That night, a bit in a rage, Michelangelo took hammer and chisel and placed the following insription on the sash running across Mary’s breast in lapidary letters: MICHEL ANGELUS BONAROTUS FLORENT. FACIBAT. (Michelangelo Bounarroti, Florentine, made this) This is the only work that Michelangelo ever signed. He later regretted his passionate outburst of pride and determined to never again sign a work of his hands.
In 1501 he returned to Florence and he clearly expressed his own political orientation, unlike in later work. Three years later he finished gigantic marble David, the high point of his early style, just from huge piece of marble almost impaired by another sculptor. The character of David and what he symbolizes, was perfectly in tune with Michelangelo’s feelings. That time Florence was passing a difficult period. He used David as a model of heroism courage, in hope that Florentines would understand his message. This young biblical hero demonstrated that inner spiritual strength could be more effective than arms. His faith in God (as Michelangelo said: “The Lord is my strength and my shield.”) enabled this young man to overcome Israel’s enemies using a mere sling, which is the only element enabling us to identify the figure of David. Michelangelo represent David as athletic, manly character, very concentrated and ready to fight. The meaning of David becomes clear if we take in consideration the historical circumstances of its creation. Michelangelo was devoted to Republic, and wanted each citizen to become aware of his responsibilities and to accomplish his duties.
Michelangelo’s temper was proverbial. In fact all the resources refer to his brusque and rude manners, his difficult character, his touchiness and intransigence, and the difficulties that he often had in his relations with others. He had no pupils or no constant collaborators. And the enmity between him and twenty years older Leonardo da Vinci was famous. Well known is a story about the friction they had in Florence. That time Michelangelo rudely blamed Leonardo for all his faults right in the street. They both were rare souls and that is why they could not understand each other.
Besides his sculptures, Michelangelo was given an opportunity to present himself as a painter. In April 1508, Julius II summoned him back to Rome. He had prepared for him completely different job than Michelangelo expected. Instead of the papal tomb, that caused his sorrows for years, he had to decorate the ceiling of the Sistine Chapel. At first Michelangelo tried to turn down, but in vain.