The Pope having returned to Rome and Michelagnolo being still engaged with the Statue, Bramante, who was the friend and kinsman of RatFaello, and but little disposed to befriend Michelagnolo, availed himself of his absence to influence the mind of Julius, whom he saw to be much inclined to works of Sculpture, and hoping so to contrive that, on the return of Michelagnolo, Plis Holiness should no longer think of completing the Sepulchre, Bramante suggested that for a man to prepare his tomb during life was an evil augury and a kind of invitation to death. At a word, the Pontiff was persuaded to employ Michelagnolo on his return in the painting of that Chapel, which had been constructed in the Palace and at the Vatican, in memory of his uncle Pope Sixtus. Bramante and the other rivals of Michelagnolo, thinking they should thus detach him from his Sculpture, in which they saw that he was perfect, and throw him into despair, they being convinced that by compelling him to paint in fresco they should also bring him to exhibit works of less perfection, (he having but little experience in that branch of art), and thus prove himself inferior to Raphael.
Or even supposing him to succeed in the work, it was almost certain that he would be so much enraged against the Pope as to secure the success of their purpose, whi(jh was to rid themselves of his presence.
When Michelagnolo returned to Rome, therefore, he found Julius no longer disposed to have the Tomb flnished, but desiring that Michelagnolo should paint the ceiling of the Chapel. This was a great and difficult labour, and our artist, aware of his own inexperience, did all he could to excuse himself from undertaking the work, proposing at the same time that it should be confided to Raphael. But the more he refused the more Pope Julius insisted; impetuous in all his desires, and stimulated by the competitors of Michelagnolo, more especially by Bramante, he was on the point of making a quarrel with our artist, when the latter, finding His Holiness determined, resolved to accept the task. The Pope then ordered Bramante to prepare the scaffolding, which the latter suspended by ropes, perforating the ceiling for that purpose. Seeing this, Michelagnolo inquired of the architect how the holes thus made were to be filled in when the painting should be completed; to which Bramante replied that they would think of that when the time came, and that it could
