On one side is seen a wild boar between the legs of the soldiers; and on the other, a female figure, quite nude, prostrate on the earth before a rearing horse, which some soldiers are endeavouring to restrain.
In the centre of the basso-relievo is an old man expiring, surrounded by several persons; and at one end a soldier, bearing arms on his shoulder, has been left unfinished by the sculptor; there not being sufficient space for the figure, which is partly designed on the adjoining pilaster.
On the east front is a winged female bearing the attributes of Victory, with several women and warriors, and an allegorical personage said to represent a river, because it holds in one hand a symbol of water.

This last figure, also, is partly sculptured on the contiguous pilaster, as is the one previously noted, which proves that these ornaments were not executed at the time of the erection of the edifice.
The pediment has a simple cornice around it, and the angles are finished by voluted pilasters without a base, but with Ionic capitals, which have an extraordinary effect.

Above the basso-relievo is a massive garland, supported by three boys, at equal distances; and between them are four heads of old men, as hideously grotesque as the imaginations of the sculptors could render them.
The first stage of the mausoleum which rises from this pedestal is pierced by an arch on each side, in the form of a portico, and their archivaults are ornamented by foliage and scrolls.
The arches rest on plain pilasters, with capitals more resembling the Doric than any other order of architecture.

On the keystone of each arch is the mark of a youthful male head, surmounted by two wings.

The four angles of the first stage are finished by a fluted column, with a capital charmingly executed, like, but not quite, the Corinthian.