We are here in a region of pure conjecture; and if I hazard an opinion, it is only thrown out as a possible solution of a now impenetrable problem.

I think, then, that Michelangelo may have meant to pose these three figures where they are, facing the altar; to raise the Madonna upon a slightly projecting bracket above the level of SS.

Damiano and Cosimo, and to paint the wall behind them with a fresco of the Crucifixion.

That he had no intention of panelling that empty space with marble may be taken for granted, considering the high finish which has been given to every part of this description of work in the chapel.

Treated as I have suggested, the statue of the Madonna, with the patron saints of the House of Medici, overshadowed by a picture of Christ's sacrifice, would have confronted the mystery of the Mass during every celebration at the altar.