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Higher up are throned two Victories with palms, and at the top a naked Fame. We need not ask who was Lancinus Curtius. He is forgotten, and his virtue has not saved him from oblivion; though he strove in his lifetime, pro virili parte, for the palm that Busti carved upon his grave.
You see them marching along sometimes in a broad platoon of five or six, all their brows as straight as if they had been ruled, and their great dark eyes flashing out under them, ready in a moment for a laugh or a frown. What stalwart creatures they are! What shoulders, bosoms, and backs they have! what a chance for the lungs under those stout busti! and what finished and elegant heads!
Standing before it, we may say of Gaston what Arrian wrote to Hadrian of Achilles: 'That he was a hero, if hero ever lived, I cannot doubt; for his birth and blood were noble, and he was beautiful, and his spirit was mighty, and he passed in youth's prime away from men. Italian sculpture, under the condition of the cinquecento, had indeed no more congenial theme than this of bravery and beauty, youth and fame, immortal honour and untimely death; nor could any sculptor of death have poetised the theme more thoroughly than Agostino Busti, whose simple instinct, unlike that of Michelangelo, led him to subordinate his own imagination to the pathos of reality.
Yet Bandello lived in Milan while the Church of S. Maurizio was being painted; nor does he show the slightest sign of disgust at the discord between the Contessa's life and her artistic presentation in the person of a royal martyr. In the Sculpture Gallery of the Brera is preserved a fair white marble tomb, carved by that excellent Lombard sculptor, Agostino Busti. The epitaph runs as follows:
The people are all dressed in their effective costumes, the girls in busti and silken skirts, with all their corals and jewels on, and the men with white stockings on their legs, their velvet jackets dropping over one shoulder, and flowers and rosettes in their conical hats.
In the Sculpture Gallery of the Brera is preserved a fair white marble tomb, carved by that excellent Lombard sculptor Agostino Busti. The epitaph runs as follows: En Virtutem Mortis nesciam. Vivet Lancinus Curtius Sæcula per omnia Quascunque lustrans oras, Tantum possunt Camoenæ. "Look here on Virtue that knows naught of Death!
Adjoining it on the south was a large Busti. I would often sit near a window and watch the sights of this populous little settlement. I loved to see them at their work and play and rest, and in their multifarious goings and comings. To me it was all like a living story. A faculty of many-sightedness possessed me at this time.
Italian sculpture, under the condition of the cinquecento, had indeed no more congenial theme than this of bravery and beauty, youth and fame, immortal honor and untimely death; nor could any sculptor of death have poetized the theme more thoroughly than Agostino Busti, whose simple instinct, unlike that of Michael Angelo, led him to subordinate his own imagination to the pathos of reality.
Above is a group of the three Graces, flanked by winged Pegasi. Higher up are throned two Victories with palms, and at the top a naked Fame. We need not ask who was Lancinus Curtius. He is forgotten, and his virtue has not saved him from oblivion; though he strove in his lifetime, pro virili parte, for the palm that Busti carved upon his grave.
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