When Michelangelo complained that he was “rovinato per detta opera di San Lorenzo,” he probably did not mean that he was ruined in purse, but in health and energy.  For some while after Leo gave him his liberty, he seems to have remained comparatively inactive.  During this period the sacristy at S. Lorenzo and the Medicean tombs were probably in contemplation.  Giovanni Cambi says that they were begun at the end of March 1520.  But we first hear something definite about them in a Ricordo which extends from April 9 to August 19, 1521.  Michelangelo says that on the former of these dates he received money from the Cardinal de’ Medici for a journey to Carrara, whither he went and stayed about three weeks, ordering marbles for “the tombs which are to be placed in the new sacristy at S. Lorenzo.  And there I made out drawings to scale, and measured models in clay for the said tombs.”  He left his assistant Scipione of Settignano at Carrara as overseer of the work and returned to Florence.  On the 20th of July following he went again to Carrara, and stayed nine days.  On the 16th of August the contractors for the blocks, all of which were excavated from the old Roman quarry of Polvaccio, came to Florence, and were paid for on account.  Scipione returned on the 19th of August.  It may be added that the name of Stefano, the miniaturist, who acted as Michelangelo’s factotum through several years, is mentioned for the first time in this minute and interesting record.

That the commission for the sacristy came from the Cardinal Giulio, and not from the Pope, appears in the document I have just cited.  The fact is confirmed by a letter written to Fattucci in 1523:  “About two years have elapsed since I returned from Carrara, whither I had gone to purchase marbles for the tombs of the Cardinal.”  The letter is curious in several respects, because it shows how changeable through many months Giulio remained about the scheme; at one time bidding Michelangelo prepare plans and models, at another refusing to listen to any proposals; then warming up again, and saying that, if he lived long enough, he meant to erect the facade as well.  The final issue of the affair was, that after Giulio became Pope Clement VII., the sacristy went forward, and Michelangelo had to put the sepulchre of Julius aside.  During the pontificate of Adrian, we must believe that he worked upon his statues for that monument, since a Cardinal was hardly powerful enough to command his services; but when the Cardinal became Pope, and threatened to bring an action against him for moneys received, the case was altered.  The letter to Fattucci, when carefully studied, leads to these conclusions.

Very little is known to us regarding his private life in the year 1521.  We only possess one letter, relating to the purchase of a house.  In October he stood godfather to the infant son of Niccolo Soderini, nephew of his old patron, the Gonfalonier.