Upon his monument the hand was modelled from his own, and the face is very like him, for he was most lovely in his person, but still more in his soul." While contemplating this monument of the young cardinal, we feel that the Italians of that age understood sepulchral sculpture far better than their immediate successors.

They knew how to carve the very soul, according to the lines which our Webster, a keen observer of all things relating to the grave and death, has put into Jolenta's lips:-- But indeed, If ever I would have mine drawn to the life, I would have a painter steal it at such time I were devoutly kneeling at my prayers; There is then a heavenly beauty in't; _the soul Moves in the superficies_.
The same Webster condemns that evil custom of aping life and movement on the monuments of dead men, which began to obtain when the motives of pure repose had been exhausted.

"Why," asks the Duchess of Malfi, "do we grow fantastical in our death-bed?
Do we affect fashion in the grave ?" "Most ambitiously," answers Bosola; "princes' images on their tombs do not lie as they were wont, seeming to pray up to heaven; but with their hands under their cheeks (as if they died of the toothache): they are not carved with their eyes fixed upon the stars; but, as their minds were wholly bent upon the world, the self-same way they seem to turn their faces." A more trenchant criticism than this could hardly have been pronounced upon Andrea Contucci di Monte Sansavino's tombs of Ascanio Sforza and Girolamo della Rovere, if Bosola had been standing before them in the church of S.
Maria del Popolo when he spoke.

Were it the function of monumental sculpture to satirise the dead, or to point out their characteristic faults for the warning of posterity, then the sepulchres of these worldly cardinals of Sixtus IV.'s creation would be artistically justified.

But the object of art is not this.