[88] Michelangelo wrote to the committee: "You know that I told Balduccio not to send his lime unless it was good. He has sent bad lime and won't admit that he can be forced to take it back, which proves that he has an understanding with the person who accepted it. Such things encourage the effrontery of those whom I have dismissed for similar frauds. Whoever accepts bad materials or bribes corrupts justice. I beg of you, in the name of the authority which I have received from the pope, never more to accept anything which can not be used, even if it came from Heaven. I do not want anyone to believe that I shut my eyes to these irregularities." [89] Vasari. [90] Letter of Michelangelo to his nephew Lionardo, May 11, 1555. [91] Particularly Cardinal Carpi, Tommaso dei Cavalieri, Donato Giannotti, Francesco Bandini and Gio. Francesco Lottini. [92] Letter of September 13, 1560. [93] Vasari. See in the excellent work of Henry Thode, "Michelangelo und das Ende der Renaissance," Vol. I, the detailed account of these struggles of Michelangelo with the faction of San Gallo and Nanni di Baccio Bigio. [94] See Anatole de Montaiglon, "La Vie de Michel-Ange." ("L'Œuvre et la Vie de Michel-Ange," p. 288.) [95] H. de Geymueller, "Ursprüngliche Entwürfe zu S. Peter." [96] The cupola of St. Peter's, like that of Florence, has two concentric domes. It was to have had three according to Michelangelo's model, but Guglielmo della Porta, who carried out the plans after his death, left out the lower one. [97] Michelangelo had also the rather unfortunate idea of flanking the main cupola by four little domes (of which only two were made) instead of the four towers which were to frame it in Bramante's plan. Michelangelo did not have the happiness of seeing his work completed for at his death the cupola was only finished as far as the drum. Guglielmo della Porta finished the dome in a year. [98] See "Michaelis, Zeitschrift für bildende kunst." 1891, Vol. III, p. 184 _et seq._; E. Müntz, "Histoire de l'art pendant la Renaissance," Vol. III, pp. 338-340. The palace of the Senate was built in 1546 to 1568, the two staircases in 1555. The façade of the Palazzo dei Conservatori dates from after the death of Michelangelo; the campanile is the work of Martino Lunghi, and dates from 1579. The groups of the Dioscuri were installed in 1583. From 1592 to 1598 the façade of the palace of the Senate was rebuilt and changed. The Capitoline Museum dates from the seventeenth century under the pontificate of Innocent X. We must be very careful not to blame Michelangelo for the faults of his successors as Charles Garnier has done in a too severe article published in "L'Œuvre et la Vie de Michel-Ange," in which he nevertheless acknowledges that he was thinking of the Capitol when he built the Loggia of the Opera House at Paris. He adds it is true that he had "studied the proportions with great care and skill, and I can say without blushing, with more talent."