h of San Lorenzo and
the completion of Santa Croce; but he differed with the pope on the
choice of the marble, quarrelled with the officials, and scarcely
anything was accomplished. Clement VII., another Medici, was elected
pope in 1523. He had conceived the idea of consecrating a chapel in
the church of San Lorenzo, to receive the tombs of his ancestors and
relations, and which should be adorned with all the splendor of art.
Michael Angelo planned and built the chapel, and for its interior
decoration designed and executed six of his greatest works in
sculpture.

While Michael Angelo was engaged in these works his progress was
interrupted by events which threw all Italy into commotion. Rome was
taken and sacked by the Constable de Bourbon in 1527. The Medici were
once more expelled from Florence; and Michael Angelo, in the midst of
these strange vicissitudes, was employed by the republic to fortify
his native city against his former patrons. Great as an engineer, as
in every other department of art and science, he defended Florence for
nine months. At length the city was given up by treachery, and,
fearing the vengeance of the conquerors, Michael Angelo fled and
concealed himself; but Clement VII. was too sensible of his merit to
allow him to remain long in disgrace and exile. He was pardoned, and
continued ever afterward in high favor with the pope, who employed him
on the sculptures in the chapel of San Lorenzo during the remainder of
his pontificate.

In the year 1531 he had completed the statues of "Night and Morning,"
and Clement, who heard of his incessant labors, sent him a brief
commanding him, _on pain of excommunication_, to take care of his
health, and not to accept of any other work but that which his
Holiness had assigned him.

Clement VII. was succeeded by Pope Paul III., of the Farnese family,
in 1534. This pope, though nearly seventy when he was elected, was as
anxious to immortalize his name by great undertakings as any of his
predecessors had been. His first wish was to complete the decoration
of the interior of the Sistine Chapel, left unfinished by Julius II.
and Leo X. He summoned Michael Angelo, who endeavored to excuse
himself, pleading other engagements; but the pope would listen to no
excuses which interfered with his sovereign power to dissolve all
other obligations; and thus the artist found himself, after an
interval of twenty years, most reluctantly forced to abandon sculpture
for paint