Throughout his long and laborious career, devoted to the threefold worship of God, art and his country, Michelangelo had constantly refused to think of other ties, remarking that he had "espoused the affectionate fantasy which makes of art an idol." From some of his sonnets, however, it would appear that while at the court of Lorenzo the Magnificent he had secretly cherished a deep and hopeless passion for the beautiful Luigia de' Medici, who died in 1494. Forty years were to elapse ere in his heart, yet youthful at the approach of age, another woman, and she the first of her era, Vittoria Colonna, occupied the place left vacant by Luigia de' Medici. The friendship between these two lofty spirits, based upon mutual admiration and esteem, is one of the most beautiful romances in history, and inspired Michelangelo with some of his finest poems. It was brought to a close in 1547 by Vittoria Colonna's death, which left Michelangelo "dazed as one bereft of sense." "Nothing," says Condivi, "grieved him so much in after years as that when he went to see her on her death-bed he did not kiss her on the brow or face, as he did kiss her hand." ST. PETER'S It will be remembered that Pope Julius II. had ordered Bramante to rebuild the church of St. Peter's on a more magnificent scale, in order that his tomb should derive additional grandeur from its stately surroundings. Bramante was succeeded by Raphael, Peruzzi and Antonio da Sangallo, and when the latter died in October, 1546, Paul III. conferred the post of architect-in-chief upon Michelangelo. But the aged master at first refused, saying that architecture was not his art, and it was only when the Pope issued a peremptory _motu proprio_ that he set to work, on condition that he should receive no payment for his services. Michelangelo returned to Bramante's original design of the Greek cross, which had undergone considerable alterations, his object being to erect a perfectly symmetrical building in such a manner that its dominant feature, both from within and without, should be the cupola. He began by demolishing most of Sangallo's work, and severely putting a stop to all jobbery, thereby creating a number of enemies who did all in their power to have him removed from his post. But Julius III., who succeeded Paul III. in 1549, had implicit faith in Michelangelo, and the colossal work proceeded so rapidly, in spite of intrigues and opposition, that in 1557 the great cupola was commenced.