their prayers, he made his way towards the door of the library, where the first Commissioners all armed were awaiting him; to whom, giving himself into their hands like a most meek lamb, he said: 'I recommend to you this my flock and all these other citizens.' And when he was in the corridor of the library, he said: 'My friars, doubt not, for God will not fail to perfect His work; and although I be put to death, I shall help you more than I have done in life, and I will return without fail to console you, either dead or alive.' Arrived at the holy water, which is at the exit of the choir, Fra Domenico said to him: 'Fain would I too come to these nuptials.' Certain of the laymen, his friends, were arrested at the command of the Signoria. When the Father Fra Girolamo was in the first cloister, Fra Benedetto, the miniaturist, strove ardently to go with him; and, when the officers thrust him back, he still insisted that he would go. But the Father Fra Girolamo turned to him, and said: 'Fra Benedetto, on your obedience come not, for I and Fra Domenico have to die for the love of Christ.' And thus he was torn away from the eyes of his children." CHAPTER X _The Accademia delle Belle Arti--The Santissima Annunziata--And other Buildings_ "In Firenze, più che altrove, venivano gli uomini perfetti in tutte l'arti, e specialmente nella pittura."--_Vasari._ Turning southwards from the Piazza di San Marco into the Via Ricasoli, we come to the _Accademia delle Belle Arti_, with its collection of Tuscan and Umbrian pictures, mostly gathered from suppressed churches and convents. In the central hall, the Tribune of the David, Michelangelo's gigantic marble youth stands under the cupola, surrounded by casts of the master's other works. The young hero has just caught sight of the approaching enemy, and is all braced up for the immortal moment. Commenced in 1501 and finished at the beginning of 1504, out of a block of marble over which an earlier sculptor had bungled, it was originally set up in front of the Palazzo Vecchio on the Ringhiera, as though to defend the great Palace of the People. It is supposed to have taken five days to move the statue from the Opera del Duomo, where Michelangelo had chiselled it out, to the Palace. When the simple-minded Gonfaloniere, Piero Soderini, saw it, he told the artist that the nose appeared to him to be too large; whereupon Michelangelo mounted a ladder, pretended to work upon it for a few moments, dropping a little marble dust all the time, which he had taken up with him, and then turned round for approval to the Gonfaloniere, who assured him that he had now given the statue life. This _gigante di Fiorenza_, as it was called, was considerably damaged during the third expulsion of the Medici in 1527, but retained its proud position before the Palace until 1873.