sular Justice, and in the other is a flame of fire: the countenance is youthful, the hair waving, the nose aquiline, the whole aspect full of fine expression. The second figure is Prudence; her form is that of a matron, but one still young, she has a mirror in her hand, with a closed book, and is partly nude, but also partially draped. The third is Abundance, a maiden crowned with ears of corn, and bearing the horn of plenty in one hand, with the ancient corn-measure in the other: her dress is such as to render the nude form visible beneath its folds. The fourth and last of these figures represents Peace; it is that of a matron with a child, which has its eyes taken out, and bears the Caduceus of Mercury. For the same tomb, and likewise under the direction of Annibale Caro, this artist also prepared a Story in bronze,[1] with two figures of River-gods; the one representing a lake, and the other a river in the domains of the Farnese family. There was also to have been an eminence, covered with lilies and the Bow of Iris; but many of these things were omitted, for reasons which have been mentioned in the Life of Michelagnolo.[2] It is true, that to judge from the beauty of these works, they would have had a good effect if erected in the position destined to them; meanwhile, it is also true, that the light of the place itself is that which finally decides the effect that a work will have, whether as to its whole or in the details.
This Fra Guglielmo has been for some years preparing fourteen Stories from the Life of Christ, which are to be cast in bronze; each of them is four palms broad and six high, with the exception of one, which is twelve palms high and six wide. This last exhibits the Birth of Christ, with figures of very fanciful invention. The other thirteen represent:— the first. Our Lady, with the Infant, proceeding to Jerusalem on an Ass; it comprises two figures in high relief, with many others in half and low relief. This is followed by the Last Supper, with thirteen well-composed figures, and an exceedingly rich building; then follow the Washing of the Disciples’ Feet; Christ in the Garden, with five figures, and a crowd of infinitely varied character; Our Saviour led before Annas, with six large figures, many others beneath
