than forty statues and to be of great size (34-1/2 × 23 feet). The
fickleness of the Pope caused a continual series of disappointments in
the progress of the work, which was finally abandoned for the frescoes
of the Sistine Chapel. After the death of the Pope, his executors were
even less zealous for the completion of the tomb. A succession of
contracts were made and broken, each one reducing the size and
importance of the design. The artist was continually in demand for
other work. Finally, in 1542, to leave him free for the services of
the Pope, the completion of the tomb was put into other hands. The
statue of Moses, with those of Rachel and Leah, is all that
Michelangelo contributed to a work which had occupied his thoughts for
nearly forty years. The setting of the Moses is in every way
exceedingly unfavorable to a proper appreciation of the work.

[Footnote 2: The Pope, Julius II., is buried at St. Peter's.]

5. _Holy Family_, an oil painting belonging to the Florentine period
1501-1505, and painted for Angelo Doni. It is now in the Uffizi
Gallery, Florence.

6. _The Pietà_, a marble group executed by the order of the Cardinal
di San Dionigi according to a contract drawn up August 28, 1498. It
was placed in the old basilica of St. Peter's (Rome), in a chapel
dedicated to Our Lady of the Fever (Madonna della Febbre). In the
present church of St. Peter's it occupies a side chapel, to which it
gives its name, where it is placed so high that it is impossible to
see it well, and where its beauty is disfigured by the bronze cherubs
fastened above, holding a crown over the Virgin's head.

7. _Christ Triumphant_, a marble statue ordered by Bernardo Cencio (a