moved in the seventeenth century to the gardens of the Marechal de
Richelieu in Paris. It is thanks to Lenoir that they were preserved to
France in 1793.

[34] Condivi wrote that according to Michelangelo the statues of the
bound men which were to be placed against the pilasters of the lower
part of the tomb "represented the liberal arts, painting, sculpture and
architecture each with its characteristic attributes, in such a way that
they could be easily recognised. At the same time they expressed the
idea that all the virtues were prisoners of death with Pope Julius and
that they would never find anyone to encourage them and to support them
as he had done."

Some sketches at Oxford show a number of these prisoners struggling
against their chains. The large statues of the upper story were to
personify St. Paul, Moses, Adam, Life and Contemplation; Julius II was
represented asleep on an open sarcophagus which was supported by two
angels, "one smiling to express the joy of heaven, and the other weeping
to represent the sorrow of earth."

A large pen-and-ink drawing in the Ufizzi partly shows the architecture
of the monument--that Charles Garnier called the architecture of a
goldsmith--and which is indeed a frame to group the sculptured figures
together as well as possible. I would like to believe that this drawing
refers not to the plan of 1513, but to the simplified plan of 1516.

[35] Cardinal Giulio Medici, future Clement VII.

[36] A brasse is 1.62 metres.

[37] Appeal of the Academicians of Florence to Leo X, signed by
Michelangelo. (Gotti, Vol. II, p. 84.)

[38] Michelangelo ended his work in April, 1520. The Christ was sent to
Rome in March, 1521. Pietro Urbano worked at it from June until the
middle of August when he suddenly left Rome.

Sebastiano del Piombo writes to Michelangelo in September, 1521: "Pietro
Urbano has mutilated everything. In particular he has shortened the
right foot and you can see clearly that he has cut off the toes: he has
even shortened the fingers, especially those of the right hand which
held the cross. Frizzi says that they look as if they had been made by a
'baker.' That hand does not even look like marble; you would think it
had been made by a pastry cook, so stiff are the fingers. You can see,
too, that he has worked at the beard and you would think he had modelled
it with a blunt knife. He has also mutilated one of the nostrils, and
almost spoilt the nose."

Michelangelo