d 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 occasio