thousand ducats, and to carry out other important commissions, including that of twelve statues of the Apostles for Santa Maria del Fiore, but "his Medusa," as he called Julius II., would not suffer him to remain in peace, and summoned him to Rome. THE SISTINE CHAPEL The artist obeyed, hoping that the Pope would allow him to go on with the tomb, but, during his absence, Michelangelo's rivals had persuaded Julius II. that it was unlucky to have a monument erected during his lifetime, and that it would be much better to set Michelangelo to work on the vault of the Sistine Chapel. This they did maliciously, because they never suspected that Michelangelo was as great a painter as he was a sculptor, and hoped that he would prove himself inferior to the task, and thus lose the Pontiff's favour. "All the disagreements which I have had with Pope Julius," wrote Michelangelo to Marco Vigerio, "have been brought about by the envy of Bramante and of Raphael of Urbino," who were the cause that his monument was not finished during his lifetime. Bitter, unscrupulous rivalry was the leper-spot that marked the Italian Renaissance, especially at the Papal Court. Michelangelo would gladly have declined the commission, for which he considered himself unfit, but, seeing the Pope's obstinacy, he reluctantly set to work on May 10th, 1508. The difficulties which he had to surmount were enormous, but he was not a man to be frightened by obstacles, however formidable. Knowing little or nothing of the technicalities of fresco painting, Michelangelo at first called six Florentine painters to his aid, including his old friends Francesco Granacci and Giuliano Bugiardini. But he was too exacting, and aimed at an ideal of perfection which his assistants could never attain, so that in January, 1509, he sent them all away, and destroying the work done by them, shut himself alone in the chapel to wrestle single-handed with his gigantic task. The result fully justified his confidence in his own powers. To attempt an adequate description of the vault of the Sistine Chapel in this little book would be a hopeless task. The stupendous frescoes which adorn it, although described in hundreds of volumes, still afford material for much original study and research, but we must here content ourselves with a mere enumeration of the principal motives which go to make up this grand pictorial symphony.