s, victories, and triumphant assaults on
strongholds of that lord, and finally his death and burial. To put it
briefly, that work is such that I, gazing at it in amazement, stood for
a while marvelling that it was possible for works so delicate and so
extraordinary to be done with the hand and with tools of iron; for there
may be seen in that tomb, executed with the most marvellous carving,
decorations of trophies, arms of every kind, chariots, artillery, and
many other engines of war, and, finally, the body of that lord in
armour, large as life, and almost seeming to be full of gladness, as he
lies dead, at the victories that he had gained. And certainly it is a
pity that this work, which is well worthy to be numbered among the most
stupendous examples of the art, should be unfinished and left to lie on
the ground in pieces, and not built up in some place; wherefore I do not
marvel that some figures have been stolen from it, and then sold and set
up in other places. The truth is that there is so little humanity, or
rather, piety, to be found among men at the present day, that of all
those who were benefited and beloved by de Foix not one has ever felt a
pang for his memory or for the beauty and excellence of the work. By the
hand of the same Agostino Busto are some works in the Duomo, and, as
has been related, the tomb of the Biraghi in S. Francesco, with many
others that are very beautiful in the Certosa of Pavia.

[Footnote 5: Ravenna.]

A rival of Agostino was one Cristofano Gobbo, who also executed many
works in the facade of the above-named Certosa and in the church, and
that so well, that he can be numbered among the best sculptors that
there were in Lombardy at that time. And the Adam and Eve that are in
the east front of the Duomo of Milan, which are by his hand, are held to
be rare works, and such as can stand in comparison with any that have
been executed by other masters in those parts.

Almost at the same time there lived at Milan another sculptor called
Angelo, and by way of surname Ciciliano, who executed on the same side
(of the Duomo), and of equal size, a S. Mary Magdalene raised on high by
four little Angels, which is a very beautiful work, and by no means
inferior to those of Cristofano. That sculptor also gave his attention
to architecture, and executed, among other works, the portico of S.
Celso in Milan, which was finished after his death by Tofano, called
Lombardino, who, as was said i