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Updated: June 25, 2025
The Venetians, in whose service Colleoni still remained, when they became aware of this project, met it with peaceful but irresistible opposition. Colleoni had been engaged continually since his earliest boyhood in the trade of war. It was not therefore possible that he should have gained a great degree of literary culture.
Colleoni lived with a magnificence that suited his rank. His favourite place of abode was Malpaga, a castle built by him at the distance of about an hour's drive from Bergamo. The place is worth a visit, though its courts and gates and galleries have now been turned into a monster farm, and the southern rooms, where Colleoni entertained his guests, are given over to the silkworms.
The author, a descendant of the princely house of Correggio, was born about 1450, and married the daughter of the famous condottiere Bartolommeo Colleoni. He lived for some years at Milan at the court of Lodovico Sforza; later he migrated to that of the Estensi.
His eyes were black; in look and sharpness of light, they were vivid, piercing, and terrible. The outlines of his nose and all his countenance expressed a certain manly nobleness, combined with goodness and prudence. Such is the portrait drawn of Colleoni by his biographer; and it well accords with the famous bronze statue of the general at Venice.
Thomas at Or San Michele, and in the fierce and splendid equestrian statue of Bartolomeo Colleoni at Venice, you see him at his best, occupied with a subtle beauty long sought out, and with an expression of the fierce ardour and passion that consumed him all his life. He touches nothing that does not live with an ardent splendour and energy of spirit because of him.
It may be worth while to notice here a similar series of reliefs upon the façade of the Colleoni Chapel at Bergamo, representing scenes from the story of Adam in conjunction with the labours of Hercules. Ruskin's Modern Painters, vol. ii. chap, vii., Repose. See Flaxman's Lectures on Sculpture, p. 310.
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.
Mark. On the second were members of the senate and minor magistrates. The third carried the ambassadors of foreign powers. Colleoni was received into the first state galley, and placed by the side of the doge.
On the first was the Doge in his state robes, attended by the government in office, or the Signoria of S. Mark. On the second were members of the Senate and minor magistrates. The third carried the ambassadors of foreign powers. Colleoni was received into the first state-galley, and placed by the side of the Doge.
The outlines of his nose and all his countenance expressed a certain manly nobleness, combined with goodness and prudence." Such is the portrait drawn of Colleoni by his biographer and it well accords with the famous bronze statue of the general at Venice. Colleoni lived with a magnificence that suited his rank.
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