To give an adequate description of the tombs of Giuliano and Lorenzo de' Medici would be impossible within the narrow limits of this little book. Suffice it to say that the princes are represented in the garb of ancient warriors, each seated in a niche above a sarcophagus, on which two allegorical figures recline. Lorenzo appears to be plunged in sorrowful meditation; at his feet recline the colossal statues of _Evening_, represented by a powerful male figure, apparently on the point of falling asleep, and _Dawn_, symbolized by a beautiful young woman in the act of awaking, not to joy and hope, but to another day of sorrow. The beauty of this last figure cannot be described; it is such as the imagination of the ancient Greeks might have endowed a goddess with. The statue of _Dawn_ was finished in 1531, soon after the fall of Florence and the return of the Medici, and there is little doubt that Michelangelo intended his mournful figures to express sorrow at the loss of Florentine liberty, rather than at the death of the two young princes. The same idea is evident in the tomb of Giuliano, with the two figures of _Night_, symbolized by a sleeping woman of singular beauty and power, and _Day_, a vigorous bearded giant just rising to his work and looking over his shoulder as if dazzled by the glare of the rising sun. Although the head of _Day_ is unfinished, it is a striking example of how Michelangelo was able to give life and expression to his work from the first stroke of his chisel. THE LAST JUDGMENT In 1534 Michelangelo left Florence for the last time. His proud and independent spirit was unable to tolerate Alessandro's petty tyranny. The unfinished bust of Brutus, now in the Bargello, a vigorous and striking piece of work, is another proof of his intense longing for liberty. On arriving in Rome he found that Clement VII. had died two days previously, and that Paul III., Farnese, had been elected Pope. Michelangelo had finally come to an understanding with the executors of Julius II., the agreement being that he should make a tomb with one façade only, using the marbles already carved for the quadrangular tomb and supplying six statues from his own hand, the rest of the work to be completed by other artists under his supervision. He therefore hoped to finish the tomb which had embittered thirty years of his life, but once more he was doomed to disappointment, for Paul III. immediately appointed him chief architect, sculptor and painter of the Vatican, with a pension of 1,200 golden crowns, and ordered him to carry out a commission which Clement VII. had given him shortly before his death. It was no less a task than to paint the end wall of the Sistine Chapel. Prayers and remonstrance were alike unavailing, and the doors of the Sistine closed once more upon the master, not to be opened again until the Christmas of 1541, when his _Last Judgment_ was uncovered "to the admiration of Rome and of the whole world."