What then Condivi tells us about the first scheme is, that it was intended to stand isolated in the tribune of S. Peter's; that it formed a rectangle of a square and half a square; that the podium was adorned with statues in niches flanked by projecting dadoes supporting captive arts, ten in number; that at each corner of the platform above the podium a seated statue was placed, one of which we may safely identify with the Moses; and that above this, surmounting the whole monument by tiers, arose a second mass, culminating in a sarcophagus supported by two angels. He further adds that the tomb was entered at its extreme end by a door, which led to a little chamber where lay the body of the Pope, and that bronze bas-reliefs formed a prominent feature of the total scheme. He reckons that more than forty statues would have been required to complete the whole design, although he has only mentioned twenty-two of the most prominent. More than this we do not know about the first project. We have no contracts and no sketches that can be referred to the date 1505. Much confusion has been introduced into the matter under consideration by the attempt to reconcile Condivi's description with the drawing I have just alluded to. Heath Wilson even used that drawing to impugn Condivi's accuracy with regard to the number of the captives, and the seated figures on the platform. The drawing in question, as we shall presently see, is of great importance for the subsequent history of the monument; and I believe that it to some extent preserves the general aspect which the tomb, as first designed, was intended to present. Two points about it, however, prevent our taking it as a true guide to Michelangelo's original conception. One is that it is clearly only part of a larger scheme of composition. The other is that it shows a sarcophagus, not supported by angels, but posed upon the platform. Moreover, it corresponds to the declaration appended in 1513 by Michelangelo to the first extant document we possess about the tomb.