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Updated: May 6, 2025
If Busti's Lancinus Curtius be the portrait of a humanist, careworn with study, burdened by the laurel leaves that were so dry and dusty if Gaston de Foix in the Brera, smiling at death and beautiful in the cropped bloom of youth, idealise the hero of romance if Michelangelo's Penseroso translate in marble the dark broodings of a despot's soul if Della Porta's Julia Farnese be the Roman courtesan magnificently throned in nonchalance at a Pope's footstool if Verocchio's Colleoni on his horse at Venice impersonate the pomp and circumstance of scientific war surely this Medea exhales the flower-like graces, the sweet sanctities of human life, that even in that turbid age were found among high-bred Italian ladies.
If Busti's Lancinus Curtius be the portrait of a humanist, careworn with study, burdened by the laurel leaves that were so dry and dusty; if Gaston de Foix in the Brera, smiling at death and beautiful in the cropped bloom of youth, idealize the hero of romance; if Michael Angelo's Penseroso translate in marble the dark broodings of a despot's soul; if Della Porta's Julia Farnese be the Roman courtesan magnificently throned in nonchalance at a pope's footstool; if Verocchio's Colleoni on his horse at Venice impersonate the pomp and circumstance of scientific war surely this Medea exhales the flower-like graces, the sweet sanctities of human life, that even in that turbid age were found among high-bred Italian ladies.
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