Michelangelo is growing older. His “years of grace” (457), in which he can carve stone in peace, are near an end. In 1506, he finds himself in an acrimonious relationship with Pope Julius II. By this time, Bramante has positioned himself as the Pope’s favored architect, even though Sangallo is the official architect of the Vatican. He has convinced Julius to renovate St. Peter’s Basilica, a huge project. The consequence is that all Michelangelo’s plans for Julius’s tomb are placed on indefinite hold. Michelangelo has already bought the marble for the tomb, but Julius refuses to pay him any more money until he can produce a finished statue, a process that will require a great deal of time. Michelangelo owes rent on the house where he is living. Sangallo is confident of winning the commission to renovate St. Peter’s Basilica, believing that Bramante does not know how churches are built.

Michelangelo is forced to borrow money from Balducci just to unload the marbles. They are left on the dock, covered in dirt that stains the marble. Michelangelo needs more money to set up his studio and to begin carving, but Sangallo tells him that the Pope is spending all his money on St. Peter’s Basilica, meaning that he is less inclined to give money to Michelangelo.

Bramante wins the commission for St. Peter’s Basilica, much to Sangallo’s shock. Sangallo believes that this loss of face is essentially a dismissal of Rome. When Michelangelo studies Sangallo’s plans beside Bramante’s plans, he has a horrible realization: Bramante’s plans, he believes, are genuinely better. He feels as though he has betrayed his friend by preferring Bramante’s more modern design. When Michelangelo tries to enter the Pope’s palace, once again in need of an audience, he is sent away. Michelangelo takes this as an insult and prepares to leave Rome, like Sangallo. He believes that his deal with the Pope is finished. Before he can travel far, Baglioni catches up with him. The Pope has sent Baglioni and a group of men to bring Michelangelo back. Even though he is threatened with jail, Michelangelo refuses to return to Rome, lest he “lose everything” (465) in Florence.

For seven months, Michelangelo is able to avoid the Pope’s demands that he return to Rome. Since the leaders in Florence fear that they might offend the Pope, they are worried by Michelangelo’s presence. The artists in the city praise his bravery, but Soderini reveals that he cannot award Michelangelo any new contracts for fear of riling Julius. Michelangelo sees Leonardo’s painting in the Palazzo Vecchio. The mural is “in ruins” (467), caused by Leonardo’s attempt to employ an older technique on too large a scale. Michelangelo finds Leonardo and offers his sympathy. The old rivals repair their relationship and reveal their mutual respect.

The Pope writes to Soderini, asking for Michelangelo to be returned. Soderini explains to Michelangelo that this is becoming a difficult political matter for Florence. Michelangelo is “the most desirable artist in the world” (468) but claims that he just wants to be left alone. Rosselli writes to Michelangelo that Bramante has convinced the Pope that the building of a tomb is bad luck. Rather than build his tomb, Julius wants Michelangelo to paint the ceiling of the Sistine Chapel. Michelangelo is horrified at the idea that such a massive project will keep him away from his true passion, carving marble. Michelangelo reconciles his relationship with his brother Lionardo, who has become a monk after the death of Savonarola. Now, Lionardo agrees that Michelangelo’s carvings are holy works. Michelangelo also meets with Contessina, who provides him with comfort, though her husband asks Michelangelo to stop visiting, as his presence is awkward for a family still seeking return from exile.

Pope Julius wages many wars. He conquers Bologna, and once he has taken the city, he sends for Michelangelo. When Michelangelo arrives in Bologna, he receives “as close to a public apology” (474) as a Pope can offer. The Pope asks for a bronze statue of himself to be placed in the city in his honor. Michelangelo dares to argue with the Pope again, not wanting to work in bronze. While in Bolonga, he stays with Aldovrandi, who wryly suggests that Michelangelo and the Pope are alike: They are both stubborn men.

After 12 years, Michelangelo seeks out Clarissa in Bologna. They reignite their romance and spend many nights together, falling in love. Michelangelo feels compelled to work on the bronze statue, but he finds pleasure in visiting Clarissa often. Neither Michelangelo nor the Pope are popular in Bologna. Michelangelo is mocked with the suggestion that the bronze statue will be melted down as soon as he leaves the city, making his hard work a waste of time. Michelangelo has little understanding of how to work in bronze, so he sends for two Florentines named Lapo and Lotti. The experienced bronze casters accept his invitation and move into his studio. Michelangelo has little respect for bronze, but he designs a 14-foot statue of Pope Julius. Soon, he is swept up in his work and spends less time with Clarissa. She recognizes that he will never be as devoted to her as he is to his work. During this time, Ludovico petitions Michelangelo regularly for money. Michelangelo sends what he can to Florence to support his family. He places Lapo in charge of his books but discovers that Lapo is stealing from him. He sends Lapo away, but Lotti goes with him, leaving Michelangelo without an experienced bronze caster. Eventually, he finds a cannon maker to help him, and after a difficult casting process, the statue is finally finished. The Pope is pleased with the results, but Michelangelo feels that he wasted two years of his life. He tries to return to Florence but collapses on his horse due to exhaustion.

Back in Florence, Michelangelo talks to Soderini. He speaks warmly of the “one thing” (494) he wants: to carve marble without worrying about politics or Popes. Soderini offers Michelangelo a new commission: a giant Hercules to be placed beside the David. To begin the project, Soderini suggests that Michelangelo legally emancipate himself from his father so that he does not feel obliged to send all his earnings to his family. Michelangelo does so, causing embarrassment for Ludovico. Michelangelo knows that the legal ceremony will change nothing, as he will still feel obliged to take care of his family. In Rome, Contessina’s brother helps to improve her standing. In Florence, Granacci has become a painter with some success, even if he never developed Michelangelo’s passion for art.

Michelangelo works on a statue of St. Mathew. He searches for inspiration and meets with Bichiellini, who urges him to find his own interpretation of the saint. Michelangelo believes that the saint represents the search for God. The project—and working with marble—gives him a sense of purpose again. He feels good and soon moves on to carving a Madonna. Before he can settle into his projects, however, the Pope summons him. Believing that the work on the tomb will continue, Michelangelo travels to Rome. Instead, he is tasked with painting the Sistine Chapel. Michelangelo begs for a project more suited to his talents. He wants to carve. The Pope insists that he paint instead, citing his sketches of the nude bathers as examples of his talents. Once the ceiling is complete, he has the “pontiff’s promise” (501) that he can return to marble. Michelangelo reluctantly agrees. When Bramante sets up the scaffolding in the Sistine Chapel, Michelangelo complains to the Pope that he will leave holes in the painting and the ceiling. He designs his own scaffolding instead. Granacci visits Rome and helps Michelangelo to assemble a studio to help him finish the project, just like the one that belonged to Ghirlandaio. Michelangelo suspects that Bramante conspired to have him work on the Sistine Chapel.

Ludovico asks for more money to settle family legal issues. Michelangelo is busy in his studio. Argiento has returned, while an assistant named Michi helps to prepare the colors. Michelangelo deputizes the work to his assistants, and soon, a section of the ceiling is complete. To his horror, however, Michelangelo is not pleased with the work. He knows that he cannot allow something so mediocre to bear his name, so he must “work alone” (515). Sangallo urges him to simply complete the job and return to his beloved marble, but Michelangelo knows that he must restart the entire project alone.

Michelangelo visits Contessina. Their friendship remains as strong as ever, and she has recovered from an illness to visit her brother, Cardinal Giovanni. Michelangelo treks through the Roman hills and studies the landscapes as manifestations of God’s love. The scenery inspires him, and he returns to the city believing that he should paint the Genesis story of creation on the Sistine Chapel ceiling, rather than depictions of the twelve apostles. He goes to the Pope, revealing his plans and admitting that he will need to work alone. The Pope is shocked but agrees, upping Michelangelo’s pay due to the time required. Michelangelo cannot dismiss his assistants himself; he asks Granacci to do it for him. Michi and Rosselli stay to work on mundane preparation work. Michelangelo insists on painting everything himself.

The painting of the Sistine Chapel is a long process. Michelangelo feels his imagination burgeoning with images of God’s creation. The chapel is very cold in winter, and the nature of painting on the ceiling means that he spends many uncomfortable months on his back at the top of the scaffolding. The painting is physically torturous as Michelangelo works manically, withdrawing from all social interaction. His money runs low, and his remaining assistants are forced to leave. At one point, a mold causes the plaster to ooze, and Michelangelo fears that the entire project is “ruined” (522). As he is about to face humiliation, Sangallo assures him that the plaster mix is only slightly wrong and that there is no lasting issue. Having been displaced by Bramante, Sangallo prepares to leave Rome. The up-and-coming Raphael—who supposedly learned much of his talent by copying Michelangelo’s nude bathers in Florence—is the most celebrated artist in Rome. While Michelangelo is withdrawn in his monastic, obsessive work, Raphael is a social figure beloved by many. Raphael’s success is painful to Michelangelo, who feels that he is always struggling for money and rarely able to work on his desired projects.

For all his loneliness, Michelangelo knows that he is entirely to blame. Since he has “no talent for social amenities” (529), he cannot imagine working in any other way. Pope Julius gives his approval to the completed sections of the ceiling and agrees to advance more of the payment to Michelangelo, easing his financial woes. Michelangelo’s pietà, the Pope says, will soon be moved due to Bramante’s work on St. Peter’s Basilica. Michelangelo is horrified by Bramante’s plans, as he fears that many beautiful buildings will be destroyed. Bramante will make no effort to save anything. At the same time, he has a paranoid fear that someone is sneaking into the Sistine Chapel to view his work, even though he has strictly forbidden this. When he discovers that Bramante and Raphael are sneakily viewing his painting, Michelangelo complains to the Pope, who takes away Bramante’s access to the chapel. During this time, Michelangelo also faces legal prosecution from the Piccolomini family. They still want him to finish their commission, and because Michelangelo signed the paperwork, they can prosecute him until he does so. With his family also fighting over money and demanding help, Michelangelo feels so shaken that he cannot continue to paint.

Cardinal Giovanni, Contessina’s brother, invites Michelangelo to join his household. Through association with Giovanni, Michelangelo will be protected from many of the unfair rumors that Bramante is spreading around Rome. Michelangelo cannot imagine himself at a court, attending social events. He only knows how to work alone. He cannot explain why Raphael can seemingly balance an active social life with the many artworks he produces. Michelangelo receives word that his brother Lionardo has died in a monastery. Michelangelo mourns, feeling that he and his brother lived similarly ascetic lives.

The first half of the Sistine Chapel is completed in 1510. The Pope, eager for the painting to be enjoyed, orders the scaffolding to be brought down. Michelangelo is displeased. He does not want to show off unfinished work. He argues with the Pope, who strikes Michelangelo with his cane. Michelangelo is insulted and worried. He prepares to flee the city until the Pope’s chamberlain comes to make peace. He offers Michelangelo money and assures him that the attack was a show of the Pope’s affection. Michelangelo agrees to return to work only on the condition that news of the Pope’s apology is spread around.

Pope Julius goes to war against France, which means Michelangelo must pause his work due to a lack of funds. He worries about Florence, which is caught in the middle of the war. When he tries to visit the Pope in Bologna in 1511, the Pope cannot see him, so Michelangelo travels the short distance to Florence. He decides to collect some of his savings and visits his father. Ludovico admits that he has spent Michelangelo’s savings, even though he has no legal right to the money. Michelangelo leaves Florence empty-handed, though he receives just enough from the Pope to begin work again. He begins the centerpiece of the painting: God’s creation of Adam.

The Pope loses his war and runs low on funds. Michelangelo works harder than ever, fearing that the Pope may cancel the project, since “Julius’s defeat [is] a defeat for Michelangelo” (540). When Julius studies the painting, he speculates with Michelangelo on this benign interpretation of God. As Bramante’s work on St. Peter’s Basilica continues, Michelangelo is worried. The walls are not being constructed properly. Meeting with Bramante, Michelangelo offers him the benefit of the doubt: Someone is cutting costs on the project and embezzling the funds, endangering the building project. Bramante dismisses Michelangelo, and Michelangelo takes his fears to the Pope, who suspects that this is just another part of Michelangelo’s rivalry with Bramante. He orders an investigation. Michelangelo learns from Balducci that Bramante is living beyond his means, suggesting that he is raising money through nefarious means. The Pope’s fortunes change. He recovers his health and his funds, which he sends to Michelangelo to complete the painting. Balducci criticizes Michelangelo for sacrificing his health and wellbeing for the project. Michelangelo agrees to take on apprentices for the final stages of the project, even though Michelangelo would prefer to do everything himself.

Pope Julius declares war on Florence. The Republic is stable under Soderini’s governance, but the Pope wishes to replace him with Cardinal Giovanni. Michelangelo is in a difficult position. He is loyal to Soderini and the Medici, while also believing that Giovanni resembles his benevolent father, Lorenzo. He also wants to finish his project. Granacci encourages him to stay out of political matters, so he continues his work.

After four years, Michelangelo finally finishes his work on the Sistine Chapel. In Florence, the Republic loses the war, and the Medici family is placed in power. An unveiling is held to celebrate the Sistine Chapel. Though Michelangelo dresses up to receive praise for his work, he changes his mind at the last minute. Instead, he goes to his studio and begins to carve marble. The stress and weariness of the previous years fall away as he begins to carve again. He looks forward to returning to the work he loves most.