During the pontificate of Adrian VI. he resided at Florence, where Giuliano de Medici, afterwards Clement VII., employed him to build a new library and sacristy to the church of St. Lorenzo, and a sepulchral chapel, to serve as a mausoleum for the ducal family. He was also employed to execute two monuments in honour of Giuliano, the brother, and Lorenzo de Medici, the nephew, of Leo X. The princes are represented seated, in the Roman military habit, above two sarcophagi. Below are two recumbent figures to each monument, one pair representing Morning and Evening; the other, Day and Night. The reason for this singular choice of personages is not explained. We cannot enter upon the maze of Italian politics, which led to the siege of Florence by the imperial troops in 1529–30. Michael Angelo’s well-known and varied talent led to his being appointed chief engineer and master of the ordnance to the city; in which capacity he gained new honour by his skill, resolution, and patriotism. During this turbulent time he began a picture of Leda, which was sent to France, and fell into the possession of Francis I. It has long been lost; the original cartoon is in the collection of the Royal Academy. Michael Angelo’s second work in fresco, the Last Judgment, occupying the east end of the Sistine chapel, seems to have been begun in 1533 or 1534. It was not finished till 1541. His last and only other works of this kind were two large pictures in the Pauline chapel, representing the Martyrdom of St. Peter, and the Conversion of St. Paul. These were not completed till he had reached the advanced age of seventy-five.