Michelangelo's original project of the tomb subsequently underwent so many modifications and reductions, that Condivi's account of what the monument should have been is deeply interesting: "The tomb was to have had four faces, two of eighteen braccia, that served for the flanks, so that it was to be a square and a half in plan. All round about the outside were niches for statues, and between niche and niche terminal figures; to these were bound other statues, like prisoners, upon certain square plinths, rising from the ground and projecting from the monument. They represented the liberal arts, each with her symbol, denoting that, like Pope Julius, all the virtues were the prisoners of Death, because they would never find such favour and encouragement as he gave them. Above these ran the cornice that tied all the work together. On its plane were four great statues; one of these, the Moses, may be seen in San Pietro ad Vincula. So the work mounted upward until it ended in a plane. Upon it were two angels who supported an arc; one appeared to be smiling as though he rejoiced that the soul of the Pope had been received amongst the blessed spirits, the other wept, as if sad that the world had been deprived of such a man. Above one end was the entrance to the sepulchre in a small chamber, built like a temple; in the middle was a marble sarcophagus, where the body of the Pope was to be buried; everything worked out with marvellous art. Briefly, more than forty statues went to the whole work, not counting the subjects in mezzo rilievo to be cast in bronze, all appropriate in their stories and proclaiming the acts of this great Pontiff." As the monument would have covered an area of about 34½ feet by 23 feet, the church of St. Peter, although restored by Nicholas V., was found to be too small to contain it, and Julius II. decided to rebuild the whole church on a more magnificent scale, after designs prepared by Bramante. The eager enthusiasm with which Michelangelo attacked his colossal task was not destined to last long. One day a quantity of marble arrived from Carrara, and Michelangelo, desiring at once to pay the freight and porterage, went to ask the Pope for money, but found his Holiness occupied. He paid the men out of his own pocket, but when he returned on several succeeding days he found access to the Vatican more difficult than usual, and finally learned that the Pope had given orders that he should not be admitted. Julius II., always entangled in warlike adventures, was evidently short of money and could not or would not pay Michelangelo at the time. The proud and short-tempered sculptor flew into a passion, and exclaiming that "henceforward the Pope must look for him elsewhere if he wanted him," took horse at once and returned to Florence, vainly pursued by five messengers from the Pope.