A WARRIOR
(After the fresco by Bramantino. Milan: Brera, No. 494)
Alinari
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But let us now leave drawings on one side: Bramantino painted in Milan the façade of the house of Signor Giovan Battista Latuate, with a most beautiful Madonna, and on either side of her a Prophet. On the façade of Signor Bernardo Scacalarozzo he painted four Giants in imitation of bronze, which are reasonably good; with other works that are in Milan, which brought him credit, from his having been the first light of a good manner of painting that was seen in Milan, and the reason that after him Bramante became, on account of the good form that he gave to his buildings and perspective-views, an excellent master in the matters of architecture; for the first things that Bramante studied were the works of Bramantino. Under the direction of Bramante was built the Temple of S. Satiro, which pleases me exceedingly, for it is a very rich work, adorned both within and without with columns, double corridors, and other ornaments, with the accompaniment of a most beautiful sacristy all full of statues. But above all does the central tribune of that place merit praise, the beauty of which, as has been related in the Life of Bramante, was the reason that Bernardino da Trevio followed that method in the Duomo of Milan, and gave his attention to architecture, although his first and principal art was painting; having executed, as has been related, in a cloister of the Monastery of S. Maria delle Grazie, four scenes of the Passion in fresco, and some others in chiaroscuro.

SALOME
(After the panel by Cesare da Sesto. Vienna: Imperial Gallery, 91)
Bruckmann
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By that Bernardino was brought forward and much assisted the sculptor Agostino Busto, called Il Bambaja, of whom there has been an account in the Life of Baccio da Montelupo. Agostino executed some works in S. Marta, a convent of nuns in Milan, among which, although it is difficult to obtain leave to enter that place, I have seen the tomb of Monsignor de Foix, who died at Pavia,[5] in the form of many pieces of marble, wherein are about ten scenes with little figures, carved with much diligence, of the deeds, battles, 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.

A rival of Agostino was one Cristofano Gobbo, who also executed many works in the façade 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 in the Life of Giulio Romano, built many churches and palaces throughout all Milan, and, in particular, the convent, church, and façade of the Nuns of S. Caterina at the Porta Ticinese, with many other buildings similar to these.