always granted to him by Fortune, has erected a house, at great cost and with infinite beauty of architecture, in the Contreda of the Moroni at Milan. This is so filled with fanciful inventions, that there is perhaps not such another in all the city. On the façade are six figures in stone, which stand on pilasters; they represent Captives, and are six braccia high. Between them, in niches made to imitate the antique, are windows, terminal figures, and cornices, entirely different from those in general use, but all very graceful. The decorations of the lower part are in admirable harmony with those of the upper part, and the frieze represents various instruments used in the arts of design. From the principal door you pass through a vestibule into the Court, wherein there are erected four columns, which support a copy, in plaster, of that Equestrian Statue of Marcus Aurelius, which is on the Capitol, By thus placing this statue in that place, Lione is supposed to have dedicated his house to Marcus Aurelius, but the signification which he meant to attach to the Captives before-mentioned is matter of conjecture. In addition to this Horse, Lione Lioni has collected into that beautiful and commodious habitation of his, very numerous casts in plaster, of such works of merit as he could obtain, whether ancient or modern, and in bronze as well as marble.
A son of this master, called Pompeo, is now in the service of the King of Spain, and is by no means inferior to his father in the preparation of steel dies for casting medals. Pompeo also produces figures in plaster, of extraordinary beauty, and is the competitor in that Court of the Florentine Giovampaolo Poggini, who is also in the service of King Philip, and has executed many beautiful medals. But as to Pompeo, having served the King many years, it is now his purpose to return to Milan, and there enjoy his Aurelian house, with all the other acquisitions made by that true friend of distinguished men, his excellent father.
I will now say a few words respecting medals and dies of steel, in which I believe I may truly affirm, that the moderns have approached the ancient Romans as respects the beauty of the figures, while in the excellence of the letters and some other particulars, they have surpassed them. And of this we have proof in twelve reverses to the medals of Duke Cosimo (among other things), lately executed by Pietro Paolo
