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Updated: June 2, 2025
When Gian Giacomo died in 1555, his brother Battista succeeded to his claims upon Lecco and the Trepievi. His monument, magnificent with five bronze figures, the masterpiece of Leone Lioni, from Menaggio, Michelangelesque in style, and of consummate workmanship, still adorns the Duomo of Milan. It stands close by the door that leads to the roof.
Everything about it is beautiful, as the photograph which I give in this volume will help the reader to believe: proportions, figures, and tracery; but I still consider Mino's monument to Ugo in the Badia the finest Florentine example of the gentler memorial style, as contrasted with the severe Michelangelesque manner.
The result is a product of picturesque and plastic art as true to the Michelangelesque spirit as the Temple of the Wingless Victory to that of Pheidias.
Cyril Tourneur and John Marston are far more incomplete in genius than either Webster or Ford, although Tourneur sometimes obtains a lurid and ghastly tragic intensity which more than equals Ford when at his best; and Marston, in the midst of crabbedness and dulness, sometimes has touches of pathos and Michelangelesque foreshortenings of metaphor worthy of Webster.
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