"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.
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.
Julius died in February 1513, leaving, it is said, to his executors directions that his sepulchre should not be carried out upon the first colossal plan. If he did so, they seem at the beginning of their trust to have disregarded his intentions. Michelangelo expressly states in one of his letters that the Cardinal of Agen wished to proceed with the tomb, but on a larger scale. A deed dated May 6, 1513, was signed, at the end of which Michelangelo specified the details of the new design. It differed from the former in many important respects, but most of all in the fact that now the structure was to be attached to the wall of the church. I cannot do better than translate Michelangelo's specifications. They run as follows: "Let it be known to all men that I, Michelangelo, sculptor of Florence, undertake to execute the sepulchre of Pope Julius in marble, on the commission of the Cardinal of Agens and the Datary (Pucci), who, after his death, have been appointed to complete this work, for the sum of 16,500 golden ducats of the Camera; and the composition of the said sepulchre is to be in the form ensuing: A rectangle visible from three of its sides, the fourth of which is attached to the wall and cannot be seen. The front face, that is, the head of this rectangle, shall be twenty palms in breadth and fourteen in height, the other two, running up against the wall, shall be thirty-five palms long and likewise fourteen palms in height. Each of these three sides shall contain two tabernacles, resting on a basement which shall run round the said space, and shall be adorned with pilasters, architrave, frieze, and cornice, as appears in the little wooden model. In each of the said six tabernacles will be placed two figures about one palm taller than life (i.e., 6–¾ feet), twelve in all; and in front of each pilaster which flanks a tabernacle shall stand a figure of similar size, twelve in all. On the platform above the said rectangular structure stands a sarcophagus with four feet, as may be seen in the model, upon which will be Pope Julius sustained by two angels at his head, with two at his feet; making five figures on the sarcophagus, all larger than life, that is, about twice the size. Round about the said sarcophagus will be placed six dadoes or pedestals, on which six figures of the same dimensions will sit. Furthermore, from the platform, where it joins the wall, springs a little chapel about thirty-five palms high (26 feet 3 inches), which shall contain five figures larger than all the rest, as being farther from the eye. Moreover, there shall be three histories, either of bronze or of marble, as may please the said executors, introduced on each face of the tomb between one tabernacle and another." All this Michelangelo undertook to execute in seven years for the stipulated sum.
The new project involved thirty-eight colossal statues; and, fortunately for our understanding of it, we may be said with almost absolute certainty to possess a drawing intended to represent it. Part of this is a pen-and-ink sketch at the Uffizi, which has frequently been published, and part is a sketch in the Berlin Collection. These have been put together by Professor Middleton of Cambridge, who has also made out a key-plan of the tomb. With regard to its proportions and dimensions as compared with Michelangelo's specification, there remain some difficulties, with which I cannot see that Professor Middleton has grappled. It is perhaps not improbable, as Heath Wilson suggested, that the drawing had been thrown off as a picturesque forecast of the monument without attention to scale. Anyhow, there is no doubt that in this sketch, so happily restored by Professor Middleton's sagacity and tact, we are brought close to Michelangelo's conception of the colossal work he never was allowed to execute. It not only answers to the description translated above from the sculptor's own appendix to the contract, but it also throws light upon the original plan of the tomb designed for the tribune of S. Peter's. The basement of the podium has been preserved, we may assume, in its more salient features. There are the niches spoken of by Condivi, with Vasari's conquered