er each pair of
columns; and over these columns, in a line with them, spring some
caulicoles, which, together with some niches that divide them, rise to
find the end of the lantern, which, beginning to draw together, grows
gradually narrower for a third of its height, in the manner of a round
pyramid, until it reaches the ball, upon which, as the final crown of
the structure, goes the cross. Many particulars and minute details I
might have mentioned, such as air-holes for protection against
earthquakes, water-conduits, the various lights, and other
conveniences, but I omit them because the work is not yet come to
completion, being content to have touched on the principal parts as
well as I have been able. For, since every part is in existence and
can be seen, it is enough to have made this brief sketch, which is a
great light to him who has no knowledge of the structure.

The completion of this model caused the greatest satisfaction not only
to all his friends, but to all Rome, the form of the fabric having
been thus settled and established. It then came to pass that Paul IV
died, and after him was elected Pius IV, who, while causing the
building of the little palace in the wood of the Belvedere to be
continued by Pirro Ligorio, who remained architect to the Palace, made
many gracious offers and advances to Michelagnolo. The Motu-proprio
originally received by Michelagnolo from Paul III, and then from
Julius III and Paul IV, in respect of the fabric of S. Pietro, he
confirmed in his favour, and he restored to him a part of the revenues
and allowances taken away by Paul IV, employing him in many of his
works of building; and in his time he caused the fabric of S. Pietro
to be carried on vigorously. He made use of Michelagnolo, in
particular, in preparing a design for the tomb of the Marchese
Marignano, his brother, which, destined to be erected in the Duomo of
Milan, was allotted by his Holiness to the Chevalier Leone Lioni of
Arezzo, a most excellent sculptor and much the friend of Michelagnolo;
the form of which tomb will be described in the proper place.

At this time the Chevalier Leone made a very lively portrait of
Michelagnolo in a medal, and to please him he fashioned on the reverse
a blind man led by a dog, with these letters around:

DOCEBO INIQUOS VIAS TUAS, ET IMPII AD TE CONVERTENTUR.

And Michelagnolo, since it pleased him much, presented him a model in
wax of Hercules crushing Antaeus, by his own han