Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/371

Rh the first and greatest has been accorded to his name. Tor this reason the figure of Art had Envy beneath her feet; the latter, an old woman, meagre, worn, and with viperous eyes, which, together with all her countenance and every feature, were breathing poison and bitterness; she wore a girdle of snakes about her waist, and had a serpent in her hand. These figures were executed by a youth of very tender age, called Lazzaro Calamec of Carrara, who, though still but a child, has given evidence of most distinguished talent, both in painting and sculpture.

It was by his uncle, Andrea Calamec, who was a disciple of Ammannato, that the two figures placed on the fourth pedestal were prepared; these were opposite the organ, and looked towards the principal door of the Church. The first of the two represented Diligence; for those who act but feebly, and effect but little, cannot hope to attain the excellence of Michelagnolo, who, from his fifteenth to his ninetieth year, never ceased to labour earnestly, as we have said above. This figure, most appropriate to the monument of such a man, exhibited the appearance of a bold, powerful youth, having small wings a little above the wrist, to intimate the promptitude and facility of his operations. Beneath him, as his captive, was Indolence or Idleness; a heavy, weary-looking woman, bearing an impress of sleepy dulness over all her person.

These four groups, arranged as here described, formed a beautiful and magnificent composition, and had all the appearance of being in marble, the terra having been covered with a coat of white, which had succeeded admirably. Erom the level platform on which they were placed, there rose another basement, also quadrangular, and about four braccia high, but neither so long nor so broad as that below, which surpassed it by all the space occupied by the figures abovedescribed. On each side of the second basement was a Picture six and a half braccia wide and three high; and over these arose a platform, similar to but smaller than that beneath, on each angle of which was a projecting socle occupied by a seated figure, somewhat larger than life. These four statues, all of women, were readily perceived, by the instruments beside them, to be Painting, Sculpture, Architecture, and Poetry, and were judiciously placed here, as the Life of Michelagnolo, above written, may fully prove.