"To give some notion of the monument, I will say that it was intended to have four faces: two of eighteen cubits, serving for the sides, and two of twelve for the ends, so that the whole formed one great square and a half. Surrounding it externally were niches to be filled with statues, and between each pair of niches stood terminal figures, to the front of which were attached on certain consoles projecting from the wall another set of statues bound like prisoners. These represented the Liberal Arts, and likewise Painting, Sculpture, Architecture, each with characteristic emblems, rendering their identification easy. The intention was to show that all the talents had been taken captive by death, together with Pope Julius, since never would they find another patron to cherish and encourage them as he had done. Above these figures ran a cornice, giving unity to the whole work. Upon the flat surface formed by this cornice were to be four large statues, one of which, that is, the Moses, now exists at S. Pietro ad Vincula. And so, arriving at the summit, the tomb ended in a level space, whereon were two angels who supported a sarcophagus. One of them appeared to smile, rejoicing that the soul of the Pope had been received among the blessed spirits; the other seemed to weep, as sorrowing that the world had been robbed of such a man. From one of the ends, that is, by the one which was at the head of the monument, access was given to a little chamber like a chapel, enclosed within the monument, in the midst of which was a marble chest, wherein the corpse of the Pope was meant to be deposited. The whole would have been executed with stupendous finish. In short, the sepulchre included more than forty statues, not counting the histories in half-reliefs, made of bronze, all of them pertinent to the general scheme and representative of the mighty Pontiff's actions." Vasari's account differs in some minor details from Condivi's, but it is of no authoritative value. Not having appeared in the edition of 1550, we may regard it as a _réchauffée_ of Condivi, with the usual sauce provided by the Aretine's imagination. The only addition I can discover which throws light upon Condivi's narrative is that the statues in the niches were meant to represent provinces conquered by Julius. This is important, because it leads us to conjecture that Vasari knew a drawing now preserved in the Uffizi, and sought, by its means, to add something to his predecessor's description. The drawing will occupy our attention shortly; but it may here be remarked that in 1505, the date of the first project, Julius was only entering upon his conquests. It would have been a gross act of flattery on the part of the sculptor, a flying in the face of Nemesis on the part of his patron, to design a sepulchre anticipating length of life and luck sufficient for these triumphs.