LITMIR.BIZ

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prostrate at the feet of winged Victories. These are flanked by the terminal figures, against which, upon projecting consoles, stand the bound captives. At the right hand facing us, upon the upper platform, is seated Moses, with a different action of the hands, it is true, from that which Michelangelo finally adopted. Near him is a female figure, and the two figures grouped upon the left angle seem to be both female. To some extent these statues bear out Vasari's tradition that the platform in the first design was meant to sustain figures of the contemplative and active life of the soul—Dante's Leah and Rachel.

      This great scheme was never carried out. The fragments which may be safely assigned to it are the Moses at S. Pietro in Vincoli and the two bound captives of the Louvre; the Madonna and Child, Leah and Rachel, and two seated statues also at S. Pietro in Vincoli, belong to the plan, though these have undergone considerable alterations. Some other scattered fragments of the sculptor's work may possibly be connected with its execution. Four male figures roughly hewn, which are now wrought into the rock-work of a grotto in the Boboli Gardens, together with the young athlete trampling on a prostrate old man (called the Victory) and the Adonis of the Museo Nazionale at Florence, have all been ascribed to the sepulchre of Julius in one or other of its stages. But these attributes are doubtful, and will be criticised in their proper place and time. Suffice it now to say that Vasari reports, beside the Moses, Victory, and two Captives at the Louvre, eight figures for the tomb blocked out by Michelangelo at Rome, and five blocked out at Florence.

      Continuing the history of this tragic undertaking, we come to the year 1516. On the 8th of July in that year, Michelangelo signed a new contract, whereby the previous deed of 1513 was annulled. Both of the executors were alive and parties to this second agreement. "A model was made, the width of which is stated at twenty-one feet, after the monument had been already sculptured of a width of almost twenty-three feet. The architectural design was adhered to with the same pedestals and niches and the same crowning cornice of the first story. There were to be six statues in front, but the conquered provinces were now dispensed with. There was also to be one niche only on each flank, so that the projection of the monument from the wall was reduced more than half, and there were to be only twelve statues beneath the cornice and one relief, instead of twenty-four statues and three reliefs. On the summit of this basement a shrine was to be erected, within which was placed the effigy of the Pontiff on his sarcophagus, with two heavenly guardians. The whole of the statues described in this third contract amount to nineteen." Heath Wilson observes, with much propriety, that the most singular fact about these successive contracts is the departure from certain fixed proportions both of the architectural parts and the statues, involving a serious loss of outlay and of work. Thus the two Captives of the Louvre became useless, and, as we know, they were given away to Ruberto Strozzi in a moment of generosity by the sculptor. The sitting figures detailed in the deed of 1516 are shorter than the Moses by one foot. The standing figures, now at S. Pietro in Vincoli, correspond to the specifications. What makes the matter still more singular is, that after signing the contract under date July 8, 1516, Michelangelo in November of the same year ordered blocks of marble from Carrara, with measurements corresponding to the specifications of the deed of 1513.

      The miserable tragedy of the sepulchre dragged on for another sixteen years. During this period the executors of Julius passed away, and the Duke Francesco Maria della Rovere replaced them. He complained that Michelangelo neglected the tomb, which was true, although the fault lay not with the sculptor, but with the Popes, his taskmasters. Legal proceedings were instituted to recover a large sum of money, which, it was alleged, had been disbursed without due work delivered by the master. Michelangelo had recourse to Clement VII., who, being anxious to monopolise his labour, undertook to arrange matters with the Duke. On the 29th of April 1532 a third and solemn contract was signed at Rome in presence of the Pope, witnessed by a number of illustrious personages. This third contract involved a fourth design for the tomb, which Michelangelo undertook to furnish, and at the same time to execute six statues with his own hand. On this occasion the notion of erecting it in S. Peter's was finally abandoned. The choice lay between two other Roman churches, that of S. Maria del Popolo, where monuments to several members of the Della Rovere family existed, and that of S. Pietro in Vincoli, from which Julius II. had taken his cardinal's title. Michelangelo decided for the latter, on account of its better lighting. The six statues promised by Michelangelo are stated in the contract to be "begun and not completed, extant at the present date in Rome or in Florence." Which of the several statues blocked out for the monument were to be chosen is not stated; and as there are no specifications in the document, we cannot identify them with exactness. At any rate, the Moses must have been one; and it is possible that the Leah and Rachel, Madonna, and two seated statues, now at S. Pietro, were the other five.

      It might have been thought that at last the tragedy had dragged on to its conclusion. But no; there was a fifth act, a fourth contract, a fifth design. Paul III. succeeded to Clement VII., and, having seen the Moses in Michelangelo's workshop, declared that this one statue was enough for the deceased Pope's tomb. The Duke Francesco Maria della Rovere died in 1538, and was succeeded by his son, Guidobaldo II. The new Duke's wife was a granddaughter of Paul III., and this may have made him amenable to the Pope's influence. At all events, upon the 20th of August 1542 a final contract was signed, stating that Michelangelo had been prevented "by just and legitimate impediments from carrying out" his engagement under date April 29, 1532, releasing him from the terms of the third deed, and establishing new conditions. The Moses, finished by the hand of Michelangelo, takes the central place in this new monument. Five other statues are specified: "to wit, a Madonna with the child in her arms, which is already finished; a Sibyl, a Prophet, an Active Life and a Contemplative Life, blocked out and nearly completed by the said Michelangelo." These four were given to Raffaello da Montelupo to finish. The reclining portrait-statue of Julius, which was carved by Maso del Bosco, is not even mentioned in this contract. But a deed between the Duke's representative and the craftsmen Montelupo and Urbino exists, in which the latter undertakes to see that Michelangelo shall retouch the Pope's face.

      Thus ended the tragedy of the tomb of Pope Julius II. It is supposed to have been finally completed in 1545, and was set up where it still remains uninjured at S. Pietro in Vincoli.

      IV

      I judged it needful to anticipate the course of events by giving this brief history of a work begun in 1505, and carried on with so many hindrances and alterations through forty years of Michelangelo's life. We shall often have to return to it, since the matter cannot be lightly dismissed. The tomb of Julius empoisoned Michelangelo's manhood, hampered his energy, and brought but small if any profit to his purse. In one way or another it is always cropping up, and may be said to vex his biographers and the students of his life as much as it annoyed himself. We may now return to those early days in Rome, when the project had still a fascination both for the sculptor and his patron.

      The old Basilica of S. Peter on the Vatican is said to have been built during the reign of Constantine, and to have been consecrated in 324 A.D. It was one of the largest of those Roman buildings, measuring 435 feet in length from the great door to the end of the tribune. A spacious open square or atrium, surrounded by a cloister-portico, gave access to the church. This, in the Middle Ages, gained the name of the Paradiso. A kind of tabernacle, in the centre of the square, protected the great bronze fir-cone, which was formerly supposed to have crowned the summit of Hadrian's Mausoleum, the Castle of S. Angelo. Dante, who saw it in the courtyard of S. Peter's, used it as a standard for his giant Nimrod. He says—

      La faccia sua ml parea lunga e grossa, Come la pina di San Pietro a Roma.—(Inf. xxxi. 58.)

      This mother-church of Western Christendom was adorned inside and out with mosaics in the style of those which may still be seen at Ravenna. Above the lofty row of columns which flanked the central aisle ran processions of saints and sacred histories. They led the eye onward to what was called the Arch of Triumph, separating this portion of the building from the transept and the tribune. The concave roof of the tribune itself was decorated with a colossal Christ, enthroned between S. Peter and S. Paul, surveying the vast spaces of his house: the lord and master, before whom pilgrims from all parts of Europe came to pay tribute and to perform acts of homage. The columns were of precious marbles, stripped from Pagan palaces and temples; and the roof was tiled with plates of gilded

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