e of the
Cardinals, including the before-mentioned Most Reverend and Illustrious of
Mantua, to come and work for him, but finding Michael Angelo obdurate, he
said: "_I will arrange that the Duke of Urbino shall be satisfied with
these statues by your hand, and that the three remaining ones shall be
given to others to do._" He obtained a new contract from the agents,
confirmed by his Excellency the Duke, who did not wish to displease the
Pope. Although Michael Angelo might have avoided paying for these three
statues, this contract freeing him from the obligation, nevertheless he
wished to bear the expense himself, and he deposited for these and the
remaining works of the Tomb one thousand five hundred and eighty ducats.
Thus the agents of the Duke allowed it, and the Tragedy of the Tomb and
the Tomb itself had an end at last. To-day it may be seen in the Church of
San Pietro ad Vincula, not according to the first design with four sides,
but with one side, and that one of the lesser, not detached all round and
isolated, but built up against a wall on account of the hindrances
mentioned above. It is yet true that, although it is botched and patched
up, it is the most worthy monument to be found in Rome, or, perhaps,
anywhere else; if for nothing else, at least, for the three statues that
are by the hand of the master: among them that most marvellous Moses,
leader and captain of the Hebrews, who is seated in an attitude of thought
and wisdom, holding under his right arm the tables of the law, and
supporting his chin with his left hand, like one tired and full of cares.
Between the fingers of that hand escape long waves of his beard--a very
beautiful thing to see. And his face is full of life and thought, and
capable of inspiring love and terror, which, perhaps, was the truth. It
has, according to the usual descriptions, the two horns on his head a
little way from the top of the forehead. He is robed and shod in the
manner of the antique, with his arms bare. A work most marvellous and full
of art, and much more so because all the form is apparent beneath the
beautiful garments with which it is covered. The dress does not hide the
shape and beauty of the body, as, in a word, may be seen in all Michael
Angelo's clothed figures, whether in painting or sculpture. The statue is
more than twice the size of life. At the right hand of this statue, under
a niche, is one that represents Contemplative Life--a woman, larger than
life and