[325]. Ad Att. xiv. 1.—A very curious statue of Brutus is to be seen at the Campana Museum. The artist has not tried to idealize his model, and seems to have aimed at nothing but a vulgar exactness; but we can very well recognize in it the real Brutus. We can trace in that low forehead and the heavy bones of the face a narrow mind and an obstinate will. The face has a feverish and sickly look; it is at once young and old, as is the case with those who have never really been young. Above all we perceive in it a strange sadness, that of a man overwhelmed by the weight of a great and fateful destiny. In the fine bust of Brutus preserved in the Museum of the Capitol, the face is fuller and handsomer. The sweetness and sadness remain; the sickly look has disappeared. The features exactly resemble those on the famous medal struck during Brutus’ last years, and which bears on the reverse a Phrygian cap between two daggers, with the threatening legend, Idus Martiae. Michael Angelo commenced a bust of Brutus, of which the admirable rough model may be seen at the Uffizi in Florence. It was not a fancy study, and we see that he had made use of ancient portraits while idealizing them.
[326]. Ad Att. xv. 1, B.
[327]. Ad Att. xii. 21.
[328]. Liv. xlv. 18.
[329]. Cic. Ad Quint. i. 1.
[330]. Ad Att. vi. 1.
[331]. Ad Quint. i. 1.
[332]. Ad Att. vi. 1.
[333]. Ibid. v. 21.
[334]. Ad Att. xi. 4.