and stubbornness, as symbol of the effort of his brain and hand to
educe live thought from inert matter.

In the century after Michelangelo's death a sonnet was written by
Giovanni Battista Felice Zappi upon this Moses. It is famous in
Italian literature, and expresses adequately the ideas which occur to
ordinary minds when they approach the Moses. For this reason I think
that it is worthy of being introduced in a translation here:--

_Who is the man who, carved in this huge stone,
Sits giant, all renowned things of art
Transcending? he whose living lips, that start,
Speak eager words? I hear, and take their tone.

He sure is Moses. That the chin hath shown
By its dense honour, the brows' beam bipart:
'Tis Moses, when he left the Mount, with part,
A great-part, of God's glory round him thrown.

Such was the prophet when those sounding vast
Waters he held suspense about him; such
When he the sea barred, made it gulph his foe.

And you, his tribes, a vile calf did you cast?
Why not an idol worth like this so much?
To worship that had wrought you lesser woe._

VII

Before quitting the Tomb of Julius, I must discuss the question of
eight scattered statues, partly unfinished, which are supposed, on
more or less good grounds, to have been designed for this monument.
About two of them, the bound Captives in the Louvre, there is no
doubt. Michelangelo mentions these in his petition to Pope Paul,
saying that the change of scale implied by the last plan obliged him
to abstain from using them. We also know their history. When the
sculptor was ill at Rome in 1544, Luigi del Riccio nursed him in the
palace of the Strozzi. Gratitude for this hospitality induced him to
make a present of the statues to Ruberto degli Strozzi, who took them
to France and offered them to the King. Francis gave them to the
Constable de Montmorenci; and he placed them in his country-house of
Ecouen. In 1793 the Republic offered them for sale, when they were
bought for the French nation by M. Lenoir.

One of these Captives deserves to be called the most fascinating
creation of the master's genius. Together with the Adam, it may be
taken as fixing his standard of masculine beauty. He is a young man,
with head thrown back, as though in swoon or slumber; the left arm
raised above the weight of massy curls, the right hand resting on his
broad full bosom. There is a divine charm in the tranquil face, ti