mely, which was above the epitaph already
mentioned), there was to be seen, to suggest Sculpture, Michelagnolo
speaking with a woman, who by many signs could be recognized as
Sculpture; and it appeared that he was taking counsel with her.
Michelagnolo had about him some of the most excellent works that he
executed in sculpture; and the woman held a little tablet with these
words of Boethius:

SIMILI SUB IMAGINE FORMANS.

Beside that picture, which was the work of Andrea del Minga, and
executed by him with beautiful invention and manner, there was on the
left hand the statue of Sculpture, wrought very well by the sculptor
Antonio di Gino Lorenzi. In the fourth of those four scenes, which
faced towards the organ, there could be seen, to suggest Poetry,
Michelagnolo all intent on writing some composition, and about him the
Nine Muses, marvellous in their grace and beauty and with their
distinctive garments, according as they are described by the poets,
and before them Apollo with the lyre in his hand, his crown of laurel
on his head, and another crown in the hand, which he made as if to
place on the head of Michelagnolo. Near the gladsome and beautiful
composition of this scene, painted in a very lovely manner, with most
vivacious and spirited attitudes, by Giovan Maria Butteri, there was
on the left hand the statue of Poetry, the work of Domenico Poggini, a
man much practised not only in sculpture and in striking impressions
of coins and medals with great beauty, but also in working in bronze
and likewise in poetry.

Of such a kind, then, was the ornamentation of the catafalque, which
so diminished from course to course that it was possible to walk round
each, and it was much after the likeness of the Mausoleum of Augustus
in Rome; although perchance, from being rectangular, it rather
resembled the Septizonium of Severus, not that near the Campidoglio,
which is commonly so called in error, but the true one, which is to
be seen in stamp in the "Nuove Rome," near the Baths of Antoninus. Up
to this point the catafalque had three levels; where the Rivers lay
was the first, the second where the pairs of figures rested, and the
third where the single figures had their feet. From this last level
rose a base, or rather, socle, one braccio high, and much less in
length and breadth than that last level; upon the projections of that
base sat the above-named single figures, and around it could be read
these words:

SIC ARS