name, where it is placed so high that it is impossible to
see it well, and where its beauty is disfigured by the bronze cherubs
fastened above, holding a crown over the Virgin's head.

7. _Christ Triumphant_, a marble statue ordered by Bernardo Cencio (a
canon of St. Peter's), Mario Scappuci, and Metello Varj dei Porcari
for the church of S. Maria sopra Minerva, Rome, where it still stands.
The deed was executed in 1514, specifying that the statue should be of
marble, "life sized, naked, erect, with a cross in his arms." It
appears from Michelangelo's correspondence that the work was finished
by apprentices, first by Pietro Urbano, who did so badly that he was
discharged and replaced by Federigo Frizzi. It was completed in 1521,
when Michelangelo offered to make a new statue if it was not
satisfactory. Varj, however, declared that the sculptor had "already
made what could not be surpassed and was incomparable," so the statue
was placed in position.

8-12. _The Creation of Man, Jeremiah, Daniel, The Delphic Sibyl, the
Cumaean Sibyl_, frescoes on the ceiling of the Sistine Chapel, Rome,
begun in 1508 at the order of the Pope Julius II. Michelangelo
undertook the work reluctantly, as sculpture was his chosen art. The
architect Bramante first made a scaffolding for the work, so clumsily
constructed that Michelangelo replaced it by one of his own invention.
Several Florentine painters were engaged as assistants, but, failing
to satisfy the painter, returned. Julius II. often visited the chapel
during the work, climbing to the scaffolding to see how it progressed.
Impatient to see it, he gave orders to have the ceiling uncovered when
but half finished. The first uncovering took place November 1, 1509.
The work was completed October, 1512.

13-14. _Lorenzo de' Medici_, _Tomb of Giuliano de' Medici_, marble
tombs first projected in 1520 or 1521, during the pontificate of Leo
X. (formerly Giovanni de' Medici). The order was renewed by Clement
VII., another Medici pope, in 1523. The work was carried on
intermittently a number of years during which occurred the revolution,
siege, and recapture of Florence. From 1530-1533 Michelangelo carried
them to the point of completion in which they are now seen: they were
never fully finished. The identity of the tombs was long a matter of
doubt. Though Vasari had called the helmeted figure Lorenzo and the
other Giuliano, there were critics, notably Grimm, who took the
opposite view. In 18