nt bad quality, and does not seem to think he will be
forced to take it back; which proves that he is in collusion with the
person who accepted it. This gives great encouragement to the men I
have dismissed for similar transactions. One who accepts bad goods
needed for the fabric, when I have forbidden them, is doing nothing
else but making friends of people whom I have turned into enemies
against myself. I believe there will be a new conspiracy. Promises,
fees, presents, corrupt justice. Therefore I beg you from this time
forward, by the authority I hold from the Pope, not to accept anything
which is not suitable, even though it comes to you from heaven. I must
not be made to appear, what I am not, partial in my dealings." This
fiery despatch, indicating not only Michelangelo's probity, but also
his attention to minute details at the advanced age of eighty-six,
makes it evident that he must have been a stern overseer in the first
years of his office, terrible to the "sect of Sangallo," who were
bent, on their part, to discredit him.

The sect began to plot and form conspiracies, feeling the violent old
man's bit and bridle on their mouths, and seeing the firm seat he took
upon the saddle. For some reason, which is not apparent, they had the
Superintendents of the Fabric (a committee, including cardinals,
appointed by the Pope) on their side. Probably these officials,
accustomed to Sangallo and the previous course of things, disliked to
be stirred up and sent about their business by the masterful
new-comer. Michelangelo's support lay, as we shall see, in the four
Popes who followed Paul III. They, with the doubtful exception of
Marcellus II., accepted him on trust as a thoroughly honest servant,
and the only artist capable of conducting the great work to its
conclusion. In the last resort, when he was driven to bay, he offered
to resign, and was invariably coaxed back by the final arbiter. The
disinterested spirit in which he fulfilled his duties, accepting no
pay while he gave his time and energy to their performance, stood him
in good stead. Nothing speaks better for his perfect probity than that
his enemies were unable to bring the slightest charge of peculation or
of partiality against him. Michelangelo's conduct of affairs at S.
Peter's reflects a splendid light upon the tenor of his life, and
confutes those detractors who have accused him of avarice.

The duel between Michelangelo and the sect opened in 1547. A l