ive of Giuliano and Lorenzo as they were at last
conceived, four allegorical statues, and, to crown the whole
structure, candelabra of a peculiar shape, with a central round,
supported by two naked genii. It is difficult, as I have before
observed, to be sure how much of the drawings executed in this way can
be ascribed with safety to Michelangelo himself. They are carefully
outlined, with the precision of a working architect; but the
sculptural details bear the aspect of what may be termed a generic
Florentine style of draughtsmanship.

Two important letters from Michelangelo to Fattucci, written in
October 1525 and April 1526, show that he had then abandoned the
original scheme, and adopted one which was all but carried into
effect. "I am working as hard as I can, and in fifteen days I shall
begin the other captain. Afterwards the only important things left
will be the four rivers. The four statues on the sarcophagi, the four
figures on the ground which are the rivers, the two captains, and Our
Lady, who is to be placed upon the tomb at the head of the chapel;
these are what I mean to do with my own hand. Of these I have begun
six; and I have good hope of finishing them in due time, and carrying
the others forward in part, which do not signify so much." The six he
had begun are clearly the Dukes and their attendant figures of Day,
Night, Dawn, Evening. The Madonna, one of his noblest works, came
within a short distance of completion. SS. Cosimo and Damiano passed
into the hands of Montelupo and Montorsoli. Of the four rivers we have
only fragments in the shape of some exquisite little models. Where
they could have been conveniently placed is difficult to imagine;
possibly they were abandoned from a feeling that the chapel would be
overcrowded.

V

According to the plan adopted in this book, I shall postpone such
observations as I have to make upon the Medicean monuments until the
date when Michelangelo laid down his chisel, and shall now proceed
with the events of his life during the years 1525 and 1526.

He continued to be greatly troubled about the tomb of Julius II. The
lawsuit instituted by the Duke of Urbino hung over his head; and
though he felt sure of the Pope's powerful support, it was extremely
important, both for his character and comfort, that affairs should be
placed upon a satisfactory basis. Fattucci in Rome acted not only as
Clement's agent in business connected with S. Lorenzo; he also was
int