The third expulsion of the Medici--Hippolyto and Alessandro, the sons of Giuliano the Magnificent, and all their relatives--was the consequence of the sack of Rome, 1527, and the Pontificate of Clemente VII. The Medici, pressed by the moment, consigned part of their technic treasure, their bronzes, cameos, &c. to the care of their client Baccio Bandinelli.[68] During the havoc, Michael Angelo's statue of David lost an arm,[69] and the waxen figures of Leo X. and Clemente VII. in the church of the "Annunciata," were mutilated and carried off; and perhaps much more was lost in the demolition of the suburbs, which took place to secure the town itself against the siege of 1529. But active resistance and lampoons proved equally ineffectual; the destiny of the Medici prevailed, and Florence paid ducal homage in 1530 to Alessandro; whose assassination, indeed, by Lorenzo his relative, commonly called Lorenzino, produced, six years afterwards, another sedition and farther damage to their stores of art by the soldiers, who, at the instigation of Alessandro Vitelli, broke into and plundered both their houses. Cosmo the First succeeded Alessandro, and left uninterrupted dominion to his heirs: but if the consolidation of monarchy prevented the momentary devastations of insurrection, it failed to re-produce the splendid period that flashed athwart the storms of democracy. MICHAEL ANGELO BUONARROTI. 1474--1564. M. Angelo was born at Castel Caprese, and showed such early proofs of a decided attachment to art, that he was put into the school of Domenico del Ghirlandaio. Here he soon advanced beyond the principles of the master, who, jealous of a rival in his pupil, recommended him to Lorenzo de Medici, for admission among the students of sculpture in his garden; where, under the tuition of Bertoldo,[70] an ancient scholar of Donatello, he soon mastered the elements, and, equally conspicuous for his superiority and diligence, attracted the attention and gained the patronage of Lorenzo, but excited the envy of his fellow-students, one of whom, Torrigiano, on some slight provocation, with a blow of the fist shattered his nose, which left him with a mark for life. That predilection for sculpture imbibed from his earliest days and now invigorated by the incessant study of the antique with practice, the successful specimens mentioned in copies and productions of his own,[71] leave little authority to the tradition that he studied much after Masaccio.