Two important letters from Michelangelo to Fattucci, written in October 1525 and April 1526, show that he had then abandoned the original scheme, and adopted one which was all but carried into effect. "I am working as hard as I can, and in fifteen days I shall begin the other captain. Afterwards the only important things left will be the four rivers. The four statues on the sarcophagi, the four figures on the ground which are the rivers, the two captains, and Our Lady, who is to be placed upon the tomb at the head of the chapel; these are what I mean to do with my own hand. Of these I have begun six; and I have good hope of finishing them in due time, and carrying the others forward in part, which do not signify so much." The six he had begun are clearly the Dukes and their attendant figures of Day, Night, Dawn, Evening. The Madonna, one of his noblest works, came within a short distance of completion. SS. Cosimo and Damiano passed into the hands of Montelupo and Montorsoli. Of the four rivers we have only fragments in the shape of some exquisite little models. Where they could have been conveniently placed is difficult to imagine; possibly they were abandoned from a feeling that the chapel would be overcrowded. V According to the plan adopted in this book, I shall postpone such observations as I have to make upon the Medicean monuments until the date when Michelangelo laid down his chisel, and shall now proceed with the events of his life during the years 1525 and 1526. He continued to be greatly troubled about the tomb of Julius II. The lawsuit instituted by the Duke of Urbino hung over his head; and though he felt sure of the Pope's powerful support, it was extremely important, both for his character and comfort, that affairs should be placed upon a satisfactory basis. Fattucci in Rome acted not only as Clement's agent in business connected with S. Lorenzo; he also was intrusted with negotiations for the settlement of the Duke's claims. The correspondence which passed between them forms, therefore, our best source of information for this period. On Christmas Eve in 1524 Michelangelo writes from Florence to his friend, begging him not to postpone a journey he had in view, if the only business which detained him was the trouble about the tomb. A pleasant air of manly affection breathes through this document, showing Michelangelo to have been unselfish in a matter which weighed heavily and daily on his spirits. How greatly he was affected can be inferred from a letter written to Giovanni Spina on the 19th of April 1525. While reading this, it must be remembered that the Duke laid his action for the recovery of a considerable balance, which he alleged to be due to him upon disbursements made for the monument. Michelangelo, on the contrary, asserted that he was out of pocket, as we gather from the lengthy report he forwarded in 1524 to Fattucci. The difficulty in the accounts seems to have arisen from the fact that payments for the