pose. And so
the Tragedy of the Tomb came at last to an end. This may now be seen
at S. Pietro ad Vincula; and though, truth to tell, it is but a
mutilated and botched-up remnant of Michelangelo's original design,
the monument is still the finest to be found in Rome, and perhaps
elsewhere in the world, if only for the three statues finished by the
hand of the great master."

II

In this account, Condivi, has condensed the events of seven years. The
third and last contract with the heirs of Julius was not ratified
until the autumn of 1542, nor was the tomb erected much before the
year 1550. We shall see that the tragedy still cost its hero many
anxious days during this period.

Paul III., having obtained his object, issued a brief, whereby he
appointed Michelangelo chief architect, sculptor, and painter at the
Vatican. The instrument is dated September 1, 1535, and the terms with
which it describes the master's eminence in the three arts are highly
flattering. Allusion is directly made to the fresco of the Last
Judgment, which may therefore have been begun about this date.
Michelangelo was enrolled as member of the Pontifical household, with
a permanent pension of 1200 golden crowns, to be raised in part on the
revenues accruing from a ferry across the Po at Piacenza. He did not,
however, obtain possession of this ferry until 1537, and the benefice
proved so unremunerative that it was exchanged for a little post in
the Chancery at Rimini.

When Michelangelo began to work again in the Sistine Chapel, the wall
above the altar was adorned with three great sacred subjects by the
hand of Pietro Perugino. In the central fresco of the Assumption
Perugino introduced a portrait of Sixtus IV. kneeling in adoration
before the ascending Madonna. The side panels were devoted to the
Nativity and the finding of Moses. In what condition Michelangelo
found these frescoes before the painting of the Last Judgment we do
not know. Vasari says that he caused the wall to be rebuilt with
well-baked carefully selected bricks, and sloped inwards so that the
top projected half a cubit from the bottom. This was intended to
secure the picture from dust. Vasari also relates that Sebastiano del
Piombo, acting on his own responsibility, prepared this wall with a
ground for oil-colours, hoping to be employed by Michelangelo, but
that the latter had it removed, preferring the orthodox method of
fresco-painting. The story, as it stands, is not ver