Scarcely returned to Rome, M. Angelo, by command of Giulio, instigated as it is supposed by Bramante and Giuliano da Sangallo, found himself forced to try his powers on a novel theatre of art, the decoration of the ceiling and lunette of the Capella Sistina. Whatever were the motives of the two architects, whether private pique, or envy of M. Angelo's influence over the Pontiff, or friendship for Raffaello, and the desire of showing his superiority over one whom they deemed a novice in fresco, they deserved the thanks of their own and every succeeding epoch, for the most eminent service ever rendered to art. Vasari owns that M. Angelo, conscious of his want of practice, endeavoured to escape from the commission, and even proposed Raffaello as fitter for the task; but his powers soon supplied what circumstances had refused, and single conquered with every obstacle Time itself; for, nearly fabulous to relate, the whole, though interrupted more than once by the Pontiff's impatience, was sufficiently finished to be exhibited to the public in one year and ten months. This task finished, M. Angelo, eager to resume his labours on the monument, was disappointed by the sudden death of Giulio, (1513,) and the election of Leo X. produced a total change in his situation; he was ordered to Florence to construct the front of the Laurentian Library. Though the death of Leo, or rather the accession of Adrian VI. had paralysed art, Michael Angelo employed the dull interim by adding some statues to the monument of Giulio; till, in 1523, Clemente VII. reappointed him to the superintendence of the new sacristy and library of S. Lorenzo. It was about this time that he finished and sent to Rome the statue of Christ, still placed in the Minerva.