Botticelli was a sad, broken-down old man now, and Ghirlandaio was also growing old, but Florence was still rich in great artists. Leonardo da Vinci, Perugino, and Filippino Lippi were all there, and men talked of the coming of an even greater genius, the young Raphael of Urbino.
There happened just then to be at the works of the Cathedral of St. Mary of the Flowers a huge block of marble which no one knew how to use. Leonardo da Vinci had been invited to carve a statue out of it, but he had refused to try, saying he could do nothing with it. But when the marble was offered to Michelangelo his eye kindled and he stood for a long time silent before the great white block. Through the outer walls of stone he seemed to see the figure imprisoned in the marble, and his giant strength and giant mind longed to go to work to set that figure free.
And when the last covering of marble was chipped and cut away there stood out a magnificent figure of the young David. Perhaps he is too strong and powerful for our idea of the gentle shepherd-lad, but he is a wonderful figure, and Goliath might well have trembled to meet such a young giant.
People flocked to see the great statue, and many were the discussions as to where it should be placed. Artists were never tired of giving their opinion, and even of criticising the work. 'It seems to me,' said one, 'that the nose is surely much too large for the face. Could you not alter that?'
Michelangelo said nothing, but he mounted the scaffolding and pretended to chip away at the nose with his chisel. Meanwhile he let drop some marble chips and dust upon the head of the critic beneath. Then he came down.
'Is that better?' he asked gravely.
'Admirable!' answered the artist. 'You have given it life.'
Michelangelo smiled to himself. How wise people thought themselves when they often knew nothing about what they were talking! But the critic was satisfied, and did not notice the smile.
It would fill a book to tell of all the work which Michelangelo did; but although he began so much, a great deal of it was left unfinished. If he had lived in quieter times, his work would have been more complete; but one after another his patrons died, or changed their minds, and set him to work at something else before he had finished what he was doing.
The great tomb which Pope Julius had ordered him to make was never finished, although Michelangelo drew out all the designs for it, and for forty years was constantly trying to complete it. The Pope began to think it was an evil omen to build his own tomb, so he made up his mind that Michelangelo should instead set to work to fresco the ceiling of the Sistine Chapel. In vain did the great sculptor repeat that he knew but little of the art of painting.