painted straight on daily without rest or stop. It seems, too, that the master was often in need of money, and that he made two journeys to the Pope to beg for supplies. In the letter to Fattucci he says: "When the vault was nearly finished, the Pope was again at Bologna; whereupon, I went twice to get the necessary funds, and obtained nothing, and lost all that time until I came back to Rome. When I reached Rome, I began to make Cartoons--that is, for the ends and sides of the said chapel, hoping to get money at last and to complete the work. I never could extract a farthing; and when I complained one day to Messer Bernardo da Bibbiena and to Atalante, representing that I could not stop longer in Rome, and that I should be forced to go away with God's grace, Messer Bernardo told Atalante he must bear this in mind, for that he wished me to have money, whatever happened." When we consider, then, the magnitude of the undertaking, the arduous nature of the preparatory studies, and the waste of time in journeys and through other hindrances, four and a half years are not too long a period for a man working so much alone as Michelangelo was wont to do. We have reason to believe that, after all, the frescoes of the Sistine were not finished in their details. "It is true," continues Condivi, "that I have heard him say he was not suffered to complete the work according to his wish. The Pope, in his impatience, asked him one day when he would be ready with the Chapel, and he answered: 'When I shall be able.' To which his Holiness replied in a rage: 'You want to make me hurl you from that scaffold!' Michelangelo heard and remembered, muttering: 'That you shall not do to me.' So he went straightway, and had the scaffolding taken down. The frescoes were exposed to view on All Saints' day, to the great satisfaction of the Pope, who went that day to service there, while all Rome flocked together to admire them. What Michelangelo felt forced to leave undone was the retouching of certain parts with ultramarine upon dry ground, and also some gilding, to give the whole a richer effect. Giulio, when his heat cooled down, wanted Michelangelo to make these last additions; but he, considering the trouble it would be to build up all that scaffolding afresh, observed that what was missing mattered little. 'You ought at least to touch it up with gold,' replied the Pope; and Michelangelo, with that familiarity he used toward his Holiness, said carelessly: 'I have not observed that men wore gold.' The Pope rejoined: 'It will look poor.' Buonarroti added: 'Those who are painted there were poor men.' So the matter turned into pleasantry, and the frescoes have remained in their present state." Condivi goes on to state that Michelangelo received 3000 ducats for all his expenses, and that he spent as much as twenty or twenty-five ducats on colours alone. Upon the difficult question of the moneys earned by the great artist in his life-work, I shall have