It might have been thought that at last the tragedy had dragged on to its conclusion. But no; there was a fifth act, a fourth contract, a fifth design. Paul III. succeeded to Clement VII., and, having seen the Moses in Michelangelo's workshop, declared that this one statue was enough for the deceased Pope's tomb. The Duke Francesco Maria della Rovere died in 1538, and was succeeded by his son, Guidobaldo II. The new Duke's wife was a granddaughter of Paul III., and this may have made him amenable to the Pope's influence. At all events, upon the 20th of August 1542 a final contract was signed, stating that Michelangelo had been prevented "by just and legitimate impediments from carrying out" his engagement under date April 29, 1532, releasing him from the terms of the third deed, and establishing new conditions. The Moses, finished by the hand of Michelangelo, takes the central place in this new monument. Five other statues are specified: "to wit, a Madonna with the child in her arms, which is already finished; a Sibyl, a Prophet, an Active Life and a Contemplative Life, blocked out and nearly completed by the said Michelangelo." These four were given to Raffaello da Montelupo to finish. The reclining portrait-statue of Julius, which was carved by Maso del Bosco, is not even mentioned in this contract. But a deed between the Duke's representative and the craftsmen Montelupo and Urbino exists, in which the latter undertakes to see that Michelangelo shall retouch the Pope's face. Thus ended the tragedy of the tomb of Pope Julius II. It is supposed to have been finally completed in 1545, and was set up where it still remains uninjured at S. Pietro in Vincoli. IV I judged it needful to anticipate the course of events by giving this brief history of a work begun in 1505, and carried on with so many hindrances and alterations through forty years of Michelangelo's life. We shall often have to return to it, since the matter cannot be lightly dismissed. The tomb of Julius empoisoned Michelangelo's manhood, hampered his energy, and brought but small if any profit to his purse. In one way or another it is always cropping up, and may be said to vex his biographers and the students of his life as much as it annoyed himself. We may now return to those early days in Rome, when the project had still a fascination both for the sculptor and his patron.