measurements corresponding to the specifications of the deed of 1513. The miserable tragedy of the sepulchre dragged on for another sixteen years. During this period the executors of Julius passed away, and the Duke Francesco Maria della Rovere replaced them. He complained that Michelangelo neglected the tomb, which was true, although the fault lay not with the sculptor, but with the Popes, his taskmasters. Legal proceedings were instituted to recover a large sum of money, which, it was alleged, had been disbursed without due work delivered by the master. Michelangelo had recourse to Clement VII., who, being anxious to monopolise his labour, undertook to arrange matters with the Duke. On the 29th of April 1532 a third and solemn contract was signed at Rome in presence of the Pope, witnessed by a number of illustrious personages. This third contract involved a fourth design for the tomb, which Michelangelo undertook to furnish, and at the same time to execute six statues with his own hand. On this occasion the notion of erecting it in S. Peter's was finally abandoned. The choice lay between two other Roman churches, that of S. Maria del Popolo, where monuments to several members of the Della Rovere family existed, and that of S. Pietro in Vincoli, from which Julius II. had taken his cardinal's title. Michelangelo decided for the latter, on account of its better lighting. The six statues promised by Michelangelo are stated in the contract to be "begun and not completed, extant at the present date in Rome or in Florence." Which of the several statues blocked out for the monument were to be chosen is not stated; and as there are no specifications in the document, we cannot identify them with exactness. At any rate, the Moses must have been one; and it is possible that the Leah and Rachel, Madonna, and two seated statues, now at S. Pietro, were the other five.