While employed at the tomb, Michael Angelo, then in his fortieth year, was desired by the Pope to undertake the decoration of the ceiling of the Sistine Chapel. Here, again, the hand of an enemy is said to have been at work. Michael Angelo, with the first place as a sculptor, was inexperienced in fresco painting; while Raphael, who was taking the place of Lionardo as Michael Angelo's most formidable rival (yet whom it is said Michael Angelo pointed out as the fittest painter of the ceiling), and who was then engaged in painting the Vatican chambers, had already achieved the utmost renown. It was anticipated by secret hostility, so records tradition, that Michael Angelo would fail signally in the unaccustomed work, and that his merit as an artist would pale altogether before that of Raphael's. I need hardly write how entirely malice was balked in the verdict to which posterity has set its seal.
Michael Angelo brought artists from Florence to help him in his great undertaking, for over the chapel, whose walls had already been painted by older artists--among them Ghirlandajo, was an enormous vault of 150 feet in length by 50 in breadth, which Michael Angelo was required to cover with designs representing the Fall and Redemption of Man. But the painter was unable to bear what seemed to him the bungling attempts of his assistants; so dismissing them all and destroying their work, he shut himself up, and working in solitude and secrecy, set himself to evolve from his own inner consciousness the gigantic scenes of a tremendous drama. In 22 months (or, as Kugler holds, in three years, including the time spent on the designs) he finished gloriously the work, the magnitude of which one must see to comprehend. On All Saints' Day, 1512, the ceiling was uncovered, and Michael Angelo was hailed, little though he cared for such clamorous hailing, as a painter indeed. For this piece of work Michael Angelo received 3000 crowns.
Pope Julius died, and was succeeded by Leo X. of the Medician house, but, in spite of early associations as well as of mother country, Michael Angelo was no more acceptable to the Pope--a brilliantly polished, easy-tempered man of the world, who filled the chair of St Peter's, than Lionardo had been. Leo X, greatly preferred Raphael, to whom all manner of pleasantness as well as of courteous deference was natural, to the two others. At the same time, Leo employed Michael Angelo, though it was more as an architect than as a painter, and rather at Florence than at Rome. At Florence Michael Angelo executed for Pope Clement VII., another Medici, the mortuary chapel of San Lorenzo, with its six great statues, those of the cousins Lorenzo de Medici and Giuliano de Medici, the first called by the Florentines 'Il Pensièro,' or 'Pensive Thought,' with the four colossal recumbent figures named respectively the Night, the Morning, the Dawn, and the Twilight.