Vasari was present, remarked that the hour for the death of art had arrived, since it was not possible that a better work could be seen.
Alessandro Cesati executed the Medal of Pope Julius III. for the Holy Year of 1550, with a reverse, showing the prisoners whom it was the custom in the times of the anciv>nts to set at liberty during occasions of Jubilee. This also was a most beautiful and truly admirable medal: he produced many others, with fine dies and portraits for the Mint of Rome, where they were used for many years. He likewise took the portrait of Pier Luigi Farnese, Duke of Castro, with that of the Duke Ottavio his son; and for the Cardinal Farnese he made a portrait, which was one of extraordinary beauty: the head of this last was gold on a ground of silver. The portrait of Henry King of France was also carved by this master; the work is an intaglio on a carnelian, larger than a Giulio, and this has ever been accounted one of the finest intagli ever seen, whether for the perfection of the design, the grace and beauty of execution, or the care and delicacy of the finish. There are besides large numbers of cameos by his hand; among the most admirable are a nude figure of a Woman, perfect in beauty, a second with a Lion, one with a Boy, and many smaller which I do not further particularize; but that which surpasses all, is a Head of the Athenian Phocion, which is indeed wonderful, the most beautiful cameo perhaps that can be found.[1]
The practice of working in cameos is pursued in our own day by the Milanese Giovan Antonio de’ Rossi, a very good master, who, in addition to many other beautiful works engraved in rilievo and intaglio, has executed an exceedingly large cameo for the Duke Cosimo de’ Medici. This is the third of a braccio in height, and of equal width; it contains two half-length figures, representing His Excellency and the most illustrious Duchess Leonora, his consort, who hold between them a circular picture, wherein there is a Fiorenza beside these personages are their children, the Prince Don Francesco namely, with Don Giovanni, the Car-
- ↑ In the before-mentioned Dactylioteca, or Cabinet of Gems of the Florentine Gallery, there is a cameo in carnelian by this artist, representing some high personage of the 16th century, and bearing his name in Greek characters.
