But the assistants were not the only hindrance to Michelangelo at the outset.  Condivi says that “he had hardly begun painting, and had finished the picture of the Deluge, when the work began to throw out mould to such an extent that the figures could hardly be seen through it.  Michelangelo thought that this excuse might be sufficient to get him relieved of the whole job.  So he went to the Pope and said:  ’I already told your Holiness that painting is not my trade; what I have done is spoiled; if you do not believe it, send to see.’  The Pope sent San Gallo, who, after inspecting the fresco, pronounced that the lime-basis had been put on too wet, and that water oozing out produced this mouldy surface.  He told Michelangelo what the cause was, and bade him proceed with the work.  So the excuse helped him nothing.”  About the fresco of the Deluge Vasari relates that, having begun to paint this compartment first, he noticed that the figures were too crowded, and consequently changed his scale in all the other portions of the ceiling.  This is a plausible explanation of what is striking—­namely, that the story of the Deluge is quite differently planned from the other episodes upon the vaulting.  Yet I think it must be rejected, because it implies a total change in all the working Cartoons, as well as a remarkable want of foresight.

Condivi continues:  “While he was painting, Pope Julius used oftentimes to go and see the work, climbing by a ladder, while Michelangelo gave him a hand to help him on to the platform.  His nature being eager and impatient of delay, he decided to have the roof uncovered, although Michelangelo had not given the last touches, and had only completed the first half—­that is, from the door to the middle of the vault.”  Michelangelo’s letters show that the first part of his work was executed in October.  He writes thus to his brother Buonarroto:  “I am remaining here as usual, and shall have finished my painting by the end of the week after next—­that is, the portion of it which I began; and when it is uncovered, I expect to be paid, and shall also try to get a month’s leave to visit Florence.”

V

The uncovering took place upon November 1, 1509.  All Rome flocked to the chapel, feeling that something stupendous was to be expected after the long months of solitude and seclusion during which the silent master had been working.  Nor were they disappointed.  The effect produced by only half of the enormous scheme was overwhelming.  As Vasari says, “This chapel lighted up a lamp for our art which casts abroad lustre enough to illuminate the World, drowned, for so many centuries in darkness.”  Painters saw at a glance that the genius which had revolutionised sculpture was now destined to introduce a new style and spirit into their art.  This was the case even with Raffaello, who, in the frescoes he executed at S. Maria della Pace, showed his immediate willingness