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 I)
 
 ^DORING M.ADONNA.
 
 HISTORICAL HANDBOOK 
 
 OF 
 
 ITALIAN SCULPTURE 
 
 BY 
 
 CHARLES C. PERKINS 
 
 CORRESPONDING MEMBER OF THE FRENCH INSTITUTE 
 AUTHOR OF "TUSCAN SCULPTORS," "ITALIAN SCULPTORS' 
 
 ILLUSTRATED 
 
 NEW YORK 
 
 
 
 
 CHARLES SCRIBNER'S 
 
 SONS 
 
 
 
 3.883 
 
 
 9 > 
 
 > -9 J 
 
 -» i 
 i i i 
 
 
 i 
 
 
 > > > 
 
 1473S1
 
 Copyright, 1882. by 
 CHARLES SCRIBNER'S SONS. 
 
 PRESS OF J. J. LITTLE 1 CO., 
 NOS. 10 TO 20 ASTOf f^LACE, NEW TC««. 
 
 
 C » <
 
 
 hJ 
 
 Etruscan Bas-rglib? from Cninsi. (Muade Napoleon III. au Louvre.) 
 
 PREFACE. 
 
 Greek sculpture of tlie fifth century before the Christian era, 
 ^ and Itahan marble work of the tenth century after it, are re- 
 ^ spectively the extremes of what is highest and what is lowest 
 J in plastic art, for the first belongs to a period of assthetic 
 ? culture never since reached, and the last to one of artistic 
 ignorance greater perhaps than any elsewhere met with in the 
 history of a civilized nation. Varying between Byzantinism, 
 which regulated all forms of art by strictly conventional rules, 
 and Medifevalism, which regarded them solely as a means oi 
 conveying doctrinal instruction through symbolic or direct 
 representation, sculpture in Italy had dragged out a feeble 
 existence for many centuries before the year 1000 when the 
 end of the world was confidently expected, and had then almost 
 ceased to" be. As the dreaded moment approached, men 
 thought only of how they could save their souls or drown their 
 anxieties, and not until it had passed did they breathe freely 
 enough to occupy themselves with life and its activities. 
 Among these, art at once claimed attention, as gratitude for 
 deliverance found natural expression in the building of new 
 churches or the restoring of those which through neglect were 
 fast falling to ruin, and as sculpture formed an integral part of 
 their fagades and portals, improvement in the use of the chisel 
 soon began to show itself, though no real revival took place in 
 the decorative arts until the first quarter of the thirteenth
 
 ii Preface, 
 
 century, with which our history properly begins. Its seat was 
 Tuscany, and its leader was Niccola Pisano, of whom we shall 
 speak, after giving some account of sculpture in Italy before 
 his time and as he found it. We use the word sculpture, 
 which implies technical and aesthetic training, instead of stone 
 carving, which more properly expresses the nature of much of 
 the work which we are to consider, simply because it is a more 
 convenient form of speech, and not as implying artistic excel- 
 lence in Italian works of the eleventh and twelfth centuries. 
 Their makers, who modestly styled themselves ''Maestri di 
 Pietra," i.e. stonecutters, and " arte marmoris periti," men 
 skilled in marble work, then first began to sign their works, and 
 to be lauded in fulsome inscriptions, which while they show 
 that art was held in esteem also prove the low standard of an 
 age, when the clumsiest workmen were looked upon as prodigies 
 of genius. 
 
 In preparing this volume for the press from materials already 
 made use of in a larger work on the same subject, and from 
 those which have been added to the common stock of informa- 
 tion since its publication, I have thought it best to speak 
 of Pre-revival sculpture throughout Italy in an introductory 
 chapter, and to begin the work — proper with the Eevival. After 
 that era, as the personality of the sculptor becomes more and 
 more pronounced, biographical materials increase, until in the 
 case of such representative men as Michelangelo little remains 
 to be discovered. Modern research is however constantly active 
 in the pursuit of fresh information, so that we can never con- 
 sider what we know at any given time as final, but the historian 
 can do no more than avail himself of present acquisitions, and 
 this I have endeavoured to do, 
 
 " AI3 ik kan, nict als ik wil." 
 
 Boston, December, 1882i
 
 CONTENTS, 
 
 INTRODUCTION. 
 
 SECTION I. 
 
 PAGB 
 
 Sculpture in Nortfeun Italy before the Eevival . . . ix 
 
 SECTION II. 
 ycuLPTUKE IN Southern Italy beeore the Eevival . . . sxix 
 
 SECTION III. 
 
 SCDLPTUEE in CENTUAIi ItALY BEFORE THE EeVIVAX, . ., , lu 
 
 BOOK I. 
 The Eevival and the Gothic Period. 1240 to 1400. 
 
 CHAPTEE I. 
 
 NiCCOLA PiSANO 3 
 
 CHAPTEE II. 
 The Scholars of TSTicco.la Pisano 23 
 
 CHAPTER III. 
 Andrea Pisano and his Scholars 35 
 
 CHAPTEE IT. 
 SlEK/j. 51 
 
 BOOK II. 
 
 The Early Renaissance, 
 
 CHAPTEE I. 
 Ghiberti and Donatello 73
 
 *v Conte.nts, 
 
 CHAPTER II. 
 
 PAGB 
 
 1. — The ScnoLAKS of Bkunellesciii . ,; .... 108 
 
 2. — The Scholars of Ghibeeti 109 
 
 3. — The Scholars op DonateIlo 117 
 
 CHAPTER III. 
 The Robbias, Mino, Civitali, Benedetto da Majai^o, Atsdrfa 
 
 FeKUCCI, KusTICI and BARTOLOilEO DA MoNTELUPO . .139 
 
 CHAPTER IV. 
 The Abf.uzzi, Andrea dall' Aqtjila. IsTaples, Andrea Ciccione. 
 Rome, Paolo Romano. Lombardy, Jacobino da Teadate, 
 The Mantegazza, Omodeo, Ambrogino da Milanc. Vsnici, 
 Calendario, The Ducal Palace, Tombs at Yenice, Giovanni 
 AND Bartolomeo Bon, Pietro Lombardo, Guido Mazzoni , 163 
 
 BOOK III. 
 
 The Later Eenaissance. 1500 to 1600. 
 
 CHAPTER I. 
 Andrea Sansovino, Jacopo Tatti, Jacopo Sanpoi'ino, Era?: c esc j 
 
 Di Sangallo, Benedetto da Rovezzano and Torriglano . 237 
 
 CHAPTER II. 
 Michelangelo 251 
 
 CHAPTER III. 
 
 Bandinelli, Ammanati, Rapi'Aello da Monteltjpo, Lorenzetto, 
 
 MoNTORSOLi, Cellini, and Gian Bologna .... 309 
 
 CHAPTER IV 
 
 Non-Tuscan Sculptors and their Works from 1500 to 1600 . 341 
 
 APPENDIX 387 
 
 INDEX TO TOWNS 405 
 
 INDEX OF ARTISTS' NAMES 423
 
 LIST OF ILLUSTRATIONS. 
 
 BOOK I. 
 
 FAQB 
 
 Frontispiece. 
 
 Title-page. Italo Byzantine. Marble disk. Campo Santo, 
 
 Pisa 
 Preface. Etruscan bas-relief from Chiusi. Louvre, Paris . i 
 
 1. Byzantine saint. Stucco. Eighth century. Sta. Maria della 
 
 Valle. Cividale xii 
 
 2. Descent from the Cross. Benedetto Antelami (1178). Boiardi 
 
 Chapel, Dnomo, Parma . . ..... xviii 
 
 8. Head of Heraelius. Bronze. Byzantine. Seventh century. 
 
 From Statue at Barletta, Apulia ...... li 
 
 4. Adam and Eve, from Sarcophagus of Junius Bassus (359). 
 
 Crypt of St. Peter's, Rome Hi 
 
 5. Ascension of Elijah. Early Christian bas-relief. Fourth or 
 
 fifth century. Laterau Museum, Rome .... liii 
 C. Angel, by Rudolfinus (1167). Portal of S. Bartolomeo, Pistoja Ixiii 
 7. Tail-piece. Paschal Candlestick. Marble. By Niccolo di Angelo 
 
 (1148). S. Paolo, f. le m. Rome Ixiv 
 
 CB AFTER I. 
 
 8. The Deposition. Alto-relief, by Niccola Pisano. Side portal 
 
 of San Martino, Lucca. About 1240 10 
 
 9. Miracle, by St. Dominic. Bas-relief on "Area di San Dome- 
 
 nico." Niccola Pisano (1267). 16 
 
 10. Tail-piece. Allegorical figures from the fountain at Perugia. 
 
 Niccola and Giovanni Pisano (1274) 22 
 
 CHAPTER IL 
 
 11. Group symbolic of the Evangelists. Sant' Andrea, Pistoja. 
 
 Giovanni Pisano (1303) • . 32 
 
 12. Tail-piece. Madonna and Child. Ivory statuette. Sacristy, 
 
 Duomo, Pisa. Giovanni Pisano ,34
 
 Yi List of Illustrations, 
 
 CHAPTER III. 
 
 PAOK 
 
 13. Angel announcing lier approaching death to the Madonna. 
 
 Bas-relief from tabernacle at Or-Sau Micliele, Florence, by 
 Andrea Orgagna. (About 1350) 48 
 
 14. Portrait of Orgagna. Tabernacle at Or-San Michele. Andrea 
 
 Orgagna. (About 1850) 50 
 
 CHAPTER lY. 
 
 15. Angels from the Pier of Creation, Fa9ade of the Duomo, 
 
 Orvieto. (Before 1330) 54 
 
 16. St. Catharine. Bas-relief. Trenta chapel at San Frediano, 
 
 Lucca. By Giacomo della Quercia. (About 1416) . , 70 
 
 BOOK II. 
 
 CHAPTER I. 
 
 17. Female figure from a bas-relief of the Baptism of our Lord. 
 
 Baptistry Font, Siena. Lorenzo Ghiberti. (About 1427) . 83 
 
 18. Equestrian statue of Gattamelata, Padua. By Donatello. 
 
 (About 1445) 101 
 
 19. Tail-piece. Israelites taking corn from Egypt. From second 
 
 Baptistry Gate. L. Ghiberti. (1447) .... 107 
 
 CHAPTER IL 
 
 20. Effigy of Pope Sixtus IV. Chapel of the Sacrament, St. 
 
 Peter's, Rome. Antonio Pollajuolo (1493) . . . .115 
 
 21. Allegorical relief, from monument of Sixtus IV., by Antonio 
 
 Pollajuolo (1493^ 116 
 
 22. San Giovannino. Louvre, Paris. By Mino da Fiesole. (About 
 
 1455) 138 
 
 23. Zachariah. Statue, by Matteo Civitali. Duomo, Genoa. 
 
 (About 1420) 152 
 
 24. Tail-piece. St. John the Baptist. Bargello, Florence. By 
 
 Benedetto da Majano. (Before 1480) 162 
 
 CHAPTER IV. 
 
 25. Saints in relief. Tomb of Maria da Durazzo. Sta. Chiara, 
 
 Naples. (About 1330) 168 
 
 26. Angels in flat relief ; at the Certosa, Pavia; by the Brothers 
 
 Mautegazza. (About 1480) 184
 
 List of Illustrations. vii 
 
 I'Aan 
 
 27. Bas-relief from a cliimtiey-piece in the Ducal Palace atUrbino, 
 
 by Ambrogio da Milano. (About 1470) .... 194 
 
 28. Virtue. Statuette. Porta della Carta, Ducal Palace, Venice. 
 
 Giovanni and Bartolomeo Bon. (About 1440) . . . 209 
 
 29. Tailpiece. Lion of St. Mark. Piazzetta, Venice. (Thirteenth 
 
 century ?) 234 
 
 BOOK III. 
 
 CHAPTER I. 
 
 30. Effigy of Bishop Bonafede. Certosa, Florence. By Francesco 
 
 di Saiigallo. (About 1526) . 245 
 
 31. Tail-piece. Head of a boy possessed with a devil. Bas-relief 
 
 from the tomb of San Giovanni Gualberto. By Benedetto 
 
 da Eovezzano. (About 1512) ...... 250 
 
 CHAPTER II. 
 
 32. Tail-piece. Cupid. S. Kensington Museum. Michelangelo . 308 
 
 CHAPTER III. 
 
 33. Church Fathers. Church of the Servites, Bologna. By Mon- 
 
 torsoli. (After 1557) 323 
 
 34. Perseus. Loggia de' Lanzi, Florence. By Benvenuto Cellini 
 
 (1.546) 331 
 
 35. Angel. San Petronius, Bologna. By II Tribolo. (About 1528) 336 
 30. Mercury. Bargello, Florence. Gian Bologna. (About 1559) . 337 
 
 37. Bronze Venus. Statuette. Fountain at Petraja. By Gian 
 
 Bologna .......... 339 
 
 38. Tail-piece. St. Cosimo. Sacristy of San Lorenzo, Florence. 
 
 By Montorsoli (1526 ?) . . 340 
 
 CHAPTER IV. 
 
 39. St. Jerome. Giustiniani Chapel, S. Francesco della Vigne, 
 
 Venice 357 
 
 40. Head of Bartolomeo Coleoni, from equestrian statue. Piazza 
 
 of S. Gio. e Paolo, Venice. Alessandro Leopardi. (About 
 1490) . . 361 
 
 41. Jacopo di San Severino, from his monument in San Severino, 
 
 Naples, by Merliano da Nola. (After 1516) . . .368 
 
 42. Tail-piece. Sta. Chiara, at Sta. Maria de' Miracoli, Venice. By 
 
 Girolamo Campagna (1591) 386
 
 1 
 
 V 
 
 I
 
 IX 
 
 INTRODUCTION. 
 
 SECTION I. 
 
 SCULPTUEE IN NORTHERN ITALY BEFORE 
 
 THE REVIVAL. 
 
 LOMBARDY. 
 
 The Goths who overran Italy at the end of the fourth century 
 were fortunately under the control of a leader who, though him- 
 self so illiterate that he could not write his own name, had 
 imbibed at the Court of the Emperor Zeno such u respect for 
 arts and letters that when he became master of the better part 
 of the Western Empire he used his power to protect ancient 
 monuments from injury, and for a time stopped the wanton 
 destruction of those vestiges of the past. With a shrewd fore- 
 sight, which recognized the conditions necessary for the main- 
 tenance of his authority, Theodoric (475-526) stimulated the 
 Italians to the cultivation of arts and letters, while he kept the 
 Goths out of the reach of such humanising influences, lest in 
 becoming civilized they should fall off from their high state of 
 military discipline. The palaces which he erected at Terra- 
 cina, Ravenna, Verona, and Pavia,* were built by Italian archi- 
 tects who were ignorant of any other style of architecture than 
 that which was based upon the round arch, and imitated the 
 old Roman buildings as far as their inferior skill would allow. 
 The debased Roman was therefore the only style employed in 
 Italy during the period of Gothic rule, and it was not till seven 
 hundred years after its overthrow that the pointed style, to 
 which the name of Gothic has been most erroneously attached, 
 crossed the Alps and took an always uncertain foothold in the 
 peninsula. 
 
 While Italian architects and mosaic-workers built and 
 
 * Cantu, Storia degli Italiani, ii. 25.
 
 X Historical Handbook :)/ Italian Sculpture. 
 
 decorated the edifices of Gothic kings, Italian marble-workerg 
 adorned sarcophagi with such rude bas-reliefs as we see in the 
 Lateran museum at Rome and about the streets of Kavenna, 
 but they made no statues,* and were so inferior to Byzantine 
 sculptors that St. Ecclesius, Bishop of Ravenna, on returning 
 from ByzantMTin, where he had witnessed the immense enthu- 
 siasm of Justinian and his people in the construction of Santa 
 Sophia, determined to employ only Greek workmen upon the 
 church of San Vitale.f The introduction of the Byzantine stjde 
 into Italy thus effected was productive of important results, for 
 as it was gradually blended with the classical Roman, with which 
 it was then first brought face to face, a third great style was 
 formed, known as the Romanesque, Romano-Byzantine, Lom- 
 bard or Comacine. The two first names sufiiciently denote their 
 origin, but the two last demand some explanation. That of Lom- 
 bard as applied to any art is an absolute misnomer, if supposed 
 to be derived from the barbarous tribes who crossed the Alps 
 under Alboinus, king of the Lombards or Longobards, reduced 
 the greater part of Italy to subjection and ruled it for nearly 
 two centuries, since they like the Goths were ignorant and 
 unlettered. It was not because the new style of architecture, 
 which sprang up in Italy during their dominion, originated 
 with them, that the name of Lombard was applied to the manner 
 of building then prevalent, but because the greater part of 
 the southern as well as the northern Italian provinces were 
 comprehended under the name of Lombardy. The name ot 
 Comacine was derived from a body of Italian architects who 
 built for the Lombards, and kept art traditions alive while their 
 rule lasted. For twenty years after Alboinus and his followers 
 overran the plains of Lombardy, the Isoletta Comacina (an 
 island in the Lake of Como), which held out against their 
 power under Francioue, an imperial partisan, contained numbers 
 of fugitives from all parts of Italy, amongst whom were many 
 
 * The equestrian group wliich savrcnuded the pediment of Theodoric'a 
 palace at Eavenna was a portrait of the Emperor Zeno cast at Constanti- 
 nople. It bore a shield upon its left shoulder and a lance in its out- 
 stretched right hand. Birds flew in and out of the distended nostrils of 
 the horse and built their nests in his belly (Agnelli, Llher PontificallSf 
 pt. ii. ch. ii. p. 123 ; Mur. Sc. Iter. It. vol. ii.). 
 
 t Completed by St. Maximin a.d. 546-556.
 
 Introduction. xi 
 
 skilled artisans known as the Maestri Comacini, a name 
 afterwards changed into that of " Casari " or '' Casarii," — 
 builders of houses. After they had submitted to the invaders 
 (a.d. 590) their college or guild was favoured by the Lombard 
 kings ; its members were affranchised, made citizens, and 
 allowed certain important privileges, but there is no evidence 
 that the Lombard kings did anything to protect arts, com- 
 merce, or industry before the reign of King Eotari (a.d. 636 
 -652), whose code of laws contains -special enactments for the 
 protection of the Maestri Comacini, and a recognition of their 
 free jurisdiction in the name given to them of Free-masons. 
 During the early period of Lombard rule, while the country was 
 suffering from war and pestilence, these artisans found little 
 employment, but their situation was ameliorated after the con- 
 version of the Lombards from Arianism to CatholicismT" 
 through the influence of Queen Theodolinda, the Bavarian and 
 Catholic wife of their King Agilulph. To commemorate his 
 change of faith, the queen employed Comacine architects to 
 build the Cathedral at Monza, where they represented her with 
 other members of her family, and the precious gifts with which 
 she endowed the Church, in a bas-relief of the Baptism of our 
 Lord, which still exists over its chief portal. 
 
 A hundred years after her time other Comacine masters 
 worked at Cividale in the district of Friuli, with the same 
 methods of construction, and the same lack of skill in the use 
 of the chisel. Their architecture and sculpture are chiefly in- 
 teresting as examples of a transitional period, when Eoman 
 and Byzantine elements hesitated in each other's presence 
 before uniting in the Romanesque. The most imjjortant of 
 these Comacine works is the octagonal font in the Cathedral 
 which was erected by St. Calixtus, Bishop of Aquileja, about 
 737. The spaces between the slender columns with rude 
 Corinthian capitals which support its roof aro spanned by 
 round arches, whose spandrils are adorned with clumsily repre- 
 sented Christian emblems. The bases of the columns rest 
 upon a marble parapet decorated with figures symbolical of the 
 four Evangelists. These figures and an ornate Greek cross 
 with candelabra and palmettos, are executed in relief by 
 lowering the surface of the stone around the clumsy outlines, 
 within which the details are indicated by furrows dug out in 
 
 h 2
 
 xii Historical Handbook of Italian Sctdptnre. 
 
 the stone. The sarcophagus of Pemone, Duke of Friuli, 
 under the high altar of the Church of San Martino is contem- 
 }3orary with them, and equally rude in style. Our Lord is there 
 represented as borne upwards by four angels in an aureole 
 formed of leaves within which are two other angels, marked as 
 cherubim by the eyes upon their wings. The hand of the 
 Father is sculptured above the head of the Son, and stars and 
 flowers are scattered about the background. In the bas-rv)lief 
 of the Adoration of the Magi* at one end of the sarcophagus, 
 and in that of the meeting of Mary and Elizabeth at the 
 other, the Madonna has a cross cut upon her forehead, instead 
 of having it traced upon a veil as in early Greek manuscripts. 
 The faces of the figures are without expression, and their pro- 
 portions are short and clumsy. Their outlines, features, and 
 
 folds of drapery were originally 
 rendered more distinct by colour, 
 traces of which are still visible. 
 Numerous fragments of orna- 
 ments and animals in the same 
 Italo-Byzantine style are set 
 into the wall of the atrium of 
 the church of Santa Maria della 
 Valle,f where they may be easily 
 compared with the genuine By- 
 zantine figures and stucco orna- 
 ments inside its portal, which 
 were probably executed for Pel- 
 truda, wife of a duke of Friuli, 
 who founded the adjoining 
 monastery, by some of those 
 artists who took refuge in Italy 
 during the Iconoclastic war. 
 The archivolt of the portal is 
 completely covered with a vine, boldly modelled in open work. 
 
 * The three Kings are said to be portraits of Eachis Duke of Friuli, 
 and his brothers Aistulf and Ratcait. 
 
 t See Tavole Chronologicho della Storia della Chiesa universale, illus- 
 crate de Ignazio Mozzani. sec. 8, pp. 96, 97, for a mention of Sta. Maria 
 della Valle, also the work of M. de Dartein on Lombard architecture, 
 pt. ii. ])p. 30 et sej.
 
 Introduction. xlii 
 
 Above it are six life-size statues of SS. Anastasia, Agape, 
 Chiouia, Irene, Cbrysoguus and Zoiles, wliose long propor- 
 tions, rigidity of i)ose, and j^eculiar type of face give them the 
 appearance of the saints represented in Byzantine mosaics 
 and ivories. They wear crowns upon their heads, and are 
 clothed in closely fitting robes, whose borders are ornamented 
 with gems disposed in regular patterns. {See wood-cut, p. xii.) 
 It is important to remember that many of the early Italian 
 churches have been so completely changed by restoration as to 
 retain but few traces of their original aspect, while the date 
 of the sculptures about them, when history fails us, can only 
 be conjectured, as they often belong to a later period than the 
 buildings. The capitals of the columns of the church of San 
 Salvatore at Brescia, for instance, some of which are Byzantine 
 and others rude imitations of the Corinthian, certainly belong 
 to the same period as the edifice, which was built by the Lom- 
 bard king Desiderius and his wife Ansa in the eighth century 
 (769), while the capitals of the white and red marble colonnettes 
 formerly in the confession, and now in the museum, cannot 
 have been sculptured before the tenth century, as one of them 
 is adorned with representations of the martyrdom of Santa 
 Julia, whose worship did not obtain favour at Brescia until 
 after that time.* So also the stucco ornaments and reliefs at 
 San Pietro di Civate (in the territory of Brienza, on the moun- 
 tains near the Lake of Como), which was built by the same 
 king in fulfilment of a vow made to St. Peter when his son 
 Adelchi was struck blind while hunting, are of several diflerent 
 periods, though none appear to be contemporary with the 
 building itself. The grifiins, chimeras, fantastic animals and 
 fishes, with the interlaced ornaments resembling those upon 
 Scandinavian monuments, indicate that influence of northern 
 traditions, which shows itself in similar sculptures of the 
 eleventh century about Apulian churches, but the subjects in 
 relief from the life of our Lord belong to a later period, for 
 the Resurrection and the Passion were not directly represented 
 in this part of Italy before the twelfth century. So again, 
 while the rudely-shaped animals and monstrous figures about 
 the facade of San Michele at Pavia, and the clumsy images 
 of Sau Michele and of a bishop above its pediment, are works 
 
 * Eicci, op. ciL i. 256, 25S.
 
 XIV Historical Handbook of Italiaft SculpttLre. 
 
 of the eleventh or twelfth century, the church is a huilding of 
 the tenth, erected upon the site of an old edifice founded by 
 King Grimoaldus, which was burnt down when the Hungarian 
 mercenaries of the Emperor Adalbert set fire to the city. 
 
 Milan. 
 
 While Theodoric made Pavia a royal residence, and the 
 Lombards embellished Llonza, Milan was left in the low state 
 to which Uriah, the nephew of Yitiges Kiug of the Goths, had 
 reduced her in the fifth century. Her double walls, her theatres, 
 temples, and peristyles adorned with statues, mentioned in the 
 verses of Ausonius, were then thrown down and destroyed, 
 and this city, which had been the first in Italy after Eome, did 
 not regain her former position for more than five hundred years. 
 The remains of early sculpture at Milan are consequently of 
 little importance, and only x^orthy of attention as connected 
 with the history of art. The earliest are a sarcophagus of 
 the fourth century in the church of S. Celso, which differs in 
 no respect from works of the same class and period at Rome 
 and Ravenna, and a rudely executed bas-relief of the eighth 
 century on the outside of the church of Sta. Maria di Beltrade, 
 which is interesting on account of the connection of its subject 
 with the period in which it was sculptured. It represents a 
 bishop preceded by monks bearing an image of the Madonna 
 and Child upon their shoulders, and followed by torch-bearers. 
 The man with a long beard who closes the procession (called 
 "Delia Idea") is supposed to be the '' Primiciero "* of the 
 "Scuola di Sant' Ambrogio," a society of twenty male and 
 female beggars, to whom alms were distributed at certain 
 seasons of the year, among whose benefactors was Archbishop 
 Anspertus, the regenerator of Milan. 
 
 With the exception of Anspertus and his predecessor 
 Angibertus, the Archbishops of Milan, who held the first rank 
 among Italian ecclesiastics and were the real rulers of the city 
 under the weak successors of Charlemagne, did little for any 
 of the arts. Angibertus erected the ciborium at Sant' Ambrogio 
 
 * From his dress we might suppose this to be a priest, did we not 
 know that priests were not allowed to wear beards at that time (Giulini, 
 Mem. di 3IilanOf i. 305).
 
 Introduction, xv 
 
 (a.d, 835) whose gables are adorned with long-proportioned 
 symmetrically - disposed figures in relief of a thoroughly 
 Byzantine ty^pe, and employed an artist named Wolvinus to 
 make a series of bas-reliefs in gold to decorate the high altar. 
 
 The wealth and power of the Milanese archbishops culminated 
 in the person of Heribert or Aribert, an ambitious and w^arlike 
 prelate, who assuming the right to dispose of the crown of Italy, 
 offered it at the Council of Constance, to the German emperor 
 Conrad, placed it on his head in the cathedral at Milan, 
 and entertained him and his suite with princely magnificence 
 for many weeks after the ceremony. His chief title to remem- 
 brance is the invention of the Caroccio, which was adopted by 
 the principal cities of Northern Italy, and proved a powerful 
 element of military success, as its loss in battle was a disgrace, 
 and its possession by the enemy the surest proof of victory. It 
 consisted of a huge car with a lofty mast, surmounted by a 
 crucifix standing on a gilded globe, from which floated two long 
 white banners. An altar for the celebration of mass, the 
 military chest, and all kinds of medicines and bandages for 
 wounded soldiers were carried upon it, and it was always 
 kept in the midst of the army while in the field, so as to show 
 where the commander stood, where the disabled could find 
 succour, and where fugitives could rally in safety. The 
 Milanese regarded their caroccio with so much affection, that 
 when Frederic Barbarossa ordered it to be broken up (a.d. 11G2) 
 their emotion affected even his rough soldiers to tears,* but 
 they took their revenge upon him at Legnano five years ^ 
 later, and then consecrated the rude Byzantine-looking crucifix 
 W'hich towered above the Caroccio on that memorable day in 
 the church of San Calimaro,f where it still remains. \ 
 
 The victory of Legnano is also commemorated by the bas- 
 reliefs of the Porta Romana, Avhich represent the trium- 
 phant citizens returning to their half-destroyed homes, headed 
 by a monk named Frate Jacopo, who bears the city banner 
 in his hand, and accompanied by their allies from Cremona, 
 
 * Kington's Life of Frederic II., i. 52. 
 
 t The figure of our Lord in low relief is both coloured and gilded. 
 Below it Archbishop Heribert is represented holding the model of the 
 church of St. Dionysius in his hand. The square nimbus around liia 
 head proves that the crucifix was made during his lifetime.
 
 xvi Historical Handbook of Italian Sculpture. 
 
 Brescia, and Bergamo. One of the inscriptions upon the gate 
 records the name of Anselmus as the sculptor, and hails him 
 as a second Dtedalus,* hut in applying to him a name which 
 stood to his coutemporaies as typical of the perfect sculj)tor 
 they showed their own ignorance, for art could hardly reach a 
 low^er stage than in these short, clumsy, thickset figures, dang- 
 ling in the air like a row^ of dolls wdth pendant feet and shape- 
 less hands. The contempt of the Milanese for Barbarossa 
 expressed itself in two bas-reliefs of himself and his wife, the 
 Empress Beatrice, one of which is a hideous caricature, and 
 the other too grossly obscene for description. f In the first the 
 Emperor is represented as a bareheaded and long haired monster, 
 holding a sceptre in one hand and resting the other upon his 
 thigh. His feet are crossed, and he holds between his knees 
 a nondescript creature with a human head, bat's ears, a dragon's 
 scaly breast and wdngs, and fishes' fins in lieu of arms.+ 
 
 As Milan increased in power and wealth, the monuments in 
 her churches w^ere so greatly multiplied, that at the end of the 
 fourteenth century they are said to have been no less than 
 2,000 in number. Many of those in the Cathedral were re- 
 moved by San Carlo Borromeo, and others, such as the twelve 
 marble statues given by Pope Urban II. in 1220, a pulpit 
 made by a certain Oprando da Busnate, and divers tombs of 
 the Sforzas and the Viscontis have disappeared, so that the red 
 marble sarcophagus supported upon columns in which Arch- 
 bishop Otho Visconti (d. 1256) was buried, is now the only exist- 
 *' ing monument to a member of either family in the Cathedral. 
 It may be the work of one of the Campionesi, so called from 
 Campione, their native district on the shores of the Lago 
 
 * " Hoc opus formavit Anselmus Dasdalus ale." " Ale " has been siip- 
 posed to stand for " alter," or to be an abbreviation of Alexandrinus. 
 " Dasdalus ale " has also been read as " De Dalus arte " (see Millin, Voyage 
 dans le Milanais). 
 
 t This bas-relief, which long disgraced the Porta Tosi, is now preserved 
 in the Palazzo Archinti. It is sculptured on the back of a Eoman cippus, 
 whose inscription says that Publius Futilius had it made for himself and 
 his three sons. 
 
 J Fiamma, the chronicler, says this figure was made for the Greek 
 emperor; but this cannot be, as he was an ally of the leaguers. Millin 
 calls it " Christ Conqueror of Satan." Giulini and Biondelli believe it to 
 be the portrait of Barbarossa. "When removed from the gate it was 
 eet up in the wall of a house overlooking the Naviglio.
 
 hitrodtiction. xvii 
 
 Ceresio, to whom we may also safely attribute whatever of an im- 
 proved style is to be found at or near Milan of an earlier date 
 than the beginning of the fourteenth century, as, for instance, 
 the equestrian alto-relief on the outer walls of the Broletto of 
 tJie Podesta Orlando di Tresseno, who is noted for having 
 first caused heretics to be burned at Milan (1233). He is 
 here represented with bared head, and hair cut close in the 
 neck, after the modern fashion, riding on a heavy limbed 
 horse. The group, though wanting in life, has a certain 
 homely truth to nature, and is interesting as being one of 
 the first works of its kind made in Italy since the days of 
 Justinian. 
 
 MODENA. 
 
 Five of the Campionesi, named Anselmo, Ottaccio, Enrico, 
 Alberto and Jacopo, were employed at Modena, about the 
 middle of the thirteenth century, to sculpture certain bas-reliefs 
 for the Chapel of the Holy Sacrament in the Cathedral. The 
 best among them is that of the Last Supper by Anselmo which, 
 though far from being a masterpiece, is not barbaric like the 
 reliefs of the victories of King Arthur over the Visigoths, 
 sculptured by Wiligelmus, a Lombard or German sculptor of 
 the twelfth century upon the fagade of the Cathedral. Their 
 figures, like those in the bas-reliefs of the Porta Romana 
 at Milan, lately described, have round staring eyes, pendant 
 limbs, and furrowed draperies, and rej)resent sculpture at its 
 lowest stage of degradation, while those in Anselmo's relief of 
 the Last Supper, although stiff and inexpressive, show some 
 knowledge of form, and some comprehension of the require* 
 ments of Art. 
 
 Parma. 
 
 Benedetto degli Antelami, who built the Baptistry at Parma, 
 and decorated it and the Cathedral with sculpture, was a much 
 more remarkable artist than his contemporary, Anselmo da 
 Campione. Like the Campionesi, and the Comacini, the 
 Magistri Antelami to whom Benedetto belonged, were a body 
 of architects and stone carvers, who derived their name from
 
 xviii Historical Handbook of Italian Scnlpttire. 
 
 the place of their origin. * Benedetto, who came from the Valley 
 of Antelamo, in the province of Como, between the lakes of Mag- 
 giore and Varese, is known to us only by his patronymic, and we 
 have no information as to his youth and education. In point of 
 technical skill he was not in advance of many of his contempo- 
 raries, but though he expressed himself in very broken language, 
 he had vastly more intelligence and feeling than any of them, 
 and is on this account to be classed as their superior. Eighteen 
 years before he built the Baptistry at Parma, and decorated 
 it with sculptures, which form his best title to remembrance. 
 
 J£(U 
 
 Descent from the Cross. (By Benedetto Antelami.) 
 
 he carved three bas-reliefs for a pulpit in the Cathedral (1178), 
 one of which, representing the Descent from the Cross, is now 
 preserved in the Boiardi Chapel (see woodcut). The figures 
 are stiff in pose, and scanty in proportion, but they form a 
 composition with a central group and side groups whose action 
 is concurrent. On the right of the cross, from which Nicodemus 
 detaches the body while Joseph of Arimathea supports it in 
 his arms, stand St. John and the Madonna, who assists the 
 flying angel above her head to hold up the drooping arm ot 
 her Divine Son. The corresponding group on the left, repre- 
 sents a priest who is pushed forward to the foot of the Cross by
 
 Inh'oditction. xix 
 
 a soldier and a flying angel. As he has the word Synagoga, 
 inscribed above his head, we may suppose that he is here 
 introduced as a type of the stiff-necked Jews. This striking 
 and so far as we know original idea, exemplifies those mystical 
 tendencies of Benedetto which found full expression in hia 
 works at the Baptistry (1196). The bas-reliefs of its three 
 portals illustrate the first and second coming of Christ, and 
 symbolize human life. Jacob and the twelve Patriarchs, with 
 Moses, who freed the children of Israel from slavery as Christ 
 liberated mankind from the thraldom of sin, and the kings 
 of David's line and the Madonna are represented upon the 
 side parts of the north portal as seated one above the 
 other upon the leaves of a vine, the tree of Jesse, whose 
 branches intertwine to enframe them. Around the archivolt sit 
 the prophets who foretold the coming of Christ, holding medal- 
 lions, upon which half figui-es of the apostles are carved in 
 relief. The frieze illustrates the history of our Lord and of St. 
 John the Baptist. Upon the side posts of the western portal 
 are the deeds of charity, which the Judge will enumerate 
 as the titles of the just "to inherit the kingdom prepared 
 for them from the beginning of the world," and the parable of 
 the Labourers of the Vineyard, divided into twelve parts to 
 represent the hours of the day. In the lunette sits Christ the 
 Judge, surrounded by angels bearing the instruments of 
 the Passion, and upon the architrave are other angels blowing 
 trumpets to call the dead to life. The principal decoration 
 of the southern portal is a bas-relief in its lunette, which repre- 
 seats a youth seated in the branches of a tree, gathering honey 
 from a honeycomb,* while two small animals are gnawing at its 
 
 * Many learned explanations have been given of this relief. See for 
 example, the Eevue Arclieologique, Paris, t. x. p. 289; Letter written by 
 Sig. Lopez to M. Isabelle ; Hammer, Antologia di Firenze, 1827, p. 84 ; 
 Valery, Voyage en Italie, t. ii. p. 210 ; Sacchi, AnticMsta Romantiche 
 (V Italia, epoca i. p. 117 ; M. le Dr. Duchalais, Letti-e a M. Lopez tlu 5 
 juin 18o4, imprime dans le xxii* vol. p. 307, cles Mcmoircs cle la Societe 
 Imperiale des Antiqioaires de France, 1855, in which he suggests that the 
 subject of the bas-relief was drawn from the legend of S. Barlaam ; 
 Didron, Annales Archeologiqnes,yo]. xv. p. 413, 1855. Sig. Lopez, op. cit. 
 p. 180, quotes the explanation given by Sig. Ab. Luigi Barbieri and 
 l)rinted in the Efemeride della Pubblica Istruzione (anno ii. no. 28, April 
 1, 1861, p. 473), as the most satisfactory. Sig. Barbieri says that the
 
 XX Historical Handbook of Italian Sculpture. 
 
 roots, and a dragon, with flames issuing from his extended 
 jaws, sits watching to seize his prey when they shall have 
 done their work. Thus man, absorbed in worldly enjoyments, 
 forgets his inevitable doom. Reliefs in red Verona marble, 
 of such symbolic human figures, heads, busts, animals, and 
 fantastic monsters as are frequently seen about Lombard 
 churches, are disposed about the eight sides of the building ; 
 and others of Faith, Justice and Peace, Hope, Prudence and 
 Modesty, Charity and Piety, Chastity, Patience and Humility, 
 are placed near the doorways. 
 
 The lunettes of the three doors within the building are 
 filled with reliefs representing the flight into Egypt, the Pre- 
 sentation of Christ in the Temple, and the Regions of the 
 Blessed. In a fourth relief upon the high altar, Christ seated 
 within a mandorla blesses with his right hand, and rests his 
 left upon an open book. In considering these w^orks,* w'e must 
 remember that they were sculptured at a time when anything 
 beyond the decoration of a font or an architrave with emblems 
 was seldom attempted, while in them on the contrary, the whole 
 scheme of human redemption is" unfolded in a series of allegorical 
 and sacro-historical compositions and symbolic figures, by a 
 master who lived more than a century before Giotto treated the 
 same subject on the walls of the Arena Chapel at Padua. 
 This once again brings us to see that in art, as in nature, the 
 processes of evolution are slow and progressive. An appa- 
 rently sudden advance is always preceded by eff"orts which have 
 made it possible, and it is the discovery of these efforts which 
 gives charm to the study of art in its early periods. Objects 
 in themselves unattractive become interesting so soon as we 
 recognize their historical relations to each other and to those 
 of later and more educated times. Thus, at Parma, when we 
 compare the sculptures of the Baptistry w'ith the work of 
 Lombard times, about the doorway of one of the old portals of 
 the Basilica of San-Quintino, and upon the so-called Porta di 
 
 bas-relief expresses human life in its beginning, its source and its end; 
 and that it is truly symbolical in that it has a triple significance, in rela- 
 tion to the physical, the moral, and the religions attributes of human 
 nature. 
 
 ■* The facade sculptures of the Cathedral at Borgo San Donino near 
 Parma, were perhaps executed by Benedetto or his scholars.
 
 Introduction. xxi 
 
 San Bertoldo in the choir of the church, which are respectively 
 of the ninth and eleventh centuries, we see that although no 
 great advance has heen made in technic, the field of art repre- 
 sentation has been greatly widened. Nearly all the great and 
 many of the small North Italian cities give opportunity for such 
 comparative study and observation, as for instance Verona, 
 Venice, Mantua, Modena, etc., of which we shall uow proceed 
 to speak briefly. 
 
 Verona. 
 
 The earliest sculptors mentioned at Verona, are Magister 
 Urso, or Orso, and his scholars Gioventius and Gioviano, whose 
 names were inscribed upon a ciborium in the church of San 
 Giorgio di Val Pulicella. They are supposed to have been 
 refugees from the Roman Campagna, who when Alboinus de- 
 scended with his Lombard followers into Italy in the sixth century, 
 fled with many natives of the invaded provinces to the Isola 
 Comacina, and eventually became members of its famous body 
 of architects. Maestro Pacifico, who lived in the ninth century, 
 was perhaps a Veronese, as were Guglielmus,Nicolaus,Briolottus, 
 and Adaminus, who in the twelfth took part in the decoration 
 of the venerable church of San Zeno, which though founded 
 in the sixth century was not completed till after the middle of 
 the tenth (961). Guglielmus has been identified with the 
 sculptor of the bas-reliefs and portal ornaments about the 
 Cathedral at Modena, and Nicolo with the Nicolo del Ficarolo 
 who decorated the exterior of the cathedral at Ferrara. The 
 rude bas-reliefs on either side of the portal of San Zeno repre- 
 sent subjects from the Old and New Testament, fantastic 
 animals, knights on horseback,* &c., &c. The figures in these 
 compositions are short and clumsy, with eyes marked by round 
 holes bored in the stone and painted black, and with furrowed 
 draperies which still bear traces of colour. San Zeno appears 
 in the lunette above the portal, standing on a dragon, sur- 
 rounded by a crowd of people and knights on horseback. The 
 doorway is closed by wooden doors covered with metal plates, 
 
 * One of the knights on horseback going to the chase is supposed to 
 be meant for Theodoric, who according to a legend, was supplied with men 
 and horses by the infernal powers.
 
 xxii Historical Handbook of Italian Sadptiire. 
 
 beaten out into reliefs of the very rudest description, and of 
 unknown date, which represent scenes from the Bible, and 
 miracles worked by San Zeno.* Briolottus, who made the bap- 
 tismal font within the church and the beautiful round window 
 emblematic of Fortune's wheel above the fa9ade-portal, probably 
 lived at the close of the eleventh century. The wheel is covered 
 with little figures, sitting, climbing, and falling, and is inscribed 
 with Latin verses to this effect, " I elevate some mortals and depose 
 others ; I give good or evil to all ; I clothe the naked and strip the 
 clothed, in me if any one trust he will be turned to derision." / 
 Adaminus, who inscribed his name upon one of the capitals 
 of the double shaft which divides the entrance to the crypt of 
 San Zeno, sculptured the reliefs upon the architrave above 
 them. They represent a centaur hunting a stag, a dead fox 
 carried on a staff by two cocks, birds, snails, frogs, imaginary 
 animals and trees, which though barbarously drawn are treated 
 with spirit. When, as here, the Komanesque sculptor confined 
 himself to w'ork of a decorative character, he was tolerably 
 successful, but we need only look at the colossal San Zeno in 
 the choir of this church, or at the figures of a large size and in 
 high relief about the portal of the Cathedral, which were pro- 
 bably executed early in the twelfth century, to see how signally 
 he failed in more ambitious attempts. The paladins of 
 Charlemagne, there represented in allusion to the popular tra- 
 dition that the church was founded by King Pepin, have short 
 thickset forms, staring eyes and vacant faces, and their draperies 
 and outlines are marked with furrows dug out in the stone. 
 The other sculptures about this portal, the symbols of the 
 Evangelists, the Prophets and Virtues, the signs of the Zodiac, 
 &c. &c., are equally barbaric in style and execution, and of about 
 the same date. It is evident that the artists who made them 
 worked under no outside influence, but this was certainly not 
 the case with the equally unknown sculptor of the font in 
 San Giovanni in Fonte (about 1200), as its reliefs of incidents 
 in the life of Christ from his birth to his baptism, betray the 
 influence of Byzantine pictures and of antique marbles upon 
 the artist's mind. In execution they are very superior to other 
 
 * Gailhabaud {Hist, de V Architecture du vn^ au xvii™* siecZe), states 
 hia belief that they belong to two epochs, the latest having been made 
 after a fire in mclx.
 
 Intj'oduction. xxlii 
 
 works of tlie time, aiul notably so in the treatment of the 
 draperies, in the more natural action of the figures, and in their 
 combination into groups which, as in the Annunciation and in 
 the Murder of the Innocents, show no little comprehension of 
 the principles of composition, and in the latter a remarkable 
 dramatic feeling. The sculptor of this font founded no school at 
 V'erona, and the character of his work is so dilferent from that 
 of any other Italian trecentist, that we are half inclined to 
 accept the theory that he came from beyond the Alps. 
 
 Venice. 
 
 The oldest sculptures to be seen at Yenice were brought 
 thither by the inhabitants of Aquileja and Altina, when they 
 were driven to take shelter on the islands of the Lagoon by the 
 Huns in the fifth, and the Lombards in the seventh century. 
 Those who came to Torcello with Paulus Bishop of Altina in 
 the year 640, brought tools and materials with them, and were 
 thus enabled to build churches and other edifices, for whose 
 decoration they obtained an almost inexhaustible supply of 
 sculptured stone from Heraclea, Aquileja and Altina.* 
 
 Many such transplanted fragments, consisting of antique 
 capitals and columns, and of early Christian slabs sculptured 
 Avith peacocks, lions, crosses, and vines in flat-surfaced low 
 relief, may be seen at St. Mark's and about the cancellum, the 
 cattedra and the pulpit in the Cathedral at Torcello which was 
 lounded by Bishop Paulus, together with the baptistry, whose 
 font was supplied with ever-running water from the mouths of 
 brazen animals. This font no longer exists, nor, with the ex- 
 ception of the marbles already mentioned, is there any sculp- 
 ture at Torcello earlier than that in the Cathedral which is 
 probably a work of the ninth century. The four capriciously- 
 imagined monsters on the outside of its marble basin, and the 
 human figures grouped around the short column upon which it 
 Brands, are carved with the extreme rudeness characteristic of 
 the period to which it belongs. It was not until after the tenth 
 
 * Romanin, Storia di Venezia, 1. 48. The continuator of the Cronaca 
 Altrnate says that the citizens of Oderza, " totam petram debiuo 
 abstulerunt.''
 
 xxiv Historical Handbook of Italian Sculpture, 
 
 century that some slight amelioration took place, when draperiea 
 were better arranged, and hands and feet fashioned a little more 
 like nature. 
 
 Z' The character of early Venetian sculpture, which in type and 
 treatment of subject resembles the early Christian in other 
 parts of Italy, is illustrated among other examples by the 
 cattedra in the treasury of St. Mark's, a work of the tenth or 
 eleventh century, although it lays traditional claim to an origin 
 of far higher antiquity.* The mystic lamb standing upon the 
 mountain out of which flow four rivers, the olive branch of 
 peace, and the cross, are represented on the back of this vener- 
 able relic, and the symbols of the four Evangelists surrounded 
 by the six wings of the cherubim, upon its sides. Other contem- 
 porary marbles in and about the Basilica, carved in the same 
 rude style, prove that Venetian sculptors at the end of the 
 tenth and the beginning of the eleventh century, were men of 
 little skill, and this is corroborated by the fact that the doge 
 Pietro Orseolo was obliged to procure artists from Constanti- 
 nople to rebuild St. Mark's, which had been burnt down 
 during the reign of his tyrannical predecessor Candiano IV. , 
 
 The remark "that the history of the human race might be 
 written by the aid of tombs" is peculiarly applicable to that of 
 the Venetians, whose city is so rich in these memorials of the 
 dead. Through them we not only learn the names of her doges_. 
 great captains, and eminent men, but in the early simplicity, 
 the increasing splendour, and the ultimate extravagance of 
 their monuments, discover the causes of the primitive strength 
 and the later weakness of the Republic. 
 
 The custom of burying illustrious persons in Eoman or early 
 Christian sarcophagi prevailed at Venice until the fourteenth 
 century. Vitale Faliero (1086-1096), for instance, in whoso 
 reign occurred the miraculous recovery of the body of St. Mark 
 and the visit of the Emperor Henry IV., lies in the atrium of 
 
 * Venetian chronicles state that St. Mark sat upon this cathedra ; that 
 It was brought from Alexandria to Constantinople by the Empres»J 
 Helena, and thence sent by the Emperor Heraclius as a present W 
 Primigenius, Patriarch of Grado, who wished to keep up amicable rela- 
 tions with the Venetians, and at the same time to avoid engaging in a 
 war with the Lombards to recover the treasury of Grado, which had been 
 carried off by Fortunatus, Patriarch of Aquileja.
 
 Introduction. xxv 
 
 St. Mark's, to the right of the great portal, in an antique sar- 
 cophagus decorated with shapeless octagonal columns. In a 
 similar sarcophagus on the other side of the great portal, lies the 
 wife of Vitale Michieli, Avho ruled the Republic (1096-1101) at 
 the time of the first crusade, in which Venice, fearing that it 
 would interfere with her commerce with the East, co-operated but 
 coldly. Another doge, Marino Morosini (1249-1256), whose 
 reign was short and uneventful, also lies in the atrium of St. 
 Mark's in an old Christian sarcophagus, sculptured with rude 
 figures of Christ and the apostles, angels bearing censers, and 
 ornate crosses. His immediate predecessor, Jacopo Tiepolo, 
 (1229-1249), and his grandson the doge Lorenzo (1268- 
 1275), are buried in massive sarcophagi on the fa9ade of 
 San Giovanni e Paolo, simply decorated with angels bearing 
 censers, and with birds with crosses placed like crests upon 
 their heads. 
 
 ^ The commercial relations of the Venetians with the East, 
 which brought them under Byzantine influences, and the 
 presence of Greek workmen at Venice, shaped their taste in 
 art until the thirteenth century. The capitals of many of the 
 columns of St. Mark's, the general character of the building, 
 the numerous Byzantine Madonnas upon its walls, and its cen- 
 tral bronze door, which though an Italian work is so absolutely 
 Greek that were it not for the Latin inscriptions and saints 
 upon its panels, we should suppose it to have been cast at 
 Constantinople, are indisputable evidences of the strength of 
 this foreign influence. */In the thirteenth century a rude but 
 national style began to be formed, among whose first fruits were 
 the scripture bas-reliefs carved upon the marble columns of the 
 ciborium, a bas-relief in the baptistry representing the Baptism 
 of our Lord, and the little figures at the base of the columns 
 in the Piazzetta. The inclination to select subjects for artistic 
 representation from the life of the people, which afterwards 
 found its full expression in the capitals of the columns of the 
 Ducal Palace, shows itself in these figures sculptured by a Lom- 
 bard artist named Nicolo Barattieri, who was so called because 
 he was allowed to establish public games of chance between 
 
 * This door was made by order of the procurator of St. Mark's, 
 Leone di MoHno, in the year 1112. The door to the right is a real Byzan- 
 tine work brought from Constantinople in the year 1204.'. 
 
 C
 
 xxvi Historical Handbook of Italian SctdptzLre. 
 
 the columns as a reward for his skill in raising them from the 
 ground, where they had lain since the Doge Domenico Michieli 
 brought them from the Holy Land (1125). This Nicolo, a 
 Maestro Donato, and the Joannes de Venetia who carved the 
 attributes of the Evangelists over the portal of Sta. Maria in 
 Cosmedin at Eome, are the only Venetian marble-workers 
 known to us before the fourteenth century. Up to that time 
 the few native sculptors were employed in adapting old frag- 
 ments to new uses, and it was not until the supply of carved 
 stone failed that, being obliged to meet the demand with their 
 own work, they began to improve. The introduction of the 
 Gothic style of architecture, of which Greek workmen were 
 ignorant, made it necessary that the Italians should fit them- 
 selves to take the place which foreigners had hitherto so generally 
 occupied. Thus with the adoption of a new style of building, 
 of which sculpture formed an integral part, this art may be said 
 to have first taken root at Venice. 
 
 Padua. 
 
 The north Italian cities not yet mentioned, contain veiy 
 little pre-revival sculpture. The works of Fra Clarello, architect 
 and sculptor at Padua in the thirteenth century, have disappeared 
 from San Antonio, with many other early marbles which once 
 decorated its walls and cloisters, and it contains no examples 
 of carved stone- work older than the fourteenth century, with the 
 exception of two sarcophagi, in one of which, now hidden under 
 the altar of the Cappella dei Conti, the body of St. Anthony is 
 said to have been deposited by the Paduans, when after a five 
 days' fight they took it from the Convent of Arcesia where he 
 died (1231). The other, in the cloister of the Capitolo, con- 
 tains the bodies of Costanza d'Este and her husband Count 
 Guide da Lozzo, who was himself driven out, after he had 
 helped to overthrow Ezzelino, when he endeavoured to seat 
 himself in the tyrant's place. 
 
 Mantua. 
 
 This city contains but two works whose date brings them 
 within this division of our subject, the one a statue, the other 
 
 \
 
 Introduction. xxvii 
 
 an alto-relief of the illustrious Latiu poet whom she claims as 
 her sou. When at the beginning of the thirteenth century the 
 Mantuans had repulsed the Cremonese, and raised the siege of 
 the Castle of Gouzaga, the magistrates decreed that the event 
 should be commemorated by placing a statue of Virgil in a 
 niche overlooking the Piazza, so that he might appear to share 
 in the successes of his compatriots. This poor work by an un- 
 known sculptor (1220), represents him dressed in a long robe, 
 with the cap of a rector of the people on his head, seated at a 
 reading desk with an open book before him. The alto-relief 
 of the great poet in the Museo Patrio, sculptured about twenty- 
 five years later than the statue, is superior to it. Both interest 
 us chiefly as examples of a branch of art rarely attempted at a 
 time when sculpture was almost altogether decorative. 
 
 PlACENZA. 
 
 The facade of the Cathedral, which was erected early in the 
 twelfth century (1122), has clumsily executed bas-reliefs about 
 its northern and southern portals, and the sculptured signs of 
 the Zodiac. 
 
 Fereara. 
 
 The Cathedral at Ferrara was rebuilt at the end of the tenth 
 century, and its facade was decorated with sculptures at the end 
 of the twelfth by Nicolo da Ficarolo, so called from the branch 
 of a fig tree over the right hand portal, or from Vico Ariolo 
 his supposed birthplace, a town in the Ferrarese district. 
 
 This sculptor, who is perhaps identical with the Nicolo with 
 whom we made acquaintance at Verona, represented the agricul- 
 tural labours of the year upon the arch and architrave of one 
 of the side-portals, thence called the Porta de' Mesi. 
 
 The equestrian statue of San Romano above the great portal 
 is attributed to one of the Byzantine artists whom the Doge 
 Pietro Orseolo brought to Venice in the eleventh century to 
 rebuild the church of St. Mark. 
 
 C 2
 
 xxvili Historical Handbook of Italian Sculpture. 
 
 Genoa. 
 
 The Cathedral at Genoa was founded a century later than 
 that at Ferrara, but the oldest of its fa9ade sculptures are 
 apparently much earlier in date than either of these buildings. 
 The fantastic animals, sirens and monsters carved about the side- 
 posts of the small doorway to the left, belong both in character 
 of subject and mode of execution to Lombard times, so that 
 we are forced to conclude that they originally decorated the old 
 church of San Lorenzo, which was pulled down to make room 
 for the present edifice. The biblical reliefs on either side of 
 the chief portal, which represent the Stem of Jesse, and the 
 early history of our Lord, are works of the thirteenth century, 
 to which we may also assign the Martyrdom of San Lorenzo in 
 the lunette, and the Byzantine looking Christ above it. The 
 reliefs, executed in a stiff bad style, are crowded with small 
 figures confusedly ranged one abovn the other with little or no 
 attempt at composition.
 
 Int7'oduction, xxix 
 
 SECTION II. 
 
 SCULPTURE IN SOUTHERN ITALY BEFORE THE 
 
 REVIVAL. 
 
 Apulia and the Kingdom of Naples. 
 
 The name of Apulia, which properly belongs to a province 
 of Eastern Italy, has been applied at different periods to a 
 larger or smaller portion of country. Under Norman rule it 
 was given to the part of the Peninsula south of Rome, includ- 
 ing the provinces afterwards consolidated into the so-called 
 Kingdom of Naples, while by a singular fiction, when the Italian 
 possessions of the Greeks had been reduced to the province of 
 Apulia proper, they clung to the shadow of their once wide- 
 spread domination, and called it Italy. At the end of the 
 tenth century the Eastern emperors bounded their possessions 
 by an ideal line drawn from Monte Gargano on the Adriatic 
 to the Bay of Salerno on the Mediterranean, and governed this 
 territory, which included Apulia, the Capitanata, Otranto, 
 Calabria and Beneventum, by a Greek officer, residing at Bari, 
 who bore the title of Catapan or Capitan, while the German 
 emperors, as successors of Charlemagne, claimed feudal homage 
 from the republics of Naples, Gaeta, Amalfi, and Sorrento, and 
 the Aglabite Saracens occupied Sicily and Malta, keeping the 
 Italian sea-coast cities in constant dread of their ever-renewed 
 incursions. This state of affairs was completely changed 
 by the Normans, who made their first appearance in Italy in 
 the year 1006, when a small troop of Norman knights, on their 
 homeward voyage from Jerusalem, landed at Salerno, and 
 were hospitably received by Duke Guaimar III. Soon after, a 
 fleet approached the coast, bringing a host of Saracens, who 
 on landing encamped under the walls of the city, and demanded 
 a large sum of money for its ransom. The duke being too 
 weak to fight, would have submitted as on former occasions, 
 bad not his fiery guests volunteered to defend him, and rushing
 
 XXX Historical Ha7idbook of Italian Sculpture. 
 
 upon the infidels, who had given themselves up to rest or 
 revelry, they massacred many, and put the remainder to flight. 
 Grateful for this succour, Guaimar vainly offered his deliverers 
 every inducement to settle in his dominions, and loaded them 
 with rich presents when they emharked for France. Ten years 
 later, a band of Norman pilgrims landed on the Adriatic coast 
 on their way to the shrine of the Archangel Michael 'at Monte 
 Gargano, where they met Melo, a noble of Lombard extraction, 
 who had taken refuge at the shrine after heading a late 
 unsuccessful revolt against the Greek Catapan. Tempted by 
 their love of adventure and hope of plunder, they enlisted 
 under his banner, and helped him to win three pitched battles 
 before he was finally defeated at Cannae ; after which, Melo ap- 
 pealed for aid to Henry II., whose interests, like his own, were 
 imperilled by the successes of the Greeks, bi-Jt died at Bamberg 
 while pressing his suit. On the reception of tidings of such 
 aggravated danger to his imperial rights in Italy as could only 
 be averted by prompt and immediate action, H^nry crossed 
 the Alps at the head of a large army, marched through Lom- 
 bardy and the Marca d' Ancona into Apulia, and taking the 
 Normans into his pay laid siege to Troja, which shortly after 
 surrendered. The further prosecution of his designs was 
 frustrated by the excessive heat of the climate, under which his 
 soldiers sickened and died like sheep, and he returned to 
 Germany, leaving the Normans to continue the war as best 
 they could. 
 
 Their first act was to seize upon Aversa, a fortress near 
 Naples, in which they established themselves under their 
 leader Rainulph, whom Conrad the Salic soon after created 
 Count of Aversa. Constantly strengthened by fresh arrivals 
 from Normandy, they became more and more formidable and 
 aggressive, and three years after they had been joined by 
 William, Drogan, and Humphrey, sons of Tancred de Haute- 
 ville, they seized upon Melfi, and successively overran the 
 whole of Apulia (1040-43), leaving only Bari, Brindisi, Otranto, 
 and Tarcntum in the hands of the Greeks. Their conquests 
 were then divided between twelve Norman counts assembled 
 at Melfi, which was set apart to be held in common as the 
 seat of government. 
 
 We need not here relate the subsequent history of Apulia, as
 
 Introduction. 
 
 XXXI 
 
 it was during the period of which we have been si^eaking that 
 the churches were built, whose fa9ades and portals furnish us 
 with the most important examples of sculpture. They consist 
 of bas-reliefs in the lunettes, and upon the architraves and side- 
 posts of the doors, representing Scriptural personages or scenes 
 from holy writ in the conventional style of Byzantine ivories, 
 mosaics, and paintings, and of rich and complicated ornaments 
 of a mixed Oriental and classical character, skilfully combined 
 with every variety of animal form, in relief and in the round. 
 
 In the presence of these different elements we recognize the 
 united influence of Greeks, Saracens, and Normans upon the 
 Italians, who while they made use of early Christian and 
 Mediaeval symbolism, clung with tenacity to those classical 
 ideas whose hold upon the national genius was never lost. 
 Let us see how and to what extent each of these nations and 
 systems worked upon Southern Italy. The Byzantine influence, 
 which is sufficiently accounted for by the political and com- 
 mercial relations between the governed and the governors, 
 and by the presence of a Greek ruler with his dependents, was 
 further developed by the artists and artisans who returned from 
 the East in the ranks of the Crusaders, bringing with them 
 new ideas about ornament and architecture, derived not only 
 from Byzantium but also from the cities of Syria, which as far 
 back as the fifth century possessed examples of a peculiar sys- 
 tem of ornament derived from old Greek art, modified by 
 Roman and Asiatic influences. Unlike the Byzantines, who 
 made use of animal forms and figures in their stuff's of rich 
 and varied patterns, though they discarded them in sculpture, 
 the Syrians restricted ornament to dentellated leaves of a con- 
 ventional form deeply marked and sharply cut out, combined 
 with geometrical patterns formed by the intersection of circles 
 or of straight and angular lines. The Saracens, who succeeded 
 the Greeks as masters of Sicily and thence acted upon the 
 mainland, decorated their buildings with ornaments made up 
 of plants, leaves, and flowers, as they were forbidden by the 
 Koran to represent the image of any living thing. ^ 
 
 The Norman element in Apulian church-decoration is much 
 more difficult to define, as our knowledge of it is more vague. 
 It is even questionable whether the Normans possessed any 
 art of their own when they invaded France in the tenth ceu-
 
 xxxil Historical Handbook oj Italian Sculpture, 
 
 tury. The little sculpture found upon their oldest buildings 
 consists of clumsily interlaced lines (entvelacs), and ot animals 
 biting each other, analogous in character to those common 
 to Celtic, Anglo-Saxon, Icelandic, and Scandinavian art.* 
 
 The earliest adaptations of natural forms to architectural 
 ornament are found among the Egyptians, who decorated the 
 tympani, friezes, and column-capitals of their buildings with 
 the lotus, the palm, the papyrus, the acanthus, and different 
 species of water plants ; and among the Persians, who laid the 
 animal, vegetable, and mineral kingdoms under contribution 
 for the same purpose ; but there is this cajDital difference be- 
 tween Oriental and Christian symbolism, that in the first 
 natural forms are represented for worship as symbolic of deities 
 or as typical of natural forces and phenomena, while in the 
 second they are signs of a hidden religious meaning, and as 
 such are often described by the Church Fathers, Avho, while 
 regarding all created things as witnesses to the power and 
 intelligence of the Supreme Being, considered them chiefly 
 worthy of attention in so far as they could, by an often strained 
 interpretation, be made to conduce to man's moral advance- 
 ment. Frequently incorrect in their ideas about the nature 
 and properties of animals, they did not seek to separate the 
 true from the false, since as St. Augustine remarks, " The 
 all-important object for us is to consider the signification of a 
 fact, and not to discuss its authenticity." This habit of look- 
 ing for a symbol in every created thing led to a system of 
 mystical zoology contained in the " Physiologus " or " Bes- 
 tiary," f a work which explains the now forgotten meaning of 
 
 * Les Normands furent d'habiles constructeurs, precision dans 
 I'appareil, execution soignee, mais absence de sculpture." — M. Yiollet-le- 
 Duc, Entretiens sur V Architecture, vol. i. pp. 227-280. 
 
 t The rhysiologtis is a popular account of such facts in natural history 
 as were best adapted to the religious instruction of the early Christians. 
 Whether it is the title of a treatise composed by one of the Church 
 Fathers, or -whether some great Greek naturalist, like Aristotle or 
 Theophrastus, is designated under the name of Physiologus, is uncertain 
 (ibid. pp. 18, 19). The subject-matter of the Latin and French Bestiaires 
 and Lapidaires is derived from Albertus Magnus, Vincent de Beauvais, 
 Barthelemy de Glanvil, and the Physiulogus (ibid. p. 27). A French and 
 Latin version of the Fhysiologus is given in the second and third volumes 
 of the Melanges d'Archeologie, par Ch. Cahier et Arthur Martin. At 
 p. 85 of the Introduction to this work, vol. il, it is stated that the oldest
 
 Introduction. xxxili 
 
 many of the strange forms carved about the fa9ades of 
 Mediaeval churches. The first sentence in the version of the 
 Bestiary made by Peter of Picardy, clearly sets forth the object 
 for which it was composed. " Here commences the book 
 which is called 'Bestiary,' and it is so called because it speaks 
 of the nature of beasts ; for God created all the creatures upon 
 earth for man, and that he may in them find an example of 
 faith and a source of belief." So also William of Normaudy 
 tells us, that " all the examples collected in the book are in- 
 tended for the amelioration of sinful man and for the profit of 
 his soul." 
 
 The MediiEval sculptor who made use of it, was probably 
 not animated by so deliberate a purpose as the learned doctors 
 of the Church, for he dealt only with the sign, and left its inter- 
 pretation to them. This was comparatively easy in the early 
 ages of the Church when symbolic forms were few and simple, 
 but as they increased in number and variety, it became more 
 and more difficult to discover in many objects represented about 
 sacred buildings that spiritual meaning which could alone 
 justify their presence, for their mystic significance had been 
 gradually lost sight of, and even before the seventh century, 
 when the permission to I'jpresent Christ and the Saints and 
 the mysteries of the Passion gave a final blow to art symbolism, 
 many of the old forms were used only because they were well 
 adapted for decorative purposes. 
 
 In the thirteenth century they were simply regarded as orna- 
 mental, and as such were denounced by St. Bernard, in an 
 eloquent passage against extravagance in the decoration of 
 churches, " whose walls glow with colour, and whose stones are 
 covered with gold, while the poor are in want and go naked." 
 " What," he says, " is the use of those absurd monstrosities 
 displayed in the cloisters before the reading monks ? See what 
 deformed beauty and what beautiful deformity. Why are 
 
 prose version is that of Philippe de Thaun, a T«^orman troubadour of tho 
 twelfth century. About a hundred years later Guillaume le Normand 
 rhymed the Bestiary, and about the same time a clerk of Picardy put, it 
 into prose in the Beauvoisin dialect. The origin of the Physiologus is 
 doubtful. It has been attributed to St. John Chrysostom and to St. 
 Ambrose. There are several MSS. of this work of the thirteenth 
 century in the Bibliothcque Imperiale, and one at Brussels of the tenth 
 (iUd. p. 99}.
 
 xxxiv Historical Handbook of Italian Sculpture, 
 
 unclean monkeys and savage lions, and monstrous centaurs and 
 semi-men, and spotted tigers, and fighting soldiers, and pipe- 
 playing hunters represented ? You may see there many bodies 
 with one head, and one body with many heads. Here a 
 quadruped with the tail of a serpent, there a fish with the head 
 of a quadruped. Here a beast half horse and half goat, there 
 another with horns and a horse's body. The variety of form is 
 everywhere so gi-eat, that marbles are more pleasant reading 
 than manuscripts, and the whole day is spent in looking at 
 them instead of in meditating upon the law of God." * 
 
 The ground plan of the noble Apulian churches, whose orna- 
 mental sculptures we have endeavoured to characterize and 
 explain, is generally that of the Eoman basilica, and their style 
 is either Eomanesque, i.e. debased Roman — often called Lom- 
 bard or Norman of the first period — or Gothic, modified 
 by classical influences, also called Norman of the second 
 period.f 
 
 Ages before these stately buildings were created, nature had 
 hollowed out a vast cave, near the rockv summit of Monte 
 Gargano, which was to become one of the most famous shrines 
 in the world. In ancient times, a Pagan temple stood above 
 it, whose priests doubtless used it for oracular purposes, but 
 its existence had long been lost sight of, when one day at the 
 end of the fifth century (says the legend) a shepherd having 
 shot a wild bull upon the mountain, saw his arrow fly back to 
 him, as if sent by an invisible hand. Amazed at this mys- 
 terious occurrence, he sought out the holy Laurentius, then 
 Bishop of Sipontum, who repaired to the spot, and after three 
 days spent there in fasting and prayer, the Archangel Michael 
 led him to the cave, which he declared henceforth sacred to 
 himself and the angels. Within it stood the oriental sign of 
 consecration — an altar covered with a red cloth — and upon this 
 the Bishop celebrated mass. Crowds of Pilgrims climb the steep 
 
 * Sandi Bernardi Opera, Parisiis, 16P0, vol. i. p. 538, cL. xii. : Luxum 
 et abusum in templiset oratoriis extruendis, ornandis, pingendis, arguit. 
 
 t The Norman circular style, which reached its height in the eleventh 
 century, was one of the modifications of the Eomanesque, whose parent 
 stock was Eoman architecture. The earliest churches built in Normandy 
 and England, as in Apulia, are basiHcas in form. Vide Antiq. of Nor ■ 
 viandy, J. Britton, 1 vol. fol., London, 1828 ; and ViolIet-le-Duc, Entretiena 
 sur VArohitecture.
 
 Introduction. xxxv 
 
 mountain path on the anniversary of that day to pray in the 
 grotto. Each man as he crosses its threshold, shakes one of 
 the rings pendant from its venerable bronze gates, which 
 were cast at Byzantium eight hundred years ago, and given to 
 the church by one of the noble family of the Pantaleone from 
 Amalfi.* A marble " cattedra" of the twelfth century, supported 
 upon crouching lions of the Romanesque type, and adorned 
 with rich Arabic ornament and with a small bas-relief of 
 St. Michael and the Dragon, is the only object of artistic inte- 
 rest to be seen in the grotto, f 
 
 More than five hundred years after its consecration, a Greek 
 bishop named Bisantius \ founded the Cathedral at Bari, which 
 his successor Bishop Nicolaus completed. § It formerly contained 
 a ciborium made by Alfanus da Termoli, an artist of the eleventh 
 century, whose name was inscribed upon each capital, with descrip- 
 tive and highly laudatory verses. In general design it resembled 
 the still existing ciborium in the neighbouring church of San 
 Niccolo, which was erected by the abbot Eustachius early in the 
 twelfth century. The eagles, rams' heads, leaf W'ork, and angels 
 kneeling upon long drooping leaves, about the capitals of the 
 
 * "Armilla janua^," rings of iron placed uj«<«ii church facades, and 
 much venerated by the people (Montfaucon, Monarch, frang. p. 193 ; 
 Lopez, note 42, p. 204, II Battistern di Parma). 
 
 t According to tradition this cattedra was made in the days of the holy 
 St. Laui-ence, and the Emperor Henry II. is said while sitting upon it to 
 have seen a vision of Christ and the holy angels. The outer church and 
 adjacent buildings, as well as the Gothic portal at the head of the long 
 flight of steps leading down to the Grotto, belong to Charles of Anjou's 
 time. The bas-relief over this jDortal, of the Madonna and Child, with 
 Saints Peter and Paul and a kneeling donor, has been too much white- 
 washed to allow of any judgment upon its original merits. It is inscribed 
 with the name of " M. Simon de Rao . . . (perhaps Ragusa)." The bas- 
 reliefs of Biblical scenes and personages upon the capitals of the columns 
 of the adjoining baptistry, are also of the thirteenth century, and exces- 
 sively rude. 
 
 X Bisantius is evidently a patronymic. The bishop is said to have 
 decorated the duomo with 500 large and 200 small columns brought from 
 Paros for the purpose (Ughelli, op. cit. vol. vii. p. 603). 
 
 § The duomo was consecrated October 28th, 1035. Archbishop Eliaa 
 (a.d. 1091) discovered the bones of St. Sabinus under the old altar, where 
 they had been concealed for 240 years. According to a tradition men- 
 tioned by Ughelli, these relics were brought to Bari by Archbishop 
 Angelarius, Bishop of Canosa. A.n. 850.
 
 xxxvi Historical Handbook of Italian Sculpture. 
 
 columns which support its pyramidal roof, are sculptured with 
 that fineness and decision of stroke peculiar to the Apulian 
 marble worker, who, though ignorant of anatomy, treated animal 
 forms as boldly as those of the vegetable kingdom, whose 
 structure he so well understood. Nicolas, Bishop of Myra (a.d 
 325), the titular saint of the church in which this ciborium* 
 stands, was especially renowned as a destroyer of heathen 
 temples and idols. His bones, from which flowed a healing oil 
 of miraculous power, were brought by certain merchants from 
 Antioch to Bari in the latter part of the eleventh century, 
 and the splendid church which bears his name was founded in 
 the year 1087. Twenty-four columns with rich Byzantine 
 capitals, decorated with carved leaf- work, lions' heads, and a 
 great variety of sharp, clear-cut ornaments, support the vaulted 
 roof of the vast crypt where his remains were buried. Hardly 
 had the building been roofed in (1079), when it became the 
 Rcene of a great Church-council, held by Pope Urban II. to 
 denounce the errors of the Greek Church, at which Anselmus, 
 Archbishop of Canterbury, and one hundred and eighty-five 
 bishops assisted. The marble " cattedra " in the choir was made 
 in commemoration of this event. Its ssat rests upon two wild 
 grotesque-looking Arab prisoners, each kneeling on one knee, 
 a man with a staff in his hand, and a lion holding a man's 
 head in his paws. Lions' heads are introduced below the foot- 
 slab, which, like the other slabs and panels of the sides 
 and back of the chair, is adorned with ornaments of elegact 
 design. 
 
 Bas-reliefs of Samson and the lion, and other Bible subjects, 
 lions and sirens, vines and arabesques, a centaur, a man carry- 
 ing a hare, and beasts of different kinds encircled by winding 
 lines which spring from vases, are sculptured upon the 
 fagade and about the portals of the church, while a sphinx sits 
 above the gable, bulls standing upon consoles protrude below 
 the cornice, and two flying angels of a strongly Byzantine 
 character fill up the spandrils of the portal-arch. 
 
 The animals are by no means so well sculptured or so nume- 
 rous as those on the exterior of the cathedral at Troja, 
 
 * King Eoger II., who was crowned King of Sicily in this church by 
 the antipope Anacletus in 1131, is represented on a niello plate set above 
 the arch of the ciborium.
 
 Introchtdion. xxxvii 
 
 which was commenced by Bishop Gerardus in 1093, and 
 completed by Bishop Gugliehnus II. Peopled with all created 
 things, and glowing with yellow and green stones, after the 
 fashion of the Sicilian churches, its fagade unites the sharp-cut, 
 clear-line sculpture of the East with the Polychromatic de- 
 coration of the Saracens. A cornice richly carved with heads 
 of men, lions, and leaf-work divides it into two parts. The 
 great wheel window is encircled with a row of rudely sculptured 
 beasts, and surmounted by the figure of a man seated upon the 
 back of a nondescript animal. Oxen, elephants, porcupines and , 
 apes protrude from the wall on each side of this window, and 
 columns, with lions above their capitals and at their bases, sup- 
 port the plain round arch above it. The spaces on either side 
 of the great central arch over the portal are enriched with a 
 row of small arches, having dentellated archivolts and columns 
 with leaf-work capitals. Slabs of marble covered with Arabic 
 ornament, and rudely-chiselled figures in relief of a Byzantine 
 type, representing Christ enthroned between the Virgin and St. 
 John, SS. Secundinus and Eleutherius, together with the sym- 
 bols of the Evangelists in medallions, decorate the great door- 
 way, while the lunette of one of the lateral doors, whose side- 
 posts and architrave are sculptured with ornaments, is filled 
 by a bas-relief of Christ treading on the lion and the 
 dragon, and two rudely-carved angels of a Byzantine type. 
 Many columns with varied and elaborate capitals divide the 
 nave from the side aisles within the church, and furnish another 
 example of rudely chiselled heads surrounded by rich and 
 tasteful ornaments, whose patterns are intricate but never con- 
 fused in line. On the right-hand side of the nave stands an 
 oblong pulpit of the twelfth century (1167), decorated with 
 deep-cut, flat-surfaced ornaments, and supported upon columns 
 whose capitals are divided by volutes, upon one of which sits a 
 bearded figure with broad nose and long hair. The raised work 
 is gilded, and relieved against a green back-ground. An eagle 
 with spread wings, holding a beast in his talons and standing 
 upon a human head supported on a colonnette, occupies the 
 centre of the front of this pulpit under the reading-desk, and on 
 the end towards the high altar there is a very curious bas-relief 
 of a lion, with foliated body, curling hair, and staring eyes, who 
 while tearing a sheep to pieces, is himself seized by a sort of
 
 xxxviii Historical Handbook of Italian Sculpttire* 
 
 tiger-cat who has mounted on his hack and fixed his teeth in 
 his flank.* 
 
 The churches of the twelfth century hear as strong marks of 
 Byzantine influence, as those of the eleventh of which we have 
 been speaking. In the crypt of the Cathedral at Otranto (1160) 
 for instance, some of the capitals of the columns are carved 
 with patterns exactly like those of St. Sophia at Constantinople. 
 So also the three figures in alto-relief of our Lord, the Madonna, 
 and St. John, which fill the Moorish arch over the great portal 
 of San Giovanni in Venere (1200) f near Lanciano, are Byzan- 
 tine in their forms and draperies, as is the nimbus about our 
 Lord's head and the ornament upon the cattedra on which He 
 sits. Some of the leaves and ornaments carved upon the 
 capitals of the columns and pilasters which flank this portal 
 are antique in character, while the freer and less conventional 
 bas-reliefs beyond them seem to be Italian works, and of a 
 later date. The upper relief of the left-hand series represents 
 two peacocks drinking from a vase, and that in the correspond- 
 ing panel below, two griffins with a kneeling figure between 
 them. St. John the Baptist, attended by a youth, figures with 
 two other saints in one of the upper panels, while in the lower 
 Mary and Elizabeth meet before a little temple, which stands 
 below a series of pointed arches separated by towers, perhaps 
 meant to indicate those of Jerusalem. The upper panel of 
 the right hand series contains an arabesque ornament, and a 
 relief of two men firing arrows at a bird. Moses with the 
 Tablets of the Law, and Jonah, as typical of the Old Dispensa- 
 tion, and St. John the Baptist with the Madonna and Child as 
 typical of the New, are also represented, together with Daniel 
 praying between two lions, and Zacharias with a censer in his 
 hand listening to the angel who announces to him the birth of 
 St. John the Baptist. 
 
 Standing in the quiet country, out of the reach of those 
 
 * This pulpit was removed to the duomofrora the church of St. Basilio. 
 Its inscri])tion is to this effect : " Anno D"« Incarnationis MCLXVii. regni 
 vero D"> BRI.W Dei gratia Sicillae et ItalijB regis magnifici olim regis W 
 niii Anno iiii. Mense Mai ii. Factum est hoc opus." 
 
 t It derives its name from a temple dodicated to Venus Conciliatrix, 
 whose site it occupies. Although traditionally said to have been founded 
 tinder Justinian, it was commenced in the twelfth century by the abbot 
 EaynalduB, who built this portal, and died February 19, 1204.
 
 Introduction. xxxix 
 
 jarring sights and sounds which mar the effect of the noblest 
 building in the midst of a busy town, this church remains as 
 it was centuries ago, save those scars and rents which time has 
 made in roof and parapet. Sturdy oaks like those which first 
 saw its towers rise heavenward still shelter it, and the sea 
 which stretches in blue immensity below the hill on which it 
 stands, is the same Adriatic whose waves broke upon the coast 
 when the first stone of its now crumbling walls was set in its 
 appointed place. 
 
 To the north of San Giovanni in Venere, neai' Chieti, at the 
 base of Monte Majella, stands San Clemente a Casauria, one of 
 the most ancient, and most interesting churches in this part of 
 Italy.* Until the middle of the ninth century (a.d. 854) its 
 site was occupied by a small church dedicated to St. Quirinus, 
 which the Emperor Louis II. destroyed to make room for a 
 church and monastery. These buildings were already far 
 advanced a.d. 872, when the emperor, who had obtained the body 
 of St. Clement from Pope Hadrian III., journeyed from Kome 
 with a crowd of priests and devotees to escort the holy relic 
 to its new resting-place, which he dedicated to the saint and to 
 the Holy Trinity. When the procession reached the bank of the 
 river Pescara it could not j)roceed, as the bridge had been swept 
 away by a late freshet. Seeing this the emperor ordered the 
 body of St. Clement to be placed on the back of a mule, and 
 striking the beast with his hand, cried with a loud voice, "Let 
 Clement guide you," and lo ! the tumultuous waves became 
 like rocks under its feet, and the precious burthen was conveyed 
 safely to the opposite shore. It was then deposited in the 
 church, and the emperor having appointed Eomanus to be its 
 first Abbot, presented him with his own sceptre, to be borne 
 in lieu of a crozier by him and his successors. 
 
 Three times plundered by the Saracens in the first two cen- 
 turies after its foundation, the churchf was restored early in the 
 
 * All the circumstances of its foundation ai'e related in the Chr. 
 Casauriense (Muratori, Script, llev. It. vol. ii. pp. 769-780). It is in the 
 commune of Castiglione, olim " alia Pescara," near a little town called 
 Tor de' Passeri, and can be reached either from Popoli or Chieti. 
 
 t The Emperor Louis II., St. Clement, the Abbot Leonas, and his suc- 
 cessor the Abbot Joel, were represented in bronze upon the panels of the 
 now almost entirely dilapidated doors of the church. These doors, wliich 
 must have been cast at the end of the twelfth century, were made of
 
 xl Historical Handbook of Italiaii Sctdphire-. 
 
 twelfth century (1110), by the Abbot Grimoaldus, who con- 
 structed the crypt and adorned it with paintings. About sixty 
 years later it was almost completely rebuilt on a much more 
 magnificent scale by the Abbot Leonas, who added to it the 
 chapels of St. Michael, St. Thomas of Canterbury, and tho 
 Holy Cross, erected the fa9ade, and built the narthex. The 
 abbot is represented in the lunette of the great portal, kneeling 
 before St. Clement to present a model of the restored church, 
 whose history is illustrated in a series of reliefs upon the archi- 
 trave. They represent the gift of Pope Hadrian to the Empe- 
 ror, and his reception at the door of the church, the mule with 
 the reliquary on its back, the installation of the Abbot Romanus, 
 and the purchase of the island on which the church is built, 
 in a stiff conventional Byzantine style which, however imper- 
 fect, harmonizes well with the Romanesque architecture of the 
 building. Rudely sculptured reliefs of the distinguished per- 
 sons connected with its history cover the flat spaces between 
 the central and the side portals, whose lunettes contain alto- 
 reliefs of the Madonna and the Archangel Michael. Among 
 the interesting objects inside the church are the sarcophagus 
 under the high altar which contains the bones of St. Clement ; 
 the terra-cotta ciborium above it, adorned with the symbols of 
 the Evangelists, a relief of the Madonna, some fantastic birds, 
 and a repetition of the historical bas-reliefs upon the architrave 
 of the great portal ; the paschal candlestick, a round shaft of 
 marble with an ornate Byzantine capital surmounted by a 
 number of colonnettes clustered about a central column ; and 
 the pulpit, which rests upon columns with carved capitals, and 
 is adorned with panels filled with a flat- surfaced leaf ornament 
 sculptured with surprising boldness. The inscription upon it 
 warns the officiating priest to beware lest his voice be but an 
 empty sound.* 
 
 A similar inscription upon the " cattedra " in the Cathedral at 
 Canosa, admonishes the Bishop, if he would hereafter gain an 
 
 wood, upon which bronze plates were fastened with nails after the old 
 Greek fashion. They were divided into twelve rows by horizontal and 
 vertical bands, each containing twelve panels, adorned with the above- 
 mentioned portraits, and with lions' heads, griffins, crosses, moons, staM, 
 &c. (Schultz, Of. cit. ii. 23-32.) 
 
 * " Hie qui magna canis, fac, ne tua vox sit inanis; 
 
 MuiLum se fallit mala qui fecit et bona psallit." , . ;
 
 Introdziction. xli 
 
 eternal throne, to be that which he would seem to be, to make 
 his actions tally with his words, so that while giving light to 
 others he may not himself sit in darkness.* The cattedra, 
 which was made in 1080 for Urso the Archbishop of Bari and 
 Canosa, by a sculptor named Komoaldus, rests upon the shoulders 
 of two richly caparisoned elephants of an heraldic type. It 
 has leaf ornaments, inscriptions, and geometrical patterns 
 about its pointed Gothic back and side posts ; sphinxes and 
 griffins upon its side panels ; eagles with red painted wings and 
 tails upon the slab below its seat ; and bearded heads upon the 
 end of its front slab. The pulpit in the nave is of a later date 
 and less remarkable. The capitals of its four octagomil columns 
 are sculptured wdth simple leaf-work, and its reading desk rests 
 upon an eagle standing on a human head.f 
 
 The Cathedral was founded by the Norman hero Bohemund 
 on his first return to Italy from the East, and the adjoining 
 Grave chapel was erected to his memory by his mother Albe- 
 rada, whom Robert Guiscard repudiated under pretence of con- 
 sanguinity, in order to marry Sigelgaita, the daughter of 
 Guaimalchus, Duke of Salerno. The chapel is a small building, 
 crowned by a cupola, with an octagonal drum pierced by round- 
 headed windows, having pilasters upon its outer wall spanned by 
 round arches, whose capitals are decorated with heads and leaf- 
 work, and a single doorway filled with bronze gates cast by an 
 artist from Amalfi named Roger. The kneeling and standing 
 figures engraved on the lower panels, whose outlines were filled 
 with niello long since removed, are absolutely Byzantine in 
 stvle, while the discs above them are Saracenic. The lower 
 panel to the left contains a lion's head with a ring pendent 
 from his jaws. Bohemund's exploits and virtues are com- 
 memorated in Latin inscriptions upon both valves. The 
 multiple influences which worked upon the art of the time 
 
 * " Prajsul ut teterua postliac potiare cathedra, 
 Quod vox exterius, res ferat interius. 
 Quod geris in specie, da (?), gestes lumen ut in re (?), 
 Lumen cum prrestas, lumine ne careas." 
 f The style of the "cattedra" and the use of Leonine verses in the inscrip- 
 tion, make it probable that the Urso mentioned in the inscription was the 
 Bishop of the eleventh century, and not him of the seventh, who waa 
 also Bishop of Canosa (M. de Breholles, of. cit. p. 42). 
 
 d
 
 xlli Historical Handbook of Italian Sailptttre, 
 
 are far less . forcibly represented at Canosa than at Trani, 
 where the magnificent church of St. Nicholas the Pilgrim, 
 of about thirty years' later date than Bohemund's chapel, 
 shows them more fully than any other Apulian building.* 
 Its plain, massive walls are Norman ; one of the windows 
 in the bell towerf and portions of the ornament are Arabic ; 
 its ground-plan is that of the triple-naved Roman basilica ; its 
 bronze gates are Italo-Byzantine ; and its double-arched portal, 
 with slender columns and sculptured pilasters resting on human 
 figures, is a first-rate example of Ptomanesque architecture. 
 The flat spaces between the winding lines of ornament upon 
 the archiyolt are filled with sphinxes, centaurs, dogs, and 
 fantastic animals, such as a creature with the head of a devil, 
 the body and legs of a horse, and the arms of a man, who is 
 striking with a hatchet at a species of tiger cat, who has seized 
 his fishlike tail in his teeth. These sculptures, kept within the 
 level of the mouldings, are flat-surfaced, full of life and action, 
 and well proportioned. An equal skill in combining figures 
 with ornament is shown in the reliefs of Jacob's Dream, the 
 Sacrifice of Isaac, &c. &c., carved on either side of the door-posts 
 on the left hand, but the figures with broad faces and sharply 
 marked and deeply cut draperies, whose folds are well indicated 
 and arranged, are much less justly proportioned. Elephants 
 with small columns on their backs, a griffin holding a human 
 figure in his claws, bulls, &c. &c., protrude from the upper 
 part of the fa9ade, and are disposed about its richly-adorned 
 windows. 
 
 The sculptures of the same pariod at Trani, about the portal 
 of the Ognissanti church, are ruder in execution and more 
 
 * Date of foundaticn uncertain, dedicated in 1143, but not then finished, 
 as is proved by the will of a woman of Trani named Eosa, dated 1163, 
 which directed that in case of the death of her children a thii-d of her 
 y^roperty should be given to aid in its construction. The Saint Nicholas 
 io whom it is dedicated was a Greek pilgrim, who died at Trani in con- 
 eequence of rough usage, a.d. 1094. Persuaded of his sanctity by the 
 wounds which appeared upon his corpse, Archbishop Byzantius of Trani 
 caused him to be made a saint by Pope Urban II. This archbishop 
 began the duomo which was consecrated under his successor, Byzan- 
 tius II. Like most Apulian churches, it is a pure basilica. 
 
 t This campanile was built by Nicolaus, sacerdos and protomagister, a 
 dame also inscribed upon the pulpit in the duomo at Bitonto.
 
 Introduction. xliii 
 
 stifF in outline. They consist of leaves, volutes, angels with 
 Heating haii- and pointed wings, women with snakes hanging 
 upon their breasts, syrens, centaurs, a long-bearded violin-player, 
 and a Madonna with a kneeling suppliant and an angel. 
 
 .A few other Apulian churches of the twelfth century may 
 here be mentioned, such as the Cathedral at Ortona (1127), 
 which has two rude bas-reliefs, representing Moses receiving the 
 Tablets of the Law, and St. Peter walking on the waters, 
 made by a Magister Eiccardus in the thirteenth century, set 
 into the wall of its campanile. The Cathedral at Ruvo has a 
 very ornate Gothic facade, and a richly decorated portal with a 
 round arch, within which are bas-reliefs of the Paschal Lamb, 
 the symbols of the Evangelists, Christ and the Madonna, with 
 SS. John, Peter and Paul, and angels, carved in a hard, rude 
 style. The Cathedral of San Valentinian at Bitonto, one of the 
 earliest buildings of the so-called Norman Gothic style, has a 
 Romanesque portal flanked by small columns resting on lions. 
 The lunette is filled with a row of rudely sculptured figures, de- 
 creasing in size to the right and left of the central crucifix, and 
 the architecture is decorated with small reliefs of subjects taken 
 from the New Testament. The roof of the clii r;h, towards the 
 piazza, is crowned with an arcade of rich design, whose supporting 
 columns have capitals in which Saracenic ornaments and Koman- 
 esque animals are combined in the old style of mixed decoration. 
 
 From Apulian churches, let us now turn our attention to 
 their pulpits, some of which also exhibit an extravagant use of 
 form and colour. The most remarkable among them is that in 
 Sia. Maria in Lago, at Moscufo, which was made by a sculptor 
 named Nicodemus in 1158. The body of the pulpit, raised 
 high in the air upon columns spanned by arches of a decidedly 
 Moorish type, is reached by a staircase decorated with reliefs 
 representing the history of Jonah. It has two reading-desks, 
 one of which rests upon the head and arms of an angel with 
 white and green wings, red hair and a scarlet robe, and the 
 other upon an eagle. Below these figures, respectively symbolic 
 of SS. Matthew and John the Evangelist, are the winged lion 
 of St. Mark and the Ox of St. Luke, coloured with bright flat 
 tints. The angles of the pulpit between the reading-desks are 
 decorated with twisted columns, having little nude figures climb- 
 ing up their shafts or seated at their bases, and the flat spaces 
 
 d 2
 
 xliv Historical Handbook of Italian Sculpture. 
 
 between them are enriched with reliefs of men fighting with 
 lions and bears, and with delicately sculptured geometric orna- 
 ment. The rich leaf-work about the cornice, the open arcade 
 below it, and the birds, syrens, griffins, harpies and intersecting 
 lines in the spandrils of the arches below the body of the pul- 
 pit are carved wdth the care and skill of an accomplished work- 
 man, but the figures are rude and clumsy. The round staring 
 eyes of the angel and the lion, the furrowed draperies, and 
 the gaudy colours freely used upon every part of the work 
 give it a barbaric aspect, and yet it is so well-proportioned 
 and so systematically planned that the general effect is not 
 unpleasing. 
 
 The contemporary pulpit made by a Magister Acutus at 
 Pianella, a mountain town near Moscufo, is far Jess elaborate than 
 that at Sta. Maria in Lago. Its side panels are adorned with 
 the symbols of the Evangelists in relief, and the reading desk 
 rests upon an eagle of bizarre aspect. The pulpit at San 
 Pellino, which was erected by Oderisius, Bishop of Valva, in 
 1168, has panels and column capitals adorned with flat ornament 
 composed of interlaced lines. In the Cathedral of St. Valentinian 
 at Bitonto there are two remarkable pulpits, one of which is 
 inscribed with the name of Nicholaus Sacerdos et Magister, pro- 
 bably the same person who built the campanile of the cathedral 
 at Trani. An eagle standing upon a crouching human figure 
 supports the reading desk, and the panels are filled with boldly 
 carved rosettes, while those upon the staircase contain conven- 
 tional looking trees, relieved against a red background, with 
 birds sitting upon their branches and nestling in their leaves. 
 The ornaments and the little angel on the front are well pro- 
 portioned and carefully worked, and when compared Avitli the 
 rudely executed bas-reliefs of Solomon and the Queen of Sheba 
 at the back of the staircase, illustrate the superiority of early 
 Apulian marble- work to that of a later period. The smaller 
 pulpit in the church exemplifies the mixed style of deco- 
 ration which we have so often noticed. The shafts and capitals 
 of its columns are adorned with fruits, flowers, birds and beasts 
 in relief, and its panels are filled with flat-surfaced deep cut 
 Arabic ornament relieved upon a mosaic background. Some 
 excellent marble-work in the old style is to be found in the church 
 of S. Maria d' Arbona, at Chieti, where the Paschal candlestick,
 
 Introduction. xlv 
 
 & marble shaft wreathed with a vine, has a capital of charming 
 design, and the marble tabernacle near it is decorated with 
 well conceived and boldly sculptured ornament. 
 
 Having now noticed the Apulian sculptors of the eleventh and 
 twelfth centuries, we must say a few words about the bronze cas- 
 ters, who found models for their work in the gates cast at Constan- 
 tinople by Staurachios between 1066 and 1087, by order of two 
 citizens of Amalfi, Mauro and his sou Pautaleone III., who 
 presented them to the churches of Amalfi, Atrani, Monte Casino 
 and Monte Gargano. These gates, which are panelled and deco- 
 rated with Scripture subjects and persons, delineated by incised 
 lines filled in with silver and with red, black or green metallic 
 pastes, were closely imitated by Roger of Amalfi in the already 
 described doors of the Grave- chapel of Bohemund at Canosa, 
 and by his contemporary Oderisius of Beneventum in the 
 bronze gates of the great portal of the Cathedral at Troja, 
 and of a side door made up of plain bronze panels, upon 
 which the bishops of Troja are represented in niello, in a 
 thoroughly Byzantine style. The incised figures upon the 
 panels of the great gates of the chief portal represent Oderisius 
 the artist ; Berardus Count of Sangro, to whose domain Troja 
 belonged ; Christ the Judge, enthroned after the old Byzantine 
 type upon a rainbow, and the donor Bishop William II., stand- 
 ing between two plants of a conventional type. Eight of the 
 panels, which are set in squares formed by boldly-projecting 
 ribs with a quatrefoil in each corner, contain lions' heads with 
 rings pendent from their widely-extended jaws, and two are deco- 
 rated with fantastic dragons holding bell-shaped knockers between 
 their teeth. These boldly and vigorously handled accessories 
 give an eftect of great richness and variety.* While Oderisius 
 of Beneventum closely copied the Byzantines in style and mode 
 
 * The coats of arms in the third row, of Cardinal Scipio Eebiba, Bishop 
 of Troja from June 19 to September 4, 1560, and of his nephew, Prosper 
 Rebiba, in whose favour he resigned his see, were cast by Maestro Cola 
 Donato Mascella or da Mascella, now Strongli in Calabria, in 1573. The 
 inscription gives the artist's name, and states that Prosper Eebiba caused 
 the doors, which were in a ruinous condition, to be repaired. The iiatrou 
 saints of Troja— Secandinus, Paulianus, and Eleutherius— are also by- 
 Cola Donate. The two cardinals are mentioned by Ughelli (i. 1347). 
 Another part of the doors was restored in 1690 by Antonio de Sangro, 
 who was Bishop of Troja from 1675 to 1694
 
 xlvi Historical Handbook of Italian Sndpture. 
 
 of work, Barisanus of Trani (1160—1179) freed himself from such 
 trammels to a certain extent in the gates which he cast for the 
 cathedrals at Ravello, Moureale, and Trani.* Many of the 
 subjects treated are identical, but whilst the panels of the Ravello 
 gates are decorated with rosettes at each corner, and enframed 
 in arabesque borders, those at Trani are enriched with small 
 medallions containing miniature repetitions of the large sub- 
 jects, executed with great delicacy and skill. In all, the work is 
 clear and smooth, and there is a life in the figures unknown to 
 Greek art of the time. St. Eustace, for instance, draped like 
 an Arab sheikh, sits upon a fiery though heavy-limbed steed, 
 and the two Saracens fighting with clubs and cross-barred shields 
 are vivacious and resolute. Even in a composition so Byzan- 
 tine as the Deposition, the artist shows feeling and attains 
 some freedom of line. Those who know the bronze doors at 
 Pisa, Monreale, Verona, and Beneventum will agree with us in 
 considering them inferior to the work of Barisanus, who was 
 in fact the best bronze caster in Italy before Andrea Pisano. 
 
 The period at which we have now arrived is that of the 
 Emperor Frederic II., who affected the style and attributes of 
 the Roman emperors in his portraits, statues, medallions and 
 effigies, and whose taste in art was formed upon classical 
 models.! The splendour of his resources, and the great ability 
 of the master architects of his time, ai-e set before us in the 
 Gothic castle known as Castel del Monte, which he erected in 
 1244 upon the summit of a high mountain between Ruvo 
 and Andria, called by the Normans " le Haut Mont " and the 
 *' Mont Hardi." 
 
 * The name of Barisanus is given only on the doors at Monreale, 
 though the Due de Luynes {o-p. cit. p. 43) thinks that the mutilated 
 legend in one of the panels of those at Trani, " . . . vs . . . NSis," may 
 mean Barisanus Tranensis, and that the person kneeling at the feet of a 
 saint above it may be the artist himself. The inscriptions in the Trani 
 door, which is the oldest, are in Greek ; those at Eavello in Latin. There 
 are thirty-two panels in the Trani door, and fifty-four in those at 
 Ravello. 
 
 t Frederic and Manfred are both represented as Caesars in medalliona 
 upon the side pilasters of the portal of the church of the Porta Santa at 
 Andria. They are probably copies from originals of their time, as the 
 portal is Renaissance in style, and consequently of a much later date. 
 The church was commenced by Conrad in 1253, and finished by Manfred 
 in 1265.
 
 Introductzojt. xlvii 
 
 Tenanted only by robbers or wandering shepherds, it hag 
 gi-eatly suffered of late years, and its single portal, with a double 
 Gothic arch and cannellated pilasters, above whose Corinthian 
 capitals stand the Suabian lions, has been much marred and 
 defaced. Through it the traveller enters the castle, which from 
 its great size, its peculiar distribution, the mysterious solitudes 
 of its vaulted chambers and winding stairways, and its associa- 
 tion with one of the most romantic and interesting persons in 
 history, is eminently calculated to affect the imagination. 
 Involuntarily the feeling creeps over the mind that the 
 great Frederic is waiting here, like Barbarossa at Kyffhauser, 
 until he be permitted to issue forth in pomp to resume the 
 reins of empire.^ 
 
 The edifice is as beautiful as its general plan is ingenious and 
 its masonry perfect. The same high finish and admirable 
 taste is visible everywhere ; in the windows, with their small 
 columns of rose-coloured marble and their deep embrasures; 
 in the tall Gothic fireplaces ; and in the ribbed and vaulted 
 ceilings, with their rosettes and corbels, some of which are 
 adorned with seated figures sculptured in the rude style of the 
 thirteenth century. Besides the two heads of a later and better 
 period, carved upon the corbels above a staircase in one of the 
 towers, the only other piece of sculpture in the castle is an 
 almost totally effaced bas-relief of a woman kneeling before a 
 chief, with a retinue of armed men. 
 
 The church and monastery of St. Leonardo, between Foggia 
 and Sipontum are classed among the buildings raised by Frede- 
 ric to recompense the devotion of the Teutonic Knights, but 
 the sculptures about its mutilated portal are too much like 
 those of the eleventh century at Trani and Bari, to make this 
 credible. The monastery is now a farm-house, and the church 
 is desecrated and fast falling into ruin, but the portal-sculptures, 
 where they have not been broken away by violence, are in a 
 state of tolerable preservation. Three arches, the inner one 
 being round and the upper two pointed, rise above the portal. 
 Below the lamb sculptured within the pointed arch, is a rosette, 
 
 * January 29th, a.d. 1240, Frederic II. wrote a letter to the Justiciary 
 of the Capitanate concerning the building of the castle; "Cum pro 
 castro, quod apud Sanctani Mariam de Monte fieri volumus per ter," etc. 
 The emperor appears to have erected it in 1244 (Schultz, op. cit. i. 1(34).
 
 xlvili Historical Handbook of Italian Sculpture. 
 
 like that on the pulpit at San Clemente on one side of which 
 stands a saint, and on the other a monk with a chain and a 
 book. Griffins protrude from the wall above the capitals of 
 the round columns which support this arch, at whose bases 
 stand lions, one of whom is devouring an Arab prisoner. The 
 adoration of the Magi is carved upon one of the capitals, and 
 St. Joseph seated on an ass and guided by an angel on the 
 other. The archivolt of the round arch is enriched with a 
 winding ornament ol great beaut}', into which angels and 
 fantastic animals are introduced, while the pilasters on 
 either side of the doorway are sculptured with birds and 
 human figures. 
 
 Of the Emperor Frederic's palace at Luccra, which was deco- 
 rated Avith statues brought from Naples upon men's shoulders, 
 no vestiges remain, and none exist of that at Jb'oggia, except an 
 arch, below which are sculptured the imperial eagles and 
 several inscriptions relating to its construction."' 
 
 The Gothic Cathedral in the picturesque hill city of Atri, 
 which was built during Conrad's reign, has no sculptures of 
 his time. The figures of Christ, the Madonna, and saints over 
 its portal were made by Maestro Eaymondo de' Podio in the 
 latter part of the thirteenth century. There is also but little 
 sculpture about the Cathedral at Lucera, which I^ng Charles II. 
 founded to commemorate the expulsion or forced conversion of 
 the Saracens who had been established there by Frederic II. 
 Its Gothic portal is surmounted by a small group of St. George 
 and the Dragon, and the lunette is filled with an alto-relief of 
 the Madonna and Child seated upon a throne supported by 
 lions. Inside, the church offers nothing of interest but the 
 mutilated statue of its founder. 
 
 The last great Apulian building which we have occasion to 
 mention, is a triple-naved basilica at Bitetto, dedicated to St. 
 Michael. The fourteenth-century bas-reliefs about its faQade, 
 
 * *' Compalatii ITeapolitani inveniant homines qui eas salubriter super 
 collum suum usque Luceram portant." — Regesta (cite par M. de Breholles, 
 Mon. et Hist. p. 76). Kington, Life of Frederic II., vol. ii. p. 176, says 
 the statues were brought by sea to Naples, and probably came from Pisa. 
 The same writer, at p. 314, says that in 124'2 Frederic "ravaged the 
 country round Rome, but withdrew to Melfi in August, cari-ying off from 
 Grotta Ferrata the brazen statues of a man and a cow which poured 
 forth water. These were meant to adorn Lucera."
 
 Introduction. xHx 
 
 representing scenes from the history of our Lord, show that 
 Apulian art, having reached its terna where the Northern 
 schools began, had then fallen into a complete state of de- 
 cadence. 
 
 Single statues were rarely made in any part of Italy before 
 the fifteenth century, and in Apulia, if we except a pleasing 
 figure of St. John the Baptist of the sixteenth century in the 
 church of St. Andrea at Barletta, not at all. The colossal 
 bronze statue of the Emperor Heraclius, which stands before 
 the guard-house in the same Apulian town, is a Byzantine work 
 of the seventh century. The military dress and accoutrements 
 are Roman, but the head is Byzantine, and the diadem which 
 encircles it is such as was worn by the early Greek emperors.* 
 The noble and serene expression of the face (see tailpiece) 
 answers well to the idea which we form of this valorous 
 servant of Christ, this pioneer of the Crusaders, who invaded 
 Persia a.d. 622, to regain the Cross which Schaharbarz, the 
 cruel ally of Chosroes, had carried ofi" to Ctesiphon, and re- 
 turning with it to Jerusalem, mounted the steep ascent of 
 Calvary bearing it like our Lord upon his shoulders. 
 
 There seems no doubt that the ship in which the statue was 
 brought from Constantinople was wrecked off the coast of 
 Barletta, leaving it stranded, like some huge leviathan, upon the 
 beach, where it remained until the fifteenth century, when it 
 was brought to the town in a mutilated state, and set up in the 
 Piazza, May 19, 1491, after the legs, the cross, and the ball 
 which lies in the hollow of the left hand, had been restored by 
 a Neapolitan bronze-caster, named Albanus Fabius. One 
 account states that Heraclius himself had the statue cast by a 
 Greek artist named Polyphobus, and sent it to Monte Gargano 
 as an offering to the shrine of the Archangel Michael ; another, 
 which wears a much greater air of probability, affirms that the 
 Venetians brought it away from Constantinople, where it had 
 been set up to commemorate the triumphal entrance of the 
 
 * According to the Chronicon Pascale, Constantine the Great first 
 wore a diadem of pearls on May 11th, a..d. 330. Constans I. is repre- 
 sented upon coins wearing a diadem made of two rows of pearls with 
 pendant bands. Julian, 360-363, and Jovian, 363-364, wear exactly such 
 a coronet as described in the text, on coins of the time (Schultz, Denk' 
 mdler der Kunst, i. 148).
 
 1 Historical Handbook of Italian Scnlptttre, 
 
 emperor on his return from Persia, mounted on a car drawn by 
 four white elephants, and preceded by the rescued Cross.* 
 
 Apulia is scarcely richer in tombs than in statues. Those 
 of the Norman heroes in the church of the Holy Trinity at 
 Venosa are among the few of historical interest. 
 
 Eobert Guiscard was buried there near his brothers, William 
 of the Iron Arm, Count Drogo, Count Humphrey, and his 
 repudiated wife Alberada, who lies in a plain sarcophagus 
 standing under a Gothic gable supported upon columns. None 
 of the Hohenstauftens were buried in Apulia, although Frederic 
 and his three sous, Henry, Conrad, and Manfred, all died there. 
 Iolanthe,f and Isabella, j the Emperor's wives, were buried in 
 the crypt of the duomo at Andria, where a few finely-worked 
 bits of marble, and some small columns belonging to their 
 monuments may still be seen. Iving Charles II. of Anjou 
 was buried at Lucera in a sarcophagus, whose sepulchral effigy 
 placed near the great portal represents the king dressed 
 in a suit of chain mail, half concealed under his surcoat. The 
 hair is cut across the forehead, and falls in long straight locks 
 upon the shoulders. The hands are crossed, and the feet rest 
 upon small dogs. 
 
 The monuments of the princes of the house of Anjou, with 
 this single exception, are to be found in the church of Sta. 
 Chiara at Naples. They are all Pisan, or of the Pisano-Neapoli- 
 tan Gothic school, and will be described in the division of our 
 subject to which they belong. The kingdom of Naples, unlike 
 Apulia, contains few examples of an earlier period, and Naples 
 itself has no sculpture older than the middle of the thirteenth 
 
 • Amedee Thierry, lies Fils et Successeurs d'Attila. Giovanni Yillani, 
 1st. Flor., says this statue is a portrait of the Lombard King Eraco or 
 Rachi (704-749), to whom he erroneously ascribes the defeat of Chosrocs 
 and the rescue of the Cross ; evidently confounding the name of Eracbio 
 with that of Eraclio. Setting aside the costume, which is not at all like 
 that of a Lombard king, such a statue would never have been erected iu 
 the eighth century at Barletta in preference to such important towns as 
 Bari, Capua, or Salerno, as it was then a mere tower for the accommoda- 
 tion of travellers journeying between Trani and Canna? (Giannone, i. 257, 
 ed. Ven. 1766). 
 
 t Daughter of Walter de Brienne, King of Jerusalem, and mother of 
 Conrad. 
 
 X Daughter of King John of England,
 
 Introduction. 
 
 li 
 
 century, excepting some Byzantine-looking pulpit bas-reliefs in 
 the chapel of San Giovanni in Fonte adjoining the chapel. 
 Their subjects, taken from the history of Samson and the lives 
 of SS. Joseph, George and Januarius, are treated in the style 
 familiar to us in ivory reliquaries and diptychs. In the 
 neighbourhood of Naples there are various early works of art 
 of much greater interest than any to be found in the city itself, 
 some of which we have already mentioned, as for instance the 
 Byzantine bronze gates at Amalfi, where there is a holy water 
 basin given by the Pantaleones, father and son, and those at 
 Kavello cast by Barisanus of Trani. Those of the Cathedral at 
 Salerno, cast at Constantinople 1085—1121, were given by the 
 noble Salernitan, Landolph Botromile and his wife Guinsala. 
 The chief ornaments of this church are its two pulpits of the 
 twelfth century (1153-1181), erected by the Archbishop Eomo- 
 aldus II. The panels of the larger and finer pulpit are enriched 
 with flowers and birds in porphyry, serpentine and gilded glass 
 mosaics, its frieze is supported by little nude marble figures 
 standing above the capitals of the columns, and the angles of 
 the body of the pulpit are faced by statuettes of Isaiah and 
 Jeremiah, and the symbols of SS. John and Matthew.
 
 lii Historical Handbook of Italian Sculpttire. 
 
 SECTION III. 
 
 SCULPTURE IN CENTRAL ITALY BEFORE THE 
 
 REVIVAL. 
 
 The Roman States and Tuscany. — Rome. 
 
 From the beginning of the ninth to the early part of the fif- 
 teenth century Rome suffered by internal feuds, by the attacks 
 of the Emperor Henry IV. (1082), and of Robert Guiscard 
 (1084), who did her even more harm than the Goths or Vandals 
 
 Jiad done, and finally by the re- 
 moval of the popes to Avignon 
 (1305). Her great nobles, the 
 Frangipani, the Colonna, and the 
 Orsini, turned her ruins into 
 fortresses; robbers ravaged the 
 Campagna and plundered the 
 pilgrims journeying to the 
 shrines of the Apostles ; grass 
 ;rew in her streets, and vines 
 overran her fallen temples; her 
 inhabitants were decimated by 
 the pestilence, and her towers 
 and basilicas were shattered by 
 the earthquake. The return of 
 Pope Urban V. (1367), brought 
 no immediate remedy, and it was 
 not until the election of Pope 
 Martin V. (1420) by the Council of Constance put an end 
 to the schism which had long divided the Church, that a new 
 era of prosperity opened for Rome. During all these long 
 centuries of decline the arts were neglected, and only from 
 time to time was a spasmodic activity brought about by 
 exceptional causes. Thus in the days of Charlemagne, fallen 
 
 'EU.
 
 Introduction. 
 
 liii 
 
 edifices were raised, churches were adorned with mosaics, 
 and new buildings were erected by the Popes Hadrian I. 
 (771-795) and Leo III. (795-81G). (Many works which still 
 exist, or are known to have existed, show that the use of 
 the chisel was never completely abandoned. Among these are 
 several sarcophagi in the Lateran museum, and that of the 
 Prefect Junius Bassus (359) in the crypt of St. Peter's, works 
 of the fourth century ; the bronze statue of the titular saint 
 which was cast in the fifth century by order of Pope Leo I.^' in 
 commemoration of the miraculous delivery of Rome from Attila 
 through the intercession of SS. Peter and Paul ; and the statue 
 of St. Hippolytus in the Lateran museum, known by the form 
 of the letters in his Paschal calendar upon the side of the 
 ** cattedra "f to be a work of the sixth century. 
 
 In the seventh century the atrium of St. Peter's contained 
 BO many Papal 
 tombs that it was 
 called the portico 
 of the Popes. \ 
 Many of them 
 were destroyed 
 when the vener- 
 able basilica was 
 pulled down by 
 Julius II. and 
 his successors, 
 but greatly as we deplore their loss we must not exaggerate its 
 artistic importance, for they were either simple slabs bearing in- 
 scriptions, or such sarcophagi as we see in the Lateran museum, 
 without sepulchral effigies, adorned with bas-reliefs repre- 
 senting scenes from Holy Writ.j A few inscriptions and sarco- 
 phagi in the crypt of St. Peter's, are all that remain of these 
 monumental splendours. The earliest Papal inscription 
 
 ^ iiL 
 
 * Torrigio, Bac. Grot. Vat. pp. 126-27, and Platner, Bescli. Boms, ii. 
 177. Some critics believe this figure to be an antique with restored head 
 and hands. 
 
 t Besch. Boms, ii. 329. The upper portion of this statue is a modern 
 restoration. 
 
 X Before the year 408 the popes were buried in the catacombs ; then in 
 the portico of St. Peter, ilhid. vol. i)
 
 liv Historical Handbook of Ilalian Sculpture. 
 
 among them is that of Pope Boniface lY. (608-615); and the 
 earliest Papal tomb an old Christian sarcophagus with Scrip- 
 tural bas-reliefs, which contains the bones of Pope Gregory V.* 
 (996-999). The next is an immense Ptoman sarcophagus of 
 oriental granite, with masks carved upon its lid and festooned 
 bucranes upon its sides, in which lies the one English pope, 
 Adrian IV. (1154-1159), Nicholas Breakspear, who hung and 
 burned the Italian martyr Arnoldo da Brescia, and crowned 
 Frederic Barbarossa. 
 
 In the seventh century the bodies of the popes who were 
 especially venerated were transferred from the vestibule to the 
 interior of the basilica. Those first so honoured were Leo 
 the Great (432-440), to whom a magnificent monument was 
 erected in the vestibule of the sacristy ; Gregory the Great 
 (688) ; and Adrian I., the friend of Charlemagne. Side by 
 side with these successors of St. Peter lay Honorius (423) and 
 his nieces, Maria and Thermantia, daughters of Stilicon ; 
 Otho II., surnamed the Great (983) ;f Helpis (524), the first 
 wife of the ill-fated Boetius ; Casdwalla, king of the West- 
 Saxons, who became a Christian and when hardly thirty-years 
 old abdicated his throne to journey by sea and by land to 
 Rome to be baptised by Pope Sergius on the vigil of Easter, 
 and died, " candidus inter oves Christi," before he had laid 
 aside his white catechumenal robes (688) ; and Pope Honorius 
 
 IV. (1285-1287), whose sepulchral effigy was removed to the 
 Savelli chapel at Ara Coeli when the old basilica was destroyed, 
 and placed upon the sarcophagus of his mother Tana Aldobran- 
 desca. 
 
 The statue of his successor, Nicholas IV. (1288—1292), 
 who was buried at the Lateran, may be seen in the retro- 
 choir. He kneels with clasped hands, looking upward, and 
 wears a tall pointed tiara upon his head, and shoes with soles 
 of extreme thickness upon his feet. This rude image is one of 
 the few monumental relics which escaped destruction in the 
 
 * 8ee Tav. xlvi. Bac. Vat. Bas. Crypt. Dionysius, vol. i., and a descrip- 
 tion of the sarcophagus at vol. i. p. 115 ; also, Torrigio, Sac. Grot. Vat. 
 p. 349. 
 
 t The sarcophagus ia cow in the court of the Qnirinal palace. Its lid 
 is used as a baptismal font at St. Peter's. The emperor's bones wero 
 
 V. ailed -op in the crypt by Pope Paul Y. a.d. 1609.
 
 IntrodiLction. Iv 
 
 early part of the fourteenth century, when the Lateran wau 
 twice well nigh consumed by fire.* 
 
 ^0 Roman sculptors are mentioned in inscriptions from the 
 fifth to the ninth century, but one of the tenth, at Santa Pras- 
 sede, records the name of Magister Christianus as having made 
 the monument of a Cardinal Peter, who assisted at the Lateran 
 Council of the year 904. Many names of marble-workers who 
 lived after this date are mentioned in inscriptions upon arches, 
 friezes, monuments, pulpits and bishops' thrones in Pioman 
 churches, and in those of towns within a range of forty or fifty 
 miles of the city. Among these names we may mention those of 
 Giovanni and Guide, inscribed upon the architrave of the ciboriura 
 of the church of Santa Maria di Castello, at Corneto (1060) ; f 
 of a second Giovanni, with his father Paulus, and his brothers 
 Peter, Angelo, and Sasso, upon the architrave of the ciborium, at 
 San Lorenzo " extra muros " at Rome ;| and of Nicholas, grand- 
 son of Paul and son of Angelo, upon the paschal candlestick 
 at St. Paul's (1148) (sec tail-piece), which consists of a round 
 column of marble about eighteen feet in height, resting upon 
 a quadrangular base, with sphinx-like animals at the corners. 
 The figures in relief upon the shaft are short, clumsy and 
 
 * The two rudely-sculptured figures of Saints Peter and Paul, in the 
 retro-choir, some architectural fragments in the beautiful cloister, parts 
 of the tomb of a Milanese count, m. 1287, with portions of those of 
 Antonio de Claribus, m. 1274, and of Gerardus Blancus, m. 1302, in the 
 side aisles, belong to these monuments. 
 
 f This church was founded a.d. 1121 when Calixtus II. was pope and 
 Uenry II. emperor, and dedicated in 1208 by Innocent III. The 
 ciborium, which is dated 1060, i.e. sixty years before the churcli was 
 founded, must, says Promis, op. cit., have been brought from some other 
 building and set up there. Its inscription is : " Virginis . ara . pie . sic . e. 
 decorata. Marie . que genuit XRM. Tanto sub TPR scriptu, anno 
 milleno vr. et ageno;" to which Gaye, Kunsthlatt, No. 61, a.d. 1839, 
 article on Promis, adds : 
 
 " Octo super rursus fuit et prior optimus sursus. 
 Jobs, et Guitto magistri hoc opus fecerunt." 
 
 J " Joh'^s. Petrus. Angl's et Sasso. filii Pauli marmor. Hui. opis magistri 
 fuer. ann. mcxlviii. ego Hugo humilis Abs. Hoc opus fieri fecit." The 
 two last names of the brothers have been read as Anglus English, and 
 b'assone Saxon, an interpretation which is regarded as doubtful by Didron. 
 {See Le Moyea Age, Ann. Arch.) Gaye in his article on Promis says 
 that the father Paulus is the same whose name was found by De Witt 
 wpon a grave-slab in San Giovanni di Terentino,
 
 Ivi Historical Handbook of lialia^t Sculptitre. 
 
 rudely sculptured, with staring and inexpressive eyes marked by 
 round holes drilled into the marble.* The name oi its author 
 occurs again in an inscription belonging to the church of Saint 
 Bartolomeo, on the "insula Tiberina,"f and with that of his 
 father in the cathedral at Sutri (1170). Another supposed 
 grandson of Paolo is the Petrus Amabilis who has already been 
 mentioned as the sculjDtor of a pulpit at San Vittorino near 
 Aquila(1197). I The attempt to follow these marble-workers from 
 place to place and identify them is difficult, and often leads 
 to conflicting results. The multiplicity of Pioman Peters is 
 especially puzzling, for besides the two already spoken of, a 
 third is mentioned in inscriptions at Kieti (1252-1283), a 
 fourth at Alba Fucense (1225), and a fifth is said to have gone 
 to England with Abbot Wai-e (1207) to make the shrine of 
 Edward the Confessor at Westminster Abbey. § This Peter 
 le Orfever, as he is called in English records of the time, and 
 his companion Odericus || belonged to the Eoman Cosmati who 
 
 * The artist's name with that of his otherwise unknown companion ig 
 thus inscribed npon it: "Ego Niconaus [sic] de Angilo [sic] cum Petro 
 Fassa de Tito hoc opus coplevi." 
 
 t " Nicholaus de Angelo fecit hoc opus." 
 
 X Gaye, op. cit., identifies the Petrus of San Yittorino, 1197, with him 
 of Rieti, 1252-1283; while Promis considers the Peter of San Yittorino, 
 1197, to be identical with him of Alba Fucense, 1225. It seems more 
 natural to believe the Peter of San Lorenzo, 1140, to be one and same as 
 the Peter of San Yittorino, 1197, and to make a second Peter out of the 
 three mentioned at Alba, 1225, Rieti, 1252-83, and England, 1267. For 
 a mention of the latter see Scott's Westvainster Ahhey, second ed. pp. 
 129, 133. 
 
 § Abbot Ware went to Rome to be consecrated by Pope Urban lY., 
 in 1258, and remained there for two years. That Abbot Ware brought 
 workmen and porphyry stones with him on his return to England is 
 mentioned by Weaver and confirmed by his epitaph: "Abbas Riccardus 
 de Ware qui requiescit. Hie portat lapides quos hie portavit ab Vrhe." 
 {Fold. p. 134-.) Rome was always called " Urbs " in the thirteenth century 
 " the city " par excellence. 
 
 II Odericus is not to be confounded with a Petrus Oderigius or Oderigi 
 of the preceding century, whose name is inscribed upon a sarcophagus in 
 which Roger Count of Calabria and Sicily, m. 1101, was buried in the 
 abbey of Santa Trinita at Mileto in South Calabria. This sarcophagus 
 was removed to the piazza of the town after the earthquake of 1795, and 
 thence to the museum at Naples. It is adorned with rudely-sculptured 
 figures of a man and a woman and two crosses at each end and spirsl
 
 Introduction. Ivii 
 
 oi'igiuated the system of decorative architecture wliicli bears 
 their name about the middle of the twelfth century. Succes- 
 sive generations of this family of artists worked at Rome and 
 in its neighbourhood during more than a hundred and fifty 
 years, enriching many churches with charming examples of 
 their skill and taste. The appellation of " arte marmoris periti," 
 which was applied generally to Eoman Mediaeval sculptors, is 
 peculiarly appropriate to them, since they decorated their 
 tabernacles, pulpits, &c. &c., with mosaics and discs made of 
 porphyry, serpentine, giallo and rosso antico, and many coloured 
 marbles, to obtain which precious materials they despoiled 
 old buildings, cut up beautiful columns, and destroyed rich 
 pavements. Their early works which are remarkable for an 
 organic lightness of structure, an absence of caprice or extrava- 
 gance in ornament and a scrupulous subordination of decora- 
 tion to the architectural unit,* are examples of that " perfect 
 harmony between the end and the means," which has been 
 given as a definition of style. These qualities are conspicuous 
 in the fine facade of the Cathedral at Civita Castellana ; in the 
 exquisite cloisters of St. Paul's and the Lateran at Rome ; in 
 the portico and pulpit of San Lorenzo ; and in the cloisters of 
 Santa Scolastica at Subiaco. 
 
 More Cosmatesque work of the first period is to be seen in 
 the church of San Pietro d' Alba at Alba Fucense, near the site 
 of the old Marsian city of Alba, in the Abruzzi. The Andrea, 
 Gualterius Morronto and Petrus,']' whose names are inscribed 
 upon its choir parapet ("septum marmoreum"), and the 
 Giovanni and Andrea upon its pulpit, j were all Roman 
 marble- workers of the early part of the thirteenth century, 
 as was the Nicolaus who made the pulpit in the Cathedral 
 
 columns. The following inscription^ upon it records the name of the 
 deceased count and the artist who made the sarcophagus — 
 
 "Hoc sepulchrum fecit Petrus Oderisius, magister Komauus, in 
 memoriam Rogerii comitis Calabrise et Sicilia3." 
 
 * Architettura Cosmatesca, di Camillo Bonito, p. 16. 
 
 + This Petrus is perhaps identical with the artist who made the pulpit 
 ot S. Vittorino, near Aquila, and the Giovanni with the marble-worker 
 at Corneto mentioned at p. Iv. 
 
 X " Abbas Oderisius fieri fecit. Magister Gualterius cum Moronto et 
 Petrus fecit hoc opus. Andreas magister Romanus fecit hoc opus." {Seo
 
 Iviii Historical Handbook of Italian Sctdpture, 
 
 at Fondi,* and worked witli Nicolaus, son of Rainuccius,f and 
 Rainerius, son of Giovanni from Perugia, | upon the facade of 
 Santa Maria di Castello at Corneto (1208). The pulpit in this 
 church, by Giovanni di Guido, who is probably identical with him 
 of Alba, is entered by a double staircase flanked by crouching 
 lions of a very rudimentary type. Its semicircular front is 
 formed of three slabs, separated from each other by columns 
 whose capitals are adorned with rudely-carved birds and leaf- 
 work, on the central slab an eagle with outspread wings 
 hovering above a plant which springs from a vase with dolphin- 
 shaped handles, is sculptured in a much better style, and of a 
 later date than the pulpit, i^ Donnaincasa, an artist of the Cos- 
 mati school, adorned the white marble pavement of this church 
 with discs and strips of serpentine, porphyry and giallo antico, 
 in imitation of the Roman Opus Alexandrinum. 
 
 Toscanella, not many miles distant from Corneto, has two 
 very interesting churches, San Pietro and Sta. Maria, whose 
 sculptured facades, pulpits and tabernacles are in all probability 
 Roman work. San Pietro was founded as early as the ninth or 
 tenth century, but from the remarkable variety of its parts we 
 may conjecture that it was not completed till a much later 
 period. Its facade offers a unique example in this region of that 
 fantastic system of decoration 'which distinguishes Apulian church 
 facades, employed here however much less systematically and 
 
 Febonius, Hist. Marsorum, lib. 3 ; Promis, op. cit. p. 12 ; Scbultz, op. cit, 
 p. 83.) Upon the pulpit is inscribed — 
 
 " Civis Romanus doctissimus arte Jobs 
 Cui collega Bonus Andreas detulit onus. 
 Hoc opus excelsum struxerunt mente periti 
 Nobilis et prudens Oderisius abfuit Abbas." 
 * "Tabnla marmoreis vitreis dixtincta [si'c] 
 Doctoi-is studio sic est erecta Johnis 
 Romano genitos cognomine Nicolao." 
 t " Nicolanus Rainucii magister Romanus fecit" is inscribed upon the 
 capital of the column which divides the window over the portal. 
 X " Rainerius. Thos. Perusinus " is inscribed upon the archivolt. 
 § Made for the Prior Angelas in 1208. The same name is inscribed 
 on the architrave of the ciborium — 
 
 « AD • MCCVEI • MAG • T • DNI • INNCENT • PP • III • Ego 
 • Angel ■ per " Hui ' Eccle ' hoc ' op ' nitid * auro ' et * mar- 
 more • diverse * fieri • fecit • per • manus " Johis " Guittonia ' 
 civis • R • M • N."
 
 Introduction. Hx 
 
 with far less teclinical skill. The ox-like animals standinfi^ 
 upon consoles resting on Griffins, remind us of those which 
 protrude from the fa9ade-wall of the cathedral at Troja, which 
 however presents no such animated picture to the eye as this at 
 Toscanella, with its dragons pursuing hares, and its huge 
 monster with a hideous head like an Indian idol, and arms 
 entwined with snakes. The date of this strange work is not 
 precisely known, hut in all probability it nearly coincides with 
 that of the ciborium inside the church, which bears the name 
 of Petrus, a priest who lived at the end of the eleventh century 
 (1093). 
 
 The sculptures of the facade of the neighbouring church of 
 Sta. Maria appear to belong to about the same period, though 
 they are much less extravagant. The bas-reliefs of the 
 Madonna and Child, Abraham's journey, and the Sacrifice of 
 Isaac in the lunette over the central door ; the two figures in 
 alto-relief of SS. Peter and Paul, set against the door-posts ; 
 the human figures, horses, and fantastic animals introduced 
 into the flat spaces ; and the monsters and lions in the frieze 
 above the capitals, and at the bases of the large columns on 
 either side of the door, differ little from other rude works of 
 their land and period. The church contains a pulpit resting 
 upon columns, whose sides are covered with squares, oblongs, 
 and interlaced patterns, and whose projecting reading desk is sup- 
 ported on a rudely-carved figure in alto-relief. The capitals of 
 the columns which divide the nave from the side aisles, are 
 covered with carved leaf- work, animals and ornaments, 
 sculptured in the rude style of the ninth or tenth century.* 
 
 It was not until the end of the thirteenth century that sculpture 
 which in the Roman states, as elsewhere in Italy, had been eccle- 
 siastical and architectural, was employed in a single instance 
 in a secular and monumental form, to perpetuate the memory 
 of an historical personage. King Charles of Anjou. When 
 this "Nero of the Middle Ages " as he has been well called,f 
 came to Rome in the forty-sixth year of his age to be invested 
 with the senatorial dignity, the Pioman senate decreed that 
 his life-size statue should be sculptured and set up upon 
 
 * Campanari, op. cit. i. 125, says the church, was founded in the eighth 
 century. He thinks the sculptures not anterior to the tentli. 
 t Geschiehte der Stadt Rom, p. 361.
 
 Ix Historical Handbook of Italian Sculpture. 
 
 tlie Capitoline, This was done, and the result is of no commou 
 interest, for the statue, which stands in the great hall of the Sena- 
 torial Palace, is not only the portrait of one of the most noted 
 men in history, hut also the only Mediaeval portrait statue of 
 any importance in Italy. It represents the " Gothic plun- 
 derer " in a long tunic and mantle, with a crown on his head, and 
 a sceptre in his hand, sitting upon a throne-chair flanked by 
 lions. The peculiar shape of the head, and the long nose 
 which Villani mentions * as a marked feature in the King's 
 face, leave no doubt that the sculptor, although deficient in the 
 higher qualities of his art, was at least true to nature to the 
 extent of his ability. 
 
 With the departure of the popes from Rome (1306), all activity 
 in art ceased, and so completely was this the case with sculpture, 
 that we meet with the name of but one Eoman sculptor of the 
 fourteenth century, Marcus Romanus (1317), whose only known 
 work is a statue of St. Simeon the Pi'ophet, behind the high 
 altar of his church at Yenice. In the dark tomb-like recess 
 where it lies, the face wears a dignified air, and the figure is 
 expressive, though rudely sculptured and defective in its pro- 
 portions. 
 
 The reader will see by the foregoing pages that sculpture of 
 the time under consideration is but poorly represented at Rome 
 and in its immediate neighbourhood, and this is the case through- 
 out the states and cities ruled by the Popes before the uni- 
 fication of Italy. At Volterra there is a pulpit of the year 1194 
 in the Cathedral, and at Viterbo one papal tomb, that of 
 Hadrian V. (1276) in the church of San Francesco. 
 
 Bologna. 
 
 This city contains but little early sculpture, and but scant 
 records of early sculptors. A curious old terra-cotta pulpit at 
 S. Stefano, adorned with rude symbols of the Evangelists, and 
 four stone crosses in the basilica at St. Petronius, are the only 
 marbles anterior to the fourteenth century which we find there. 
 The date of the pulpit is unknown, and that of the crosses un- 
 certain. Two of them are probably of the eight or ninth 
 century, and the others posterior to it, though tradition says that 
 
 • Villani, Istorie Florentine, lib. vii. ch. i. p. 225.
 
 Introduction. 1 
 
 XI 
 
 they were erected near the old gates of the city by St. Petronius, 
 Bishop of Bologna, in the fifth century. One of the four is par- 
 ticularly interesting on account of its sculptures, and because 
 one of its inscriptions records the names of the Petrus Albericus 
 and his father who made them. At the back Christ appears in a 
 mandorla, supported b}' the three Archangels, Michael, Gabriel, 
 and Eaphael, holding the book of the new law open upon his knee, 
 and giving the benediction with his right hand. Upon the front, 
 Christ crucified holds this simple and touching dialogue with his 
 mother : " My son," she says to him; and he," What, mother?" 
 — Q. " Are you God ? "—A. " I am."— Q. " Why do you 
 hang (upon the Cross)?" — A. " That mankind may not 
 perish." Besides the Petrus Albericus and his father who 
 carved this cross, we know the names of a few other early 
 Bolognese sculptors such as Daniele, surnamed II Sarcofagaio, 
 (524),'" Pdnghieri or Piinghiero, who worked in the Holy Land, 
 (1110),f Ventura dei Lamberti, both architect and sculptor, 
 who flourished between 1197 and 1230 ;| Alberto or Albertini 
 who also lived in the thirteenth century, and Manno, gold- 
 smith and painter,§ who made a very curious colossal statue of 
 Pope Boniface VIII. , now in the university, out of beaten plates 
 of metal fastened together with nails. This statue was erected 
 to the pope during his lifetime (1301) by the Bolognese, out of 
 gratitude for the decision he had given against the Modenese in 
 a dispute between them concerning the castles of Bazzano am? 
 Sarignano. The eyes are staring and inexpressive, the head 
 wears a plain mitre, and the stiff figure is robed in a long vest- 
 ment. Resting one hand upon his breast, the Pope slightly 
 bends the fingers of the other in sign of benediction. 
 
 * The Daniele da Eavenna mentioned by Zani, Tine. Met., is perhaps 
 the same person. 
 
 t Ghirardacci, Delia -Historia di Bologna (Bologna, 1696), vol. i. lib. ii. 
 p. 63. See also Zani, Enc. Met. xv. 331, and xvi. 72, 182. 
 
 X " Henrico Vescovo di Bologna fece fare la porta della chiesa verso 
 qnella medesima parte (al mezzogiorno) di prezioso marnio e la orno 
 di varie e belle figure fatte da Ventura scultore in quel tempo, archi- 
 tetto e scultore famosissimo." — Ghirardacci, op. cit. vol. i. lib. v. j?. 132. 
 
 § Baldi cited in the Felsina Pittrice, i. 25, says that a picture of the 
 Madonna and Child by Manno dated 1260 existed in the old Palazzo della 
 Binda, and that he himself had a capricious and diligently-drawn Massacre 
 of the Innocents by Manno in his possession.
 
 Ixii Historical Handbook oj Italian SctUpture, 
 
 Ravenna. 
 
 Ravenna is esjDecially interesting for the early Christian 
 mosaics with which its great churches are adorned, but it does 
 not abound in marbles of any period. Some sarcophagi are to 
 be seen, both in its streets and in its churches, as in the sacristy 
 of the Cathedral, where the cattedra of Bishop Maximin of 
 the sixth century is also preserved ; at S. Apolliuare in Classe, 
 where there is an altar of the ninth century and the fragments 
 of the cattedra of St. Damian of the eighth century ; at S. 
 Francesco, where there is an early Christian altar ; at S. Vitale, 
 and at S. Maria in Porto, which contains a Byzantine bas-relief 
 of the Madonna. None of these objects call for special descrip- 
 tion as they differ in no respect from others of their time and 
 class elsewhere described. 
 
 Ancona. 
 
 The Cathedral of St. Ciriacus consists of two superposed 
 churches, the upper of the eleventh century, whose facade, 
 erected about 1200, is decorated with figures in relief of SS. 
 Lorenzo, Liberio Palagda, Stephano, and Ciriacus, and the 
 lower of the ninth century. This contains a richly sculptured 
 sarcophagus, and fragments of early marble work. The facade 
 of S. Maria di Piazza, a church of the tenth century, is a work 
 of the early part of the thirteenth. The capriciously conceived 
 sculptures about it show the influence of the neighbouring 
 Apulian churches, which, as we have said, were erected for the 
 most part a hundred or a hundred and fifty years earlier, 
 
 Tuscany. 
 
 The course of our history now leads us to Tuscany, the 
 richest of all Italian districts in sculpture from the thirteenth 
 to the seventeenth centuries, and the poorest in Pre-Pievival 
 work. The oldest works at Pisa, Pistoja, Lucca and Florence, 
 belong to the twelfth century, when new forms of portal- 
 building gave opportunity for much stone carving. We know 
 the names of many Pisan artists of this time, but one of whom, 
 Bonanno, worked in the Byzantine style. He it was who built 
 the Leaning Tower in 1174,^ and cast the bronze reliefs upon 
 
 *■ la tKis work he was assisted by a M°. Gnglielmo, who, Milanesi
 
 Introdiiciioii. 
 
 h 
 
 XllI 
 
 the so-called Porta di San Eanieri of the Cathedral, as well as 
 those upon the doors of the Cathedral of Monreale near 
 Palermo. These doors are contemporary with those at Trani 
 and Ravello hy Barisanus, who was his superior both as bronze- 
 caster and artist. Bj'zantinism seems to have died out in 
 Tuscany with Bonanno, for we find no trace of it in the stone 
 reliefs of his contemporaries, whose clumsily modelled, ill-dis- 
 posed reliefs of Bible stories are not slavish imitations, how- 
 ever rude and imperfect. The most notable among them are 
 an Adoration of the Magi on 
 
 the architrave of the i)ortal ""~" — — - 
 
 of S. Andrea at Pistoja, a Last 
 Supper upon that of San 
 Giovanni, and the reliefs upon 
 the pulpit of S. Michele at 
 Groppoli by Gruamonte of 
 Pisa (1166), the Christ and 
 twelve Apostles, and two 
 clumsy angels over the door- 
 way of S. Bartolomeo at Pis- 
 toja by Rudolfinus (1167), the 
 font at San Casciano near Pisa 
 (1180), and a miracle of St. 
 Nicholas over one of the side 
 doors of S. Salvator at Lucca 
 by Biduinus, the portal of S. 
 Andrea at Pistoja by Euricus, 
 and the font in San Frediano 
 at Lucca by Bonamicus, who 
 sculptured a bas-relief of Christ in Glory, with David and 
 the Evangelists, now in the Campo Santo at Pisa. Works 
 of the same period exist at and near many Tuscan towns, 
 such as the Old Testament reliefs upon the portal architraves 
 of Santa Mustiola de' Torri near Siena, the Birth of Christ 
 and the Adoration of the Magi in the chapel of San Ansano 
 in the Cathedral, the reliefs upon the lower portion of the 
 
 says, was perhaps a Pisan, and certainly an Italian, He identifies hiro 
 with a Guglielmo, who in 1165 was head master of the Cathedral a1 
 Pica, and sculptor of the pulpit in that church, prior to that made bj 
 Giovanni Pisano. {Se'i Vasari, ed. Milanesi, vol. i. p. 27i, note ) 
 
 J.Q 
 
 l:'i?i:'!!!l!i!.il!i!i
 
 Ixiv Historical Handbook of Italian Sculpture. 
 
 fa9adeof San Martino at Lucca (1204), those about the portal of 
 the Pieve at Arezzo by Marchionne (1216), and others by anony- 
 mous sculptors about the architrave and side posts of the eastern 
 portal of the Baptistry at Pi^a (after 1200), representing Christ's 
 descent into Hell, &c. &c. The pulpits of San Bartolomeo 
 at Pistoja by Maestro Guido da Como (1250), of S. Michele 
 at Groppoli between Pistoja* and Pescia, of the cathedral of 
 Volterra, at Barga near the Baths of Lucca, and that at San 
 Lionardo near Florence, are all decorated with reliefs which, 
 while they illustrate the extremely low level of sculpture in 
 Tuscany up to the first half of the thirteenth century, shoAv in 
 many instances a striving after greater freedom in arrangement 
 and action. The period was transitional between the decay of 
 Byzantinism, and that when a leader was to arise whose mind 
 and hand were strong enough to direct the aims and shape 
 the destinies of sculpture. This leader was Niccola Pisano, 
 whose history belongs to that of the Pisan school which he 
 fouqded.
 
 BOOK I. 
 
 THE EEYIVAL AND THE GOTHIC PEEIOD. 
 
 1240 to 1400.
 
 HISTORICAL HANDBOOK 
 
 OP 
 
 ITALIAN SCULPTURE. 
 
 CHAPTER I. 
 
 NICCOLA PISANO. 
 
 As we walk tlirougli the quiet streets of Pisa, or traverse the 
 broad plain which divides her from the sea, we find it difficult 
 to realise that in the eleventh century she was a crowded sea- 
 port, the busy mart of Oriental traffic, and chief among the 
 Ghibelline cities of Italy. The antique sarcophagi in her 
 Campo Santo, which then decorated the exterior of her newly 
 built Cathedral and served for the next century and a half as 
 tombs for illustrious Pisans and foreigners of distinction 
 deceased at Pisa,* recal to us a still earlier period of her 
 history, when she was a Eoman colony and famous for her 
 marble works. To us they are of peculiar interest, not only as 
 visible links between her ancient and mediaeval periods, but also 
 because Niccola Pisano made the bas-reliefs upon them special 
 objects of study, and learned from them those forgotten arts of 
 composition, treatment of form, and disposition of drapery, 
 which made his sculpture superior to any executed in Italy 
 since the decline and fall of the Eoman Empire. This 
 was in the thirteenth century, when Italy was convulsed by 
 the great struggle unceasingly carried on between the Imperial 
 
 * Such as some Pisan Archbishops ; the Countess Beatrice, mother of 
 the Countess Matilda, in 1187 ; Pope Gregory VIII., who died at Pisa 
 in the «ime year, and the great Burgundian in 1193. See Appendix A. 
 
 L 2
 
 4 Historical Handbook of Italian Sculpture. 
 
 and Papal powers, which had so much influence upon the 
 development of the arts. At the outset of Niccola Pisano's 
 career the war between the Hohenstauffens and the popes was 
 renewed by Frederic II., who, king of Sicily through his 
 mother, of Jerusalem through his wife, and of the Piomans 
 by election, had been crowned emperor by the pope, of whom 
 he professed himself the vassal, v.hile secretly preparing the 
 way for the subjugation of Italy, which he looked upon as his 
 rightful heritage. 
 
 The popes considered the independence of Italy as necessary 
 to their own freedom, while the emperor wished to put down 
 both popes and republics, in order to bring about its unification 
 under himself. In this plan, as well as in his resistance to 
 papal authority, and in his attacks upon the vices, wealth and 
 power of the clergy, Frederic was far in advance of his time,* 
 but the hour was not yet come for the unification of Italy, or 
 for religious reform, and though he pressed Kome hard, the 
 elasticity of her institutions, which yield to pressure only to 
 resume their original shape when it is removed, saved the 
 Church from the loss of temporal power. In warring against 
 Frederic, whose courage, cunning, and ambition gave the 
 popes ceaseless cause for alarm,! and in strengthening and ex- 
 tending their influence, which had been much shaken by heresies 
 in Italy and France, they received invaluable assistance from 
 the Minorites and the Preaching Friars, whose Orders had 
 been established by Pope Innocent III. in the early part of the 
 century, in consequence of a vision, in which he saw the totter- 
 ing walls of the Lateran Basilica supported by an Italian and a 
 Spaniard, in whom he afterwards recognized their respective 
 founders, Francis and Dominic, Saints who employed the most 
 opposite means in the work of conversion. 
 
 Their history, as well as that of the Popes whom they served, 
 and that of the Emperor whose power they helped them to 
 
 * Kington, li'ife of Frederic II., says, Frederic's circular addressed to 
 such prelates as mourned over the grasping and combative spirit of their 
 head (Gregory IX., who had just excommunicated him in 1237), reads 
 like a forerunner of the Reformation. See also M. Cherrier, Hist, de la 
 Lutte des Papes, vol. ii. p. 397. 
 
 t G. Villani gives the Guelphic opinion of Prederic, lib. vi. ch. i. pp. 
 233 ct scq. : Jamilla, Hist. Conradi et Manfredi, vol. viii. p. 495, the 
 Ghibelline. Vide Sismondi, Rep. etc. vol. iL pji. 46, 48.
 
 Niccola Pisano. 5 
 
 curb, concerns us here only so far as it is connected with the 
 development of art. It is evident that while Frederic II. and 
 Eccelino of Padua needed fortresses, and palaces scarcely less 
 calculated for defence. Innocent lY. and Urban IV. wanted 
 convents, where the monks whom they enlisted to fight against 
 heresy could be lodged, as well as churches in which the growing 
 army of the faithful could assemble for prayer. An impulse 
 was thus given to civil and to ecclesiastical architecture, and 
 consequently to sculpture, which formed an integral part of it. 
 Exercise in the arts brought technical improvement in its train, 
 and as the field continually widened builders and carvers of stone 
 multiplied, until the length and breadth of the land was enriched 
 with those masterpieces of construction and decoration whose 
 beauty we still admire. 
 
 Among the men of genius by whom architecture and sculp- 
 ture in Italv were most advanced, none has won for himself a 
 mere deserved renown than Xiccola Pisano, of whom we now 
 propose to speak as fully as our imperfect knowledge will allow. 
 
 That he was born between 1-20-1 and 1207 seems proved by 
 an inscription on the fountain at Perugia, which states that he 
 was seventy-four years old when it was completed, during the 
 Papacy of Nicholas EH. 1277-80 ;* but where and how he was 
 educated are questions which have been much discussed. Apart 
 from the fact that Niccola is called a Pisau in all inscriptions 
 relating to him, those t who hold that he was of Tuscan birth 
 and education rest their belief upon long established tradition, 
 upon the character of his works, and upon a document in the 
 archives of San Jacopo at Pistoja in which he is spoken of 
 (July 11, 1272) as " Master Nicholas of Pisa, son of the late 
 Peter of . . . ," and again (Nov. 13, 1273) as " Son of Peter 
 of the parish of S. Biagio at Pisa." Those^ who regard him 
 as an Apulian born and bred, cite the contract between Era 
 
 * Schultz, GescMchte, etc. vol. vii. p. 271, note 1, doubts the correct- 
 ness of YermigHogli's reading of the inscription, and places Niccola's birth 
 between 1210 and 1220. 
 
 t Milancsi, Semper, Schnaase, and Dobbert. 
 
 J Eumohr, Crowe and Cavalcaselle, Forster, Grimm, Lubke, Springer 
 and Salazaro. The arguments on both sides are stated by Milanesi in 
 his Commentary upon the lives of Isiccola and Giovanni Pisani, Vasari, 
 ed. Milanesi, 1878, vol. i. pp. 321-329, and carefully discussed in 
 Schnaase's GescMchte, etc. vol. viii. pp. 292 et seq.
 
 6 Historical Handbook of Italian Scnlptnre. 
 
 Melano and himself for the pulpit at Siena (May 11, 120(5) in 
 which he is mentioned as Master Nicholas son of Peter of 
 Apulia. 
 
 The question as to whether the ancestors of Niccola were 
 natives of Tuscany or iVpulia would be of comparatively little 
 importance, if its decision did not carry with it another of a 
 much more serious nature — namely, which of these parts of 
 Italy was the cradle of the revival of sculpture. For our own 
 part, we have no hesitation in leaving this long-accredited 
 honour to Tuscany, for only there are to be found those 
 works of the twelfth century which announce its approach, 
 together with those of the thirteenth in which it reveals itself; 
 while in Apulia, on the contrary, the clumsy fourteenth century 
 bas-reliefs which decorate the facade of the churches at Bitetto, 
 Bitonto, &c., are of like character with Tuscan works of Niccola 
 Pisano's predecessors in the twelfth century, although from 150 
 to 200 years later in date. As for the kingdom of Naples, we 
 need only say that its school of sculpture, which had its 
 beginning in the latter part of the thirteenth century, owed 
 its existence to the Tuscan pupils of Niccola Pisano as well as 
 to the master himself.* 
 
 * In the first vohiine of Crowe and Cavalcaselle's Jlfst. of Fainting in 
 Italy, at p. 128, these authors, in support of their theory that Niccola 
 was an Apulian, and formed his style upon Apulian marbles, state that 
 sculpture in South Italy was still at a high standard in the thirteenth 
 century. As an example of this they cite the very beautiful pulpit in 
 the Cathedral of S. Paiitaleone, at Ravello, the work of a sculptor from 
 Foffgia, named Niccolo di Bartolomeo, about the year 1270. As at this 
 time JSTiccola Pisano was more than sixty-four years old, and had 
 executed the greater part of those works Avhicli had made him famous all 
 over Italy, it would seem more natural to conclude that Nicholas of 
 Foggia was his pupil, rather than his master. Again, the pulpit at 
 Ravello is the only work known of the Foggian artist. The sculptures 
 about it, exclusive of the Lions, which, as in Niccola's pulpits at Pisa 
 and Siena, support the columns upon which it rests, are the bust of a 
 woman placed above the arched door of entrance, and two profile heads 
 upon either side, relieved upon a mosaic background. It is upon these 
 sculptures that Crowe and Cavalcaselle found their statement (op. cit. p. 
 130) that Niccolo di Btirtolomeo's works are so like those of his Pisan 
 namesake in style, that " they may be confounded." In answer to this, 
 we may first say that the profile heads are so inferior to the bust that 
 we do not believe them to be the work of the same sculptor; second, 
 that in neither can we trace any resemblance to the style of Niccola
 
 Niccola Pisano. ^ 
 
 It is true that Apulian sculptors of the eleventh and twelfth 
 centuries were very superior to their Tuscan contemporaries, 
 but they worked wholly after Saracenic or Byzantine models, 
 and their school died out without leaving any marks of influence 
 upon their successors in Apulia, or upon the old Tuscan 
 masters, whose individual and clumsy efforts were equally 
 sterile of results. 
 
 For these reasons we regard the theory of Niccola Pisano's 
 Apulian origin as untenable, if by Apulia we are to under- 
 stand the so-called south-eastern province of Italy; but we are 
 very willing to accept the probable explanation given by the 
 editor of the new edition of Vasari, that the birthplace of 
 Peter, the father of Niccola, spoken of in the Sienese contract 
 as Apulia, was not the province, but one of the two towns in 
 Tuscany called Apulia, Piiglia, or Pulia, one of which is 
 situated in the neighbourhood of Siena, and the other in that 
 of Arezzu.* 
 
 For the first forty-three years of Niccola Pisano's life, that is 
 up to 1260, when he contracted for the pulpit at Pisa, we must 
 rely upon Vasari, as amended by modern commentators, for 
 such information as we have to offer to our readers. 
 
 His earliest master was probably one of the head workmen 
 employed about the Cathedral and Baptistry,f through whose 
 instructions, aided by the daily study of those noble buildings, 
 he developed so rapidly that when scarcely fifteen years old 
 
 Pisano; and, third, tli at though the heads are in all iDrobability by the 
 same artist as the pulpit, we doubt whether this be the case with the 
 bust, which, unhke them, forms no integral part of it. This bust is com- 
 monly said to be a portrait of Sigelgaita Rufolo, wife of the donor of the 
 pulpit, but there is some ground for the supposition that it represents 
 Queen Joanna II. of Naples, and is consequently more than a century 
 later in date. 
 
 * Vol. i. p. 323, CGmmentario alia Vita di Niccola e Giovanni Pisani. 
 " If," says Milanesi, " the notary who wrote out the Sienese contract had 
 meant to indicate the province, he would not have said Petrus de Apulia, 
 but 'de partibus Apulie,' according to the usual formula. By 'de 
 Apulia,' he not only meant to designate a town of this name, but also 
 that it was a Tuscan town, since he added nothing after the name." 
 
 t This is stated by Vasari. Schultz, GescMchte, vol. viii., discredits 
 the fact, on the ground that they could have taught him little. This is 
 true of sculpture— but not of architecture ; and it was as an architect 
 that he first gained reputation.
 
 8 Historical Handbook of Italian Sculpture. 
 
 he is said to have ohtained the appointment of architect to 
 Frederic II., who passed through Pisa in 1220, on his way to 
 receive the Imperial crown at Rome. After his coronation, in 
 the month of November, the Emperor and his suite proceeded 
 to Naples, where Niccola remained for about ten years, during 
 which he completed Castel Capuano and Castel dell' Ovo, both 
 of which had been commenced under the Norman King 
 William I., by Bono, a Florentine architect,* and then went 
 to Padua, to design a Basilica in honour of St. Anthony. 
 
 No one among the disciples of St. Francis was more con- 
 spicuous for holiness of life, and the gift of persuasive 
 eloquence, than this saintly man, who born in an age of fierce 
 and unbridled passions, preached peace and good-will to men, 
 and so moved the vast audiences assembled around him, in city 
 squares and open fields, that the bitterest enemies fell upon 
 each other's neck and swore thenceforth to live like brothers. 
 Such astonishing results are generally attributable in an even 
 greater degree to the faith of the people in the sanctity and 
 sincerity of the Minorites and Preaching Friars than to their 
 discourses! which consisted of Scripture texts and quotations, 
 strung together in simple sequence ; but to this rule the sermons 
 of St. Anthony! form an exception, as he developed his texts 
 ' by images calculated to touch the heart, and illustrated them 
 by striking similes. It was, however, chiefly because his words 
 reflected his holy life that they had such power over the minds 
 of his hearers. 
 
 Soon after the death of the Saint, May 30, 1232, he was 
 canonized by Pope Gregory IX., and offerings were then received 
 
 * Vasari, vol. i. p. 261, note 4. Castel Capuano was long used as a 
 )>alace by the Angevine kings. According to Ricci, tliese castles were 
 tinished by a Neapolitan architect, named Puccio {St. delle Arch, in 
 Italia, vol. i. p. 593). Unfortunately we can form no idea of their 
 appearance when finished by Niccola, since they were completely 
 remodelled by the viceroy, Don Pedro, in the sixteenth century. 
 
 t If they were spoken in the Latin language, their effect is still more 
 wonderful, although we must remember that it differed much less from 
 the then unformed Italian tongue than from that which we know. Pope 
 Gregory V. (996-999), as we know from his epitaph, used French, Italian, 
 ( r Latin, as best suited the comprehension of his hearers, and this may 
 have been the case with the Minorites and Pi-eaching Friars. 
 
 X Sancti Francisci Assisiaiis, nee non 8. Antonii Paduani, Opera 
 omnia: Parisiis, I6il, p. 160.
 
 Niccola Pisano. 9 
 
 towards building a Basilica in hislionour on which a sum of 4,000 
 lire was annually spent during the seventy years occupied in its 
 erection.* Niccola Pisano attempted in his design to amal- 
 gamate many styles into a harmonious whole. He lived at a 
 time when architectural ideas were in an unsettled state in 
 Italy, and was extremely susceptible to fresh impressions, 
 whose results he grafted upon classical forms to which, like 
 other Italian architects, he clung with extraordinary tenacity. 
 The Gothic elements which he used were a homage to the 
 peculiar predilections of the followers of St. Francis ; the cluster- 
 ing Byzantine cupolas showed the effect produced upon him 
 by the church of St. Mark at Venice ; while the Bomanesque 
 fagade told that he had not forgotten the well-beloved Cathedral 
 at Pisa, under the shadow of whose walls his early years 
 had been spent.f If on the one hand this combination of 
 styles, which was habitual to Niccola, corroborates the tradi- 
 tional belief that he was the architect of this church, it weighs 
 equally against the statement that he built the Frari at Venice, 
 whose simple Gothic features, and geometrical rather than 
 sculptural ornaments, belong to quite another school.! 
 
 It seems probable that four years before the corner stone of 
 the Paduan Basilica was laid, Niccola Pisano went to Lucca to 
 sculpture an alto-relief of the Deposition, which still fills the 
 lunette over one of the side doors of the Cathedral of San 
 Martino.^ If it had been his only work, it would have sufficed 
 
 * Yitoti 8. Antonil, caput xxii. ; Sancti Francisci Assisiastis, nee non 
 H. Antonil Padaani, Opera ovinia. 
 
 t The most important work upon this church is that entitled La 
 Basilica di S- Antonio, by the Fadri Gonzati and Isnenghi {see vol. i. 
 pp. 120, 121). Selvatico and Ricci attribute only a part of it to Niccola; 
 but Vasari, Gonzati (vol. i. pp. 120, 121), Biirckhardt, Morrona (vol. ii. \\ 
 61), and Cicognara (vol. ii. p. 170) assert that he built the whole of it, or 
 at least completely designed it (see Not. St. sull ' Arch. Pad. est. dal 
 Giornale di Belle Arti. Venezia, 1834). 
 
 J Selvatico, Architettara e ScuUura in Venezia, p. 98 ; Ricci, St. dell* 
 Architettura in Italia, vol. ii. p. 328. 
 
 § The date 1233 on the wall of the portico of San Martino, has no 
 connection with Niccola's work. See Milanesi's ed. of Vasari, vol. i. p. 
 300, note 1. Some writers regard this work as of the school of Niccola, 
 and not by the master; while others (see Crowe and Cavalcaselle's Hist, 
 of Painting, vol. i. pp. 114, 115), consider that he sculptured it ia the 
 latter fiart of his life.
 
 lo Historical Handbook of Italian Sculpture, 
 
 to give bim the place of honour which he hokls in the annjils of 
 Italian art, for it is the first example of a composition properly 
 so called, since the downfall of the Roman Empire. Instead of 
 being strung together with no concurrent action and without 
 connection, as in mediaeval bas-reliefs, the figures are grouped 
 around a central point of interest, and inspired with a common 
 sentiment. 
 
 While Nicodemus detaches the lifeless body from the Cross, 
 and Joseph of Arimathgea sustains it in his arms, the Virgin 
 
 ^:i. i;.'i:!iiLiiiil.l;i!iiiii 
 
 
 f^ii^iliLilillMiilliU 
 
 5;' 
 
 ^'iMiiL&iijiiii 
 
 and St. John bear up the drooping hands, forming a grand 
 group in the centre of the lunette, the corners of which are 
 filled with kneeling and standing figures, who show by their 
 action how deep an interest they take in the melancholy scene 
 which passes before their eyes. 
 
 If, as we suppose, this bas-relief was executed before Niccola 
 had gone through that course of study upon which he founded 
 his second and most characteristic style, it may be taken as an 
 example of what he could accomplish without such study, and
 
 Niccola Pisano. 1 1 
 
 therefore of his comparatively uncultivatccl powers. The same 
 may be said of the statuettes of the Madonna, St. Dominic, 
 and the Magdalen, in niches on the outside of the Miseri- 
 cordia Vecchia at Florence. In themselves they are of little 
 importance, with the exception of the Madonna, which is 
 interesting as the prototype of all ^Madonnas of the Pisan 
 school. In accordance with th-^ spirit of early Christian 
 art, the Virgin is amply draped, and, in token of her pecu- 
 liar office of showing Christ to the world, holds the child tar 
 from her, as though her human afi'ectiou were controlled by 
 reverence for his divine nature. 
 
 The vear in which Niccola made these statuettes is unknown, 
 but we may suppose it to have been about 1248, when he was 
 certainly at Florence and employed by the Ghibellines, whose 
 vengeance wreaked itself on the homes as well as on the persons 
 of the Guelphs. Incited by the Emperor, and headed by his 
 sou Frederic of Antioch with 1,500 horse, the Ghibellines had 
 driven their enemies out of the city, and had thrown down thirty- 
 six lofty towers, and many palaces lately occupied by the Guelphs, 
 of which the most remarkable was the Toringhi, whose tower rose 
 to the height of 250 feet above its superposed ranges of marble 
 columns.* Desiring also to annihilate the venerable Baptistry, 
 which had been a favourite place of worship with the Guelphs, 
 but not daring to use direct means, they employed Xiccola Pisano 
 to throw down upon it a neighbouring tower, called Guardamorto, 
 because corpses intended for burial in the Baptistry were pre- 
 viously exposed for eighteen hours in its chambers. To do this, 
 Niccola, who probably desired to save the Baptistry, removed 
 the stone foundations of the tower on one side, and replaced 
 them with beams to which he set fire, and when these were 
 burned away, " it fell," says Villani, " by the grace of God and 
 through a special miracle of St. John, straight across the 
 Piazza."f The unrecorded years which passed between Niccola's 
 risit to Lucca and that to Florence, and the twelve which imme- 
 iiately followed the overthrow of the Guardamorto Tower, may 
 aave been spent in building certain churches and palaces, the 
 jxact date of whose construction is unknown, but of which he ig 
 iniversally allowed to have been the architect. Among these aj-o 
 
 ♦ Cantu, St. degV Italiani; Malespina, Hist Fior. pp. 94, 95. 
 t Giovanni Yillaui, ch. xxxiii. p. 177.
 
 1 2 Histo7'ical Handbook of Italian Sculpture, 
 
 Santa Trinita at Florence,* San Domenico at Arezzo, the 
 Cathedral at Volterra, the Pieve and Santa Margherita at Cor- 
 tona, all of which were subsequently remodelled. The church 
 of San Michele in Borgo, which hs began and his scholar Fra 
 Guglielmo Agnelli finished, and the ingeniously constructed 
 campanile of the church of San Niccolo* which he built, are 
 still extant ; but many other buildings erected by him or his 
 scholars at Pisa were destroyed by the great fire which deso- 
 lated that city in the year 161 0.f 
 
 With the exception of the relief of the Deposition at 
 Lucca and the statuettes at Florence, just referred to, 
 Niccola, so far as we know, worked only as an architect until 
 he began the pulpit for the Baptistry at Pisa. In the interval 
 he must have carefully examined such remains of antique 
 sculpture as came within the range of his observation, and 
 recognizing their great superiority to the work of his contem- 
 poraries, have determined to take them as his guides in carrying 
 out a Avork in which sculpture was to play the most important 
 part. In order to obtain as much space as possible for its 
 display, he made his pulpit hexagonal instead of quadran- 
 gular in shape according to the common fashion of the time. 
 Acquainted with all architectural styles and troubled, as we 
 have already said, by no scruples about mingling them in one 
 and the same construction, he used Pioman, Mediaeval, and 
 Gothic elements to enrich it ; crowned his columns with classic 
 capitals ; rested them on the backs of Lions, as in the church 
 porches of the Middle Ages ; | filled his round arches with 
 
 * Kicci, op. cit. vol. ii. p. 60. According to Villani, this cliurch was 
 built in the year 801. It was rebuilt after ISTiccola's design in 1230, and 
 restored in 1593 by B. Buontalanti. 
 
 f Among these were the church of San Matteo, whose external southern 
 walls and cloister alone escaped, and the palace of the magistrates (adjoin- 
 ing the Torre della Fame, where Ugolino and his children miserably per- 
 ished), upon whose foundations A^asari subsequently built the convent of 
 the Cavalieri di San Stefano. Yasari, vol. i. p. 262 ; Ricci, of. cit. vol. ii. 
 p. 69. That Niccola had any hand in building the facade of the Duomo 
 at Siena, as stated by Vasari, is now known to be false (Milancsi, 8t. dl 
 Siena, etc. p. 135; Eicci, op. cit. vol. ii. p. 71). 
 
 1 The Lion is a symbol of sacerdotal vigilance, and of wisdom, and a 
 companion of Solomon the wise. The true Solomon is Christ, who is 
 r'^Y^resented \vith the twelve lions, typical of tho twelve apostles. In the
 
 Niccola Pisano. 13 
 
 pointed details ; and set up statuettes symbolic of the Christian 
 virtues wherever he thought they would produce a harmonious 
 effect. The wonder grows as we study his pulpit, that with 
 such discrepancy of parts it should produce so agreeable and 
 even beautiful an effect. The five bas-reliefs which adorn its 
 sides are its most interesting feature — for they are the first- 
 fruits of a revived art. They represent the Nativity, the Adora- 
 tion of the Magi, the Circumcision, the Crucifixion, and the 
 Last Judgment. In them, as in his architecture, Niccola is an 
 eclectic who, like the bee, lights upon every flower and by a 
 mysterious process turns its juices into honey. Any one who 
 knows the Byzantine mode of representing the Nativity will 
 recognize it as the basis of Niccola's treatment of the subject, 
 but beyond the traditional arrangement of the figures it is all 
 his own. These short sturdy forms and flowing robes in no wise 
 resemble those of the long, meagre saints, clad in stiff conven- 
 tional draperies, who stare at ns from the pages of a Greek 
 missal, while the majestic Virgin reclining upon a couch, looks 
 more like an Ariadne than a Byzantine Madonna. In the Adora- 
 tion we have a still closer imitation of the antique. Here the seated 
 Madonna is as identical with the Phaedra in a bas-relief upon an 
 old sarcophagus in the Campo Santo, as the sculptor with his 
 imperfect education could make her.* Sitting on the lap of this 
 Greco-Pisan Virgin, who with little of the style has much of 
 the dignity of her prototype, the infant Christ receives gifts 
 from his royal tributaries, two of whom kneel while one stands 
 beside him. St. Joseph, an angel, and the three horses of the 
 kings, complete the composition, whose simple directness of 
 language is worthy of high praise. In the Circumcision 
 Niccola borrowed not only one but two figures from the antique, 
 namely, the bearded and amply draped personage leaning upon 
 a youth in the foreground, so evidently inspired by the group of 
 Dionysos and Ampelos upon a well-known Greek vase in the 
 Campo Santo. In the Crucifixion and the Last Judgment Niccola 
 seems to us less successful than he was in treating the same 
 
 Revelation he is called the Lion of the Tribe of Judah. Kreuser, Oj). c'lt. 
 vol. i. p. 189. 
 
 * Beatrice, wife of Boniface, Marquis of Tuscany, who died a.d. 1076, 
 was buried in it. Its reliefs represent the story of PhsEdra and 
 Hippolytus
 
 14 Histoi'ical Handbook of Italian Sctilpture. 
 
 subjects upon the pulpit which he afterwards made for the 
 Cathedral at Siena. There as here, however, he overcrowded 
 his compositions, and resorted to the rude expedient of fill- 
 ing up small spaces with little figures on quite a different scale 
 of proportion from the rest. 
 
 How long a time Niccola spent upon this remarkable work 
 is unfortunately an unanswerable, though by no means an unim- 
 portant question, for knowing as we do the year when he com- 
 pleted the subject by the inscription upon it,* we could^ 
 did we know when he began it, fix with some approach to 
 accuracy the time when he turned his attention to sculpture. 
 Reason tells us that a long period of preparation for work 
 so new to him was necessary, and furthermore that after 
 it was over, he must have employed several yeai's in carrying 
 it out, especially as he can have had but little aid from others. 
 The same question arises in regard to the Area or sarcophaguSi 
 at Bologna, made to receive the bones of St. Dominic by 
 Niccola and Fra Guglielmo Agnelli, his pupil, a monk of the 
 Convent of St. Catherine at Pisa. The annals of the Convent 
 prove that on the 12tli of June, 1267, Fra Guglielmo wit- 
 nessed the ceremony of transferring the Saint's remains from 
 the plain stone sarcophagus in which they had rested for more 
 than thirty years, to the richly sculptured receptacle W'hich he 
 had assisted in preparing for them.f We do not know how 
 many years he and his master worked upon its bas-reliefs, 
 but they represent Niccola's labours as a sculptor from 1260, 
 when he completed the pulpit at Pisa, to 1267. Its bas-reliefs, 
 as we have seen, attest the influence of the ancient marbles at 
 Pisa upon him. Of this we see no other trace in those upon 
 the " Area " of St. Dominic, as compared with contem- 
 porary Tuscan sculpture, save the great superiority in composi- 
 tion, technic, and treatment of drapery which Niccola's study 
 of models of a high order had enabled him to attain. Evi- 
 dently there never was a man so susceptible to present influ- 
 ences as he. At Pisa where he saw the antique, he not only 
 
 * " Anno milleno bis centum bisque triceno 
 Hoc opus insigne sculpsit Niccola Pisano, 
 Laiidetur digne tam bene docta manus." 
 ■f" ;9cc Annals of the Convent of St. Catherine. Arch. St. Ital. vol. vL 
 pp. 4-67— 1-74, pub. by Prof. Bonaini ; also. Padre Marcliesi, Mem. etc 
 vol. L, p. 72, 73).
 
 Niccola Pisano. 15 
 
 educated himself upon it, but actually copied it, while at 
 Bologna where no old marbles met his eye, he worked with the 
 greater knowledge which he owed to them, though with no 
 dependauce upon them. 
 
 Two miracles worked by St. Dominic, and certain events 
 connected with the establishment of his order, are represented 
 in the bas-reliefs upon the front and ends of his sarcophagus. 
 The most important one of the series illustrates the following 
 story. " On Ash Wednesday, a.d. 1215, the Abbess and some 
 of her nuns went to take possession of the new monastery of 
 St. Sixtus at Rome ; and being in the chapter-house with St. 
 Dominic and Cardinal Stefano di Torre Nuova, suddenly there 
 came in one tearing his hair, and making great outcries, for the 
 young Lord Napoleon, nephew of the Cardinal, had been 
 thrown from his horse and killed on the spot. The Cardinal 
 fell speechless into the arms of St. Dominic, and the women 
 and others who were present were filled with grief and horror. 
 They brought the body of the j^outh into the chapter-house, 
 and laid it before the altar, and Dominic, having prayed, turned 
 to the body of the young man, saying, ' adolescens Napoleo, 
 in nomine Domini nostris, tibi dico surge,' and thereupon he 
 arose sound and whole, to the unspeakable wonder of all 
 present."* 
 
 "With a just sense of the capabilities of his subject, Niccola 
 represented the resuscitation of the youth, not in the chapter- 
 house, but on the spot where the accident occurred. 'This 
 enabled him to introduce the fallen horse, as well as the pray- 
 ing saint and the crowding spectators, and thus show at once 
 the cause and effect of the untoward accident. The story 
 could hardly have been more clearly told, or the central group 
 more happily disposed. It attracts and fixes the eye because 
 of the contrast which its action presents to the passive wit- 
 nesses of the miracle who fill the backefrouud, and bv reason of 
 their quietness give it full prominence. {See wood-cut, p. IG.) 
 
 A statuette of the Madonna separates this relief from another 
 in which St. Dominic appears disputing with heretics in 
 Languedoc, and submitting his own and the Manichean books 
 to the ordeal by fire. He is again represented in a relief upon 
 one end of the sarcophagus, in the act of receiving the Gospels 
 * Mrs. Jameson, oj'. cit. p. 3G9.
 
 1 6 Historical Handbook of Italian Scnlptii7'e. 
 
 from SS. Peter and Paul, and in that of transmitting tlieSG 
 instruments for the conversion of heretics to his monks, iu 
 obedience to the Apostolic command. In the corresponding 
 relief, the brethren are fed in time of famine by angels 
 disguised as acolytes. The statuettes of the four Doctors of 
 the Church, on the corners of the sarcophagus, appear to be 
 the work of Niccola, but the bas-reliefs at the back and the 
 statuette of the Piedeemer between them, are so technically 
 inferior to the rest, that though he may have designed them, 
 
 illliiiliiiiili 
 
 ■iii:iiffi 
 
 SiiiiaiB 
 
 i^I:-' 
 
 iii'iiiinmnni i 
 
 "11 
 
 'l;!ll 
 
 i III 
 
 lii 
 
 "■ll,.|l!, 
 
 iii)i^i;i^'ijii^i:;;iillii;ii!iiii!i;iiiiiiiyiUililii^iliiiili!!^^ 
 
 we have no doubt that they were sculptured by Fra Guglielmo 
 during his absence. 
 
 This sculptor monk, who Avas born at Pisa in 1238, con- 
 tinued to work, both as architect and sculptor, after he entered 
 the convent of St. Catherine at Pisa at the age of nineteen. 
 The exercise of these professions was perfectly compatible with 
 his new calling at a time when art was almost exclusively 
 devoted to religious subjects, and we may suppose that he 
 began to study them under Niccola Pisano at a very early age. 
 The bas-reliefs which he sculptured, after his master's designs, 
 upon the back of the " Area " of St. Dominic, represent events 
 in the life of the Saint's disciple, Reginald of Orleans, the
 
 Niccola Pisano. 17 
 
 vision of Pope Honorius III., and his establishment of the 
 Dominican order. They give proofs of sucli moderate ability 
 that we find it difficult to accept Fra Gii<?lielmo as the sculptor 
 of those which have been accredited to him upon the pulpit 
 of San Giovanni outside the walls of Pistoja, especially on 
 account of the dramatic feeling displayed in them. This 
 points to the influence of Giovanni Pisano, rather than to that 
 of Niccola — an influence which could hardly have led to so great 
 a transformation of style in the three years which intervened 
 between the finishing of the Area (1267), and the making of 
 the pulpit, whose date is given as 1270. The bas-reliefs at 
 Bologna and a rude statue of the Madonna and Child in a 
 Gothic tabernacle over the portal of San Michele in Borgo at 
 Pisa, are the only certain works of Fra Guglielmo known, 
 for although he was employed (1293) at Orvieto with other 
 artists upon the bas-reliefs of the Cathedral facade, it is not 
 possible to identify his work there. He rebuilt the convent of 
 St. Catherine at Pisa, where he died in 1312, after confessing 
 that while working upon the "Area" of St. Dominic, he had 
 stolen one of the Saint's ribs and hidden it under the altar of 
 the Magdalen.* 
 
 We must now return to the shrine of St. Dominic, which is 
 interesting as an epitome of styles of sculpture from the thir- 
 teenth to the seventeenth century. More than two centuries 
 after the sarcophagus was sculptured by Niccola Pisano, another 
 Niccola, variously called da Bari, II Dalmata, II Bolognese 
 and dair Arca,f made it the centre of a marble structure, 
 ■which he adorned with leaves symmetrically arranged and 
 divided by eight zones terminating in volutes, which support 
 statuettes of SS. Francis, Dominic, Florian, Proculus, John 
 the Baptist and Petronius.t On the summit he placed a statuette 
 of God the Father upon a vase- shaped pedestal, from whose 
 handles hang festoons of flowers and fruit pressed outwards by 
 tAvo little angels. An Ecce Homo and two adoring angels by 
 Tribolo, a Florentine sculptor of the sixteenth century, fill the 
 
 * Arch. St. Ital., vol. vi. second part, p. 464; 
 
 t For an account of this artist see p. 257. 
 
 t The S. Petronius is saiJ to be by ]\Iichael Angelo. The S. John, 
 and perhaps some of the other statuettes were sculptured by Girolamo 
 Coltellini in the sixteenth century. 
 

 
 1 8 Historical Handbook of Italian SctUpture. 
 
 space between these festoons, which rest upon dolphins and 
 fall upon a flat base with prophet-statuettes at its corners. 
 Below it stands the " Area," upon an altar whose " gradino " is 
 covered with extremely flat reliefs sculptured by Alphonso 
 Lombardi, of Ferrara. The angels with candelabra upon it, 
 are by Niccola dell' Area and IMichel Augelo.* 
 
 The bas-relief on the front of the altar by Carlo Bianconi, 
 representing the entombment of S. Dominic, and the ornaments 
 about it by Mano Tesi and Salvolini, Italians, and Boudaud, 
 a Frenchman, are works of the seventeenth century. 
 
 It is hardly to be wondered at that the shrine, being the 
 work of so many hands, should want unity of eff"ect. Imposing 
 as it is by reason of its richness and size, we cannot look at it 
 without regretting that the sculptors who were successively 
 called to work upon it, failed to recognize that their real mission 
 was to give the sarcophagus a harmonious setting. Like 
 Mozart when he wrote additional accompaniments to some of 
 Handel's Oratorios, they should have thought only of how they 
 could make the master's work appear to the best advantage, 
 and had they done so the result would have been of far greater 
 value. 
 
 In June, 1267, when the ceremony of placing the bones of 
 the Saint in the "Area" took place at Bologna, Niccola Pisano 
 was not able to be present on account of the important work 
 which he had in hand at Siena. In the previous year he had 
 contracted with Fra Melano to make a pulpit for the Cathedral 
 in that city, and had bound himself to reside there until its 
 completion.! The terms agreed upon were that he should 
 be paid at the rate of eight soldi a day, besides his living 
 expenses, have his son Giovanni, here first mentioned, and 
 his puj^ils Arnolfo di Cambio, Donato and Lapo to assist him, 
 and be allowed to visit Pisa four times a year, with permission 
 to remain there a fortnight at a time, not counting the days 
 spent in travelling. 
 
 Wisely considering that his second pulpit was not, like the 
 
 '■= The question of authorship is discussed at p. 257. 
 
 f The contract is dated May 11th, 1266, "according to the Pisan 
 reckoning," which corresponds to the 29th of September, 1265, of tho 
 common reckoning. Schnltz, of. cit. vol. vii. p. 272. Milanesi, note 2 to 
 Vasari, vol. i. p. 304, gives Sept. 29th, 1266, as the date of the contract
 
 Niccola Pisa 710. 19 
 
 first, to stcaud in a smcall building, but under the dome of a 
 vast Catbedral, he designed it on a larger scale, with eight 
 instead of six sides, but despite these increased proportions 
 it is less effective than that in the Baptistry at Pisa, per- 
 haps because it is surrounded by so many other objects of 
 interest. It is also less harmonious, as a work of art, owinj? 
 to its elaborately ornamented Kenaissance staircase which, 
 though admirable in itself, conflicts in style with the main 
 body of the pulpit.* Supported upon columns resting on 
 the backs of lions, and enriched with statuettes like its 
 pi'ototype, it differs from it in having its flat spaces filled 
 with tracery, leaves, and gilded glass mosaics,! as well as in 
 the greater number of its bas-reliefs. Two of these, the 
 Nativity and the Crucifixion, differ very slightly from those, 
 of the same subjects at Pisa ; two, the Massacre of the 
 Innocents and the Flight into Egypt, are original compo- 
 sitions ; and two, the Adoration and the Last Judgment, are 
 old subjects varied in treatment. The Adoration is less clear 
 and simple in composition, and the Last Judgment even 
 more crowded than that at Pisa, although in other respects 
 of superior merit. This defect of overcrowding, which is 
 less marked in the Pisan than in the Sienese reliefs, none of 
 which are free from it, is most excusable in the Last Judg- 
 ment, which could hardly be treated successfully in sculp- 
 ture, unless by the Greek method of using a few typical 
 figures to represent a multitude. Such a device was 
 unknown to Niccola who, undeterred by the difficulties of 
 his task, undertook and accomplished it with no small credit 
 to himself. 
 
 The Padre della Valle in speaking of the Sienese pulpit says, 
 
 * Said to be the work of II Marrina, a Sienese sculotor of the first half 
 of the sixteenth century. See ch. iv. p. 07. 
 
 t By a celebrated glass-worker, painter, and sculptor of Siena, named 
 Pastoriuo Pastorini (1531-1560), scholar of Guglielmo Marcilla, or 
 Di !MarcIllac, a French painter on glass and in fresco, who painted the 
 windows in the episcopal palace at Arezzo, and the round window 
 of the Duomo at Siena. Pastorini attained great reputation by his 
 portraits in the round, in medals of coloured wax, and medallions in 
 b'onze. Prom 1554 to 1557 he worked at Ferrara for Duke Hercules II. 
 See Commentary to the Life of GwjUclmo dc Marcillac, Vasari, ed. 
 Milanesi, vol. iv., p. 433 
 
 c 2
 
 20 Historical Haiiddook of Italian Sailphtre. 
 
 that the first Sienese and Florentine sculptors issued from it 
 as the Greeks from the Trojan horse.* In so far as their 
 art owed its revival to Niccola Pisano, this observation is 
 justly ajiplicable to all parts of Tuscany. The capacity of 
 the sixty workers in stone who kept open shop at Siena 
 when he came there, may be estimated by such rude bas-reliefs 
 as those of the Birth of Christ and the Adoration of the 
 Magi in the chapel of Sant' Ansano at the Cathedral.! At the 
 end of the thirteenth and beginning of the fourteenth century, 
 when the Pulpit had done its work of regeneration, Siena pro- 
 duced a number of sculptors who were thought worthy to assist 
 in building and decorating the facade of the Cathedral at Orvieto 
 under Lorenzo Maitani, himself a Sienese, and one of the 
 greatest of Tuscan architects and sculptors. Leaving these 
 facts to speak for themselves, we may pass on to discuss the 
 remaining portion of Niccola Pisano's life. 
 
 Soon after the completion of his pulpit at Siena, the last 
 scene in that struggle between the papal and imperial powers 
 which began in his youth, had been played out on the battle field 
 of Tagliacozzo ; the last scion of the Holienstaufi"ens had died 
 the death of a felon, and Charles of Anjou had finally seated 
 himself on the throne of Frederic 11.+ To commemorate the 
 victory which gave it to him, the • monarch commissioned 
 Niccola Pisano to build an abbey and convent near the battle- 
 6eld, within which the bones of the slain should be buried, 
 and daily and nightly masses for the repose of their souls 
 said by the Templars. The site selected for these build- 
 ings, whose origin is marked only by the name of an adjoin- 
 ing church, Sta. Maria della Vittoria,§ was the height, about 
 ten miles from Tagliacozzo, where the ill-fated Conradiuo 
 first halted in his march from Piome. Looking from it over 
 the little town of La Scorgola, with houses clustering upon 
 
 * Letters Sanes!, vol. i. p. 279. The pulpit was i)robably finished in 
 Novemher, 1268. 
 
 t With the architects they formed a guild, ruled by three rectors and a 
 chamberlain elected for six months, who became ineligible for three years 
 after they retired from office. 
 
 t The pulpit is supposed to have been completed in November, 1267, 
 and the battle was fought in August, 1268. See Appendi.x, letter B. 
 
 § Carlo Prorais, Degli Artefici Marmoraii Itomani, p. 15, note 22. A 
 festival to commemorate the victory of Charles of Anjou is held at Santa 
 Maria della Vittoria every hundred years.
 
 Niccola Pisano. 2t 
 
 the liili- side, the traveller commands an exquisite view of the 
 fatal plain, the sparkling lake, the grand background of moun- 
 tains whose chain culminates in the snow-capped Velino, and 
 of the ruins of the old Marsian city of Alba, which supplied a 
 mass of material for the construction of the now ruined abbey. 
 When Niccola himself stood there, we cannot doub^ that he re- 
 membered the days, then half a century past, when he won his 
 first laurels in the kingdom of Naples, where he was now to build 
 a monument intended to commemorate the overthrow of the 
 house, and the extinction of the race, of his early friend and 
 patron, Frederic II. 
 
 The last work of importance in which our sculptor had a share 
 was the fountain in the square of the Cathedral at Perugia. 
 The inscription mentions his name and that of his son Giovanni 
 who, as we know from other sources, had the assistance of his 
 fellow-pupil Arnolfo di Cambio in its completion. It consists 
 of two superposed basins, the upper of which is decorated with 
 twenty-four statues in niches, representing prophets and saints 
 and the two Podestas who ruled Perugia while the fountain 
 was in progress.* These simple, broadly-draped figures were 
 sculptured by Niccola at Pisa, whence they were sent to Gio- 
 vanni who remained at Perugia to sculpture th^ bas-reliefs upon 
 the sides of the lower basin, which for the most part consist 
 of single figures symbolic of the months and the seven liberal 
 arts,f together with coats-of-arms, the Guelphic lion, the 
 Griffin of Perugia, the Eagle of Pisa twice repeated, as well as 
 some of ^Esop's fables, and Ptheawith the twins and their nurse 
 the Roman wolf. Proud of their beautiful fountain, the magis- 
 trates enacted severe laws for its preservation, in which it is 
 mentioned as the most valuable possession of the city, and as 
 unique, not only in Italy but in the world;]; encomiums which, 
 in its present state of decay, seem somewhat exaggerated. 
 While still engaged upon it, Giovanni, hearing of the danger- 
 ous illness of his father, travelled homewards, but being detained 
 
 * The bronze work was cast by a Maestro Rossi, of Perugia, in 1277 ; 
 perhaps the same artist who, fourteen years earlier, made the ball of 
 the cupola of the Duomo at Siena. 
 
 t The Trivium, in the Middle Ages, was a course of elementary instruc- 
 tion in Grammar, Dialectics, and Rhetoric; the Quadrivium, in Arith- 
 metic, Geometry, Music, and Astronomy. 
 
 J Vermiglioli, op. cit. preface.
 
 2 2 Histo7dcal Handbook of Italian Sculpture. 
 
 in Florence, did not reach Pisa until Niccola had breathed his 
 last (1278). 
 
 Inestimable were the services rendered to art by this eminent 
 man. He gave the death blow to Byzantinism and barbarism, 
 established new architectural principles, opened men's eyes to 
 the degraded state of art by showing them where to study, 
 and how to study, and founded a new school of sculpture in Italy. 
 Never hurried by an ill-regulated imagination into extrava- 
 gance he was careful in selecting his models of style, and 
 his methods of self-cultivation ; an indefatigable worker, who 
 spared neither time nor strength in obedience to the numerous 
 calls made upon him from all parts of the peninsula, he is to be 
 found now in Pisa, then in Naples, Padua, Siena, Lucca, or 
 Florence, here to design a church, there to model a bas-relief, 
 erect a puljait, a palace or a tower. By turns architect and 
 sculptor, great in both arts, original in both, a reviver in both, 
 laying deep and well the foundations of his edifices by hitherto 
 unpractised methods, and sculpturing his bas-reliefs upon prin- 
 ciples evolved from the study of antique models long unheeded, 
 he held the same relation to Italian art which Dante held to 
 Italian literature, and was a truly great man whose claims 
 to remembrance. can never be forgotten. 
 
 Allegorical Figures from the Fountain at Pekugia.
 
 The ScJiolars of Niccola Pisano, 2 
 
 o 
 
 CHAPTER II. 
 
 THE SCHOLARS OF NICCOLA PISANO. 
 
 It seems at first sight strange that an artist of such extraordi- 
 nary genius as Niccola Pisano should not have formed scholars 
 content to repeat his types and work in his spirit, hut 
 we understand the reason when we look at the eclectic cha- 
 racter of his work, and consider the unsettled state of men's 
 minds ahout art at this time. To shape others, a man 
 must himself have definite ideas, and these Niccola had not. 
 Wanting in fixed principles, and having no style of predilec- 
 tion, he welded divers heterogeneous elements into units 
 though an instinct peculiar to himself. After his day, when 
 Gothic influences predominated in architecture, his chief pupils 
 submitted to them more or less completely, and in sculpture, as 
 in architecture, their works show little trace of their previous 
 training. Forced to seek other paths than those in which their 
 master had walked, they turned to nature, and endeavoured to 
 express the emotions of the soul in the countenances and atti- 
 tudes of the figures which they introduced into their composi- 
 tions, striving, however incompletely, to catch the spirit of the 
 time, and make their art intelligible to their contemporaries. 
 
 This is especially the case with Giovanni Pisano, of whom 
 we purpose to speak in this chapter, after saying a few words 
 about his fellow scholars under Niccola. The reader has already 
 made sufficient acquaintance with one of them, Fra Guglielmo 
 Agnelli, so that we may pass on to the three Florentines, Lapo, 
 Donato di Ricevuto, and Goro di Ciuccio Ciuti, who assisted 
 their master at Siena, where they settled with their families, 
 and received the honours of citizenship. Lapo, who was 
 perhaps the author of the monument to Hecuba, Queen of 
 Cyprus, in the Cathedral of Assisi,* built the barracks of St. 
 Angelo in Colle (1281), and nine years later commanded an 
 expedition sent by the Sienese to destroy the possessions of 
 the Cacciaconti. Donato is only once spoken of as head- 
 
 * Bee Appendix, letter C
 
 24 Historical Handbook of Italian Scnlptttre, 
 
 architect of the Ponte di Fojauo in 1277. Of Goro we know 
 nothing, save that he had three sons, Neri, Ambrogio, and 
 Goro, sculptors and architects, who built the Fonte di Follonica 
 in the year 1306.* 
 
 From these men of little note, let us turn to Niccola's great 
 pupils, Arnolfo di Cambio and Giovanni Pisano. In a history 
 of architecture Arnolfo would claim a much larger share of our 
 attention than Giovanni, as he was especially an architect and 
 had but little to do with sculpture even as an architectural 
 accessory. He was born at Colle in the Val d' Elsa, in the year 
 1232,1 and is first heard of as the assistant of Niccola in the 
 construction of the oft-mentioned pulpit at Siena. Twenty years 
 later we know that he was living at Naples, in the service of 
 Charles of Anjou, as the King then received a petition from the 
 magistrates of Perugia (1277) that he would allow his architect 
 to assist in constructing the Fountain in the Piazza of the 
 Cathedral, to which he returned a gracious answer with the 
 promise of a gift of marble. + Whether or not Arnolfo availed 
 himself of the permission granted is uncertain, as his name 
 is not given with those of Niccola and Giovanni in the inscrip- 
 tion upon the fountain, and the municipal records which would 
 have settled the question are lost.§ 
 
 The attempt to trace Arnolfo by any known work is but a 
 fruitless game at bide and seek, until the year 1280, when 
 he received a commission for the tomb of Cardinal Guillaume 
 de Braye in the church of San Domenico at Orvieto, which 
 enabled him, at the age of forty-six, to show the originality 
 of his genius in a design, whose peculiar feature gave individu- 
 ality to the type of tombs thenceforward adopted by artists of 
 the Pisan school. We refer to the Ansjels drawinffback curtains 
 from a recess, which contains the effigy of the deceased lying 
 upon a sarcophagus. In the tomb of Cardinal de Braye, as 
 in other early examples at Perugia, Capua, Piome, and Naples, 
 
 * 8ee Appendix, letter D. 
 
 t His parents were Cambio and Perfetta. Perfetta is mentioned in a 
 Mortuario of the Florentine Duomo as Mater Magi$tri Arnolplii (Vasari, 
 vol. i. p. 249, note 4 ; Kunsthlatt, no. 64-, a.d. 1839, Article by Gaye, on 
 Promi.*). 
 
 X Schultz, De7iJcmalerder KunH in Unter Italicn, vol. iv. p. 50 no. cxxviiL 
 
 § Vermiglioli {op. cit. p. 32) suggests that Arnolfo may have made the 
 SS. Peter and Paul of the first basiu.
 
 Arnolfo di Canibio. ?; 
 
 tliis ider. is treated with a simplicity which enhances its touch- 
 ing sentiment. 
 
 " If it be an error," says Mr. Euskin, " it is an error so full of 
 feeling as to be all but redeemed and altogether forgiven, and 
 none the less so because the later Pisaui caricatured it (as at 
 Venice) and turned the quiet curtained canopy into a huge marblo 
 tent with a pole stuck in the middle of it." At Orvieto, where 
 Arnolfo first used it, it appears in all its freshness. The re- 
 cumbent statue of the Cardinal watched over by angels, with a 
 touching and eager expression of sorrow, lies above a double 
 basement, which is adorned with mosaics disposed in geometrical 
 patterns (" a stella "), and divided into niches separated by 
 twisted columns, also inlaid with mosaic. Above the sepulchral 
 effigy, under a Gothic tabernacle, sits a very dignified Madonna 
 with a crown upon her head, from beneath which a veil falls 
 upon her shoulders. Her left hand supports the Divine Child 
 upon her knee, and her right rests upon the ball which termi- 
 nates the arm of her throne-chair, on either side of which 
 are statuettes of St. Dominic and a companion saint, who 
 present to her the kneeling Cardinal de Braye. Thi^ monu- 
 ment is one of the most finished works of the Pisan school. 
 It contains one strikingly original idea, and many exquisite 
 details, and although it is the only well-authenticated work of 
 Arnolfo in which sculpture plays an important part, it suffices to 
 give him fame as an architectural sculptor. Some writers sup- 
 pose that at this time (1285), he made the very beautiful Gothic 
 tabernacle at San Paolo f. m. at Kome, which still represents 
 the glories of llie old Basilica amid the cold splendours of the 
 new, w'ule on the other hand authorities of equal weight deny 
 it, on the ground that he could not then have left Florence, 
 owing to his great and pressing occupations. Considering his 
 widespread reputation, and the inscription upon the tabernacle,* 
 
 * Inscription — 
 
 " Anno milleno centum bis et octuageno 
 Quinto snmme Ds. qd. hie abbas Eartholomreus 
 Fecit op. fieri sibi tu dignare merer!. 
 
 Hoc opus fecit Arnolfus cum suo socio Petro.'' 
 
 An Abbot Bartholomew ruled over the convent of St. Paul's from 
 1282 to 1297 {Neue Eumische Briefe, vol. i. p. 99). The following authors 
 believe Arnolfo di Cambio to have made or designed this tabernacle : 
 Gaye, Kunsthlatt, no. 64, 1839; Rumohr, It. Forsch. vol. il p. 156;
 
 26 Historical Handbook of Italiajt Sculpture. 
 
 we are inclined to believe that he designed it at Florence, and 
 sent his scholar Pietro to execute it.* Could this be proved, it 
 would give to Arnolfo the glory of having introduced a Gothic 
 taste into the Roman school, then represented by Adeodatus 
 and Giovanni Cosmati, as they thenceforward gave up the 
 round arch and horizontal line and imitated the model set 
 before them. The Tuscan character of tLe statuettes of 
 SS. Peter and Paul, Luke and Benedict, placed above the 
 capitals of the column which supports the canopy, and of 
 the gable-reliefs of Abel and Cain offering sacrifice, Adam 
 and Eve, and flying angels, and the decided superiority of the 
 whole structure in design and workmanship to known Cosma- 
 tesque works, further authorize the belief that it is not a work 
 of their school. The same may be said of the tomb of Pope 
 Boniface VIII. now in the crypt of S. Peter's, of the altar of 
 St. Boniface, and of the tomb of Pope Honorius III. which stood 
 in a now destroyed chapel at Santa Maria Maggiore, for all of 
 which Arnolfo may have furnished designs. 
 
 To comprehend what he did for Florence, we have but to 
 look down uj^on that fair city from one of the neighbouring 
 eminences, and note that the walls which encompass it, and 
 all the most striking objects which greet the eye, the Cathedral, 
 the Palazzo Vecchio, Sta. Croce, and Or San Michele, are his 
 creations. Tbeir purely architectural character puts them out 
 of the scope of this work, otherwise than through a passing 
 allusion, which cannot but make the personality of Arnolfo 
 more important in the reader's ej^es. He did not live to see 
 any of them completed, nor can he be said to have founded a 
 school of the original style of architecture which they repre- 
 sent, perhaps because it was really rather a decoration than an 
 architecture. Giotto made exquisite use of it in his campanile, 
 but even in Florence its further development was checked by 
 Orgagna, and elsewhere by other Florentine artists, who when 
 working at Venice and in other parts of Italy, suited their 
 
 Cicognai'i, 8t. della 8culht,ra, vol. iii. p. 265; and C. Boito, Arch. Cosma- 
 icsca, p. 29 ; while Promis {Ant. Mar. Rom. pp. 28, 29) doubts it, as does 
 Ecumont {Neue Bom. Br. vol. i. p. 102). Vasari and Baldinucci make no 
 mention of it. 
 
 * This artist cannot be identified with Giotto's scholar, Pietro Cavallini, 
 who is first heard of in 1308, twenty-three years after the erection of tbo 
 tabernacle (1285).
 
 Giovanni Pisano. 27 
 
 designs to local taste. Arnolfo, who died in the year 1310, had 
 two sons, Guiducoio and Alberto (a sculptor), of whom we know 
 nothing but that they, like their father, were honoured with the 
 citizenship of Florence. An inscription let into the wall of the 
 Cathedral, his portrait introduced by Giotto into a fresco which 
 he painted in Sta. Croce, and a statue placed in our own day 
 side by side with that of Brunelleschi, opposite the Cathedral 
 which the one built and the other crowned with the second 
 greatest dome in the world, are the only memorials to one of 
 the most illustrious of Italian artists. 
 
 One such scholar would have sufficiently honoured the name 
 of Niccola Pisano, but it was made doubly famous by a second 
 of equally remarkable ability, and this his own and only son 
 Giovanni, who was born at Pisa about 1250. At the age of 
 fifteen, v.'hen he worked with his father at Siena, he must have 
 occupied an independent position, for his co-operation is 
 spoken of in the contract for the pulpit as a matter subject to 
 his own decision, while that of his fellow pupils is promised 
 by Niccola at a fixed salary.* On the completion of their work, 
 father and son Avent to Perugia to construct the Fountain of 
 which we have already spoken. The fifty bas-reliefs of the 
 lower basin by Giovanni bear no trace of that marked individu- 
 ality, which makes his later work easily distinguishable from 
 that of Niccola, and show that he developed his peculiar style 
 after his father's death, which as we have said took place about 
 1278. It brought Giovanni to Pisa, where he was occupied 
 for the next five years in building the Campo Santo, which 
 was constructed to enclose the sacred earth transported 
 from Calvary by Archbishop Lanfranchi (1108), and by fifty 
 Pisan Galleys on their return from the crusade undertaken by 
 Frederic Barbarossa (1178).' Its ground plan was predeter- 
 mined by the Archbishop, who had caused the earth to be 
 disposed in the shape of a parallelogram according to the 
 traditional dimensions of Noah's ark, and its general cha- 
 racter was evidently suggested by that of a church-cloister.f 
 
 * Milauesi, Doc. Sanesi, vol. i. p. 148. 
 
 t Public cemeteries apart from the dwellings of men were first used in 
 France, and then in other parts of Europe. In early Christian times the 
 dead were buried in cliurches, thence called Caemiteria. Decrees of the 
 early Councils afterwards restricted burial to the porticos of churches, 
 but this usage also was abandoned from fear of pestilence.
 
 28 Historical Handbook of Italian SculpttLre. 
 
 Shut in from the outer world by long ranges of windowless walls, 
 whose surface is agreeably broken by rows of blind arches, it 
 opens to the " God's acre " within, through the arcade which 
 separates it from the surrounding corridors. As the traveller 
 paces them, he looks on the one hand at the impressive frescoes 
 upon the upper part of the inside walls and at the antique 
 sarcophagi below them, and on the other, catches glimpses 
 through the doorways opening into the quadrangle of the 
 graves, the cypresses which overshadow them, and the roses which 
 bloom above them. Eloquent of the life beyond the grave, the 
 Campo Santo with its trophies of Pisan valour and its historic 
 marbles, speaks also of man's doings in this world. There 
 hang the chains which vainly closed the harbour of Palermo 
 against the attack of Pisan galleys, and thei'e stand the antique 
 sarcophagi which Niccola Pisano studied, with many marbles 
 sculptured by masters of the Pisan, Sienese and Florentine 
 schools, from the fourteenth to the nineteenth century. 
 
 Among them is an allegorical image of the city of Pisa, 
 one of Giovanni's most important works. It represents her as a 
 crowned and draped woman, holding two diminutive children at 
 her breasts as emblems of her fertility, and girdled with a cord, 
 whose seven knots typify her dominion over as many Medi- 
 terranean islands. She stands upon a pedestal having figures of 
 Prudence, Temperance, Fortitude and Justice at its four corners, 
 and eagles, in allusion to her Pioman origin, upon its sides, 
 and as an example of Giovanni's fully formed style with all 
 its merits and defects is a most interesting object. The 
 intensity of expression and the dramatic feeling of the 
 statue, whose sly glance seems on the watch for some strange 
 coming, the treatment of the nude figure of Temperance, 
 whose classically knotted hair and Venus-like pose recall the 
 antique, and the generally careful disposition of the draperies, 
 are all points worthy of commendation, while the extreme ugliness 
 of the faces, the defective proportions of the forms, and the 
 mannered attitude of the principal figure, would be worthy of 
 blame, were we not forced to take into account the immense and 
 untried difficulties encountered by the sculptor in modelling one 
 of the first large statues made in Italy since the days of Constan- 
 tine. From its general character we suppose that the work is 
 about coeval in date with the fragments of a pulpit in another
 
 Giovanni Pisano. 29 
 
 part of the corridor, wliicli he made for the Cathedral before 
 1311, that is, thirty-two years after he built the Camj^o 
 Sauto. They consist of three female figures clustered round 
 the shaft of a column, and an apostolic looking figure of 
 Justice standing upon a base adorned with reliefs of the seven 
 sciences. The six reliefs now in the choir of the Cathedral, which 
 Giovanni made for the same pulpit, represent incidents in the 
 life of Jesus from his birth to his crucifixion. They are 
 characterised by a want of repose and a tendency to an 
 exaggerated expression of sentiment, and in so far as they show 
 the sculptor's endeavour to attain truth to nature rather than 
 classical correctness, they remind us far more of Giotto than of 
 Niccola Pisano. Among Giovanni's other works at Pisa,* we 
 may here mention a Madonna signed with his name over the 
 door of the Baptistry, a half figure of the Madonna and Child in 
 the Campo Santo, and a very carefully sculptured ivory statuette 
 of the Madonna and Child in the Sacristy of the Cathedral {see 
 tail-piece), together with a carved reliquary of the same material. 
 We are unable to give any fixed date to these works, and in order 
 to take up the chronological sequence of his career must return to 
 the year 1283, when he completed the Campo Santo. f In that 
 building as he left it| there were no Gothic elements, but this 
 is far from being the case with the facade of the Cathedral at 
 Siena, which he in all probability designed immediately after 
 leaving Pisa.§ Holding the office of Head-Architect, to which 
 he was then appointed, his return to Siena was marlvcd by 
 special civic favours, showing the great esteem in which he 
 was held. In order to induce him to remain there, the magis- 
 trates made him a citizen, exemj^ted him from all taxes for 
 
 * The Gothic church of Santa Maria della Spina, attributed to 
 Gio. Pisano by Vasari, was not begun until 1323, three years after his 
 death. See Schultz, o^. cit. voh vii. p. 6, note 3 ; and Burckhardt's, 
 Cicerone, iv. ed. p. 62. 
 
 t That Giovanni went to ISTaples at this time, as stated by Vasari, is 
 very doubtful. 
 
 X The Gothic window traceries and other ornaments in the pointed 
 style about the building, are of a later date. Ciampi, Belli Arrcdi, p. 44. 
 
 § This church existed a.d. 947, under the name of Santa JNIaria 
 Assunta. It was enlarged in 1089, and consecrated by Alexander II. in 
 1179. According to Malavolti, the new church was begun in 1245. 
 See Historical Stadi^it, etc., by C. E. Norton, p. 93.
 
 30 Historical Handbook of Italian Sculpture-. 
 
 life, and that lie might continue to work without hindrance, 
 absolved him from certain penalties to which he had for some 
 unknown reason subjected himself. It is impossible to say 
 how far the facade was advanced under Giovanni during his 
 three years' residence at Siena, but it is certain that whatever he 
 may have done his original design was much modified by suc- 
 ceeding architects, who are, perhaps, answerable for the want 
 of clearness and simplicity which strikes us when we vainly 
 seek to extricate the main lines of the edifice from the maze of 
 parti-coloured marbles, statues, bas-reliefs, mosaics, lions, horses 
 and griffins scattered over its surface.* With all its defects it is, 
 however, a splendid work, and also one of the most striking 
 examples of the then increasing influence of the great French 
 and German Cathedrals upon Italian taste. After Giovanni left 
 Siena, notwithstanding the many inducements held out to him 
 to remain there, he devoted himself almost exclusively to sculp- 
 ture. f The tranquil course of his days contrasts strikingly with 
 the tumultuous times in which he lived, when ever-surging feuda 
 would have checked the growth of Art had it been less exclusively 
 the servant of religion than it was. The long struggle between 
 the Church and the Suabian princes which Niccola Pisano had 
 outlived, was followed in the lifetime of his son by that 
 between the people and their rulers, when Italian cities were 
 divided by hostile factions, or pitted against each other on 
 bloody battle fields. Siena warred with Florence ; Pisa against 
 native tyrants and the Genoese ; the Ghibelline exiles made 
 ready at Arezzo for the fight in the plain of Campaldino in 
 which Dante took part, and the Bianchi and Neri were arrayed 
 against each other in the streets of Pistoja. Meanwhile 
 Giovanni, like other artists of his day, pursued his occupations 
 without let or hindrance, and carved the altar and the monu- 
 ment for church or cloister undisturbed by the tumult of popular 
 strife, which like sea waves upon rocks broke harmlessly against 
 their peaceful walls. 
 
 We have no reliable record of Giovanni Pisano, from the year 
 
 * The lions, horses and griffins are the emblems of Arezzo and 
 Perugia. 
 
 t We do not know the date of his departure, but his name appears in 
 the registers of the cathedral under the years 1284, 90, 96 and 99. 
 Milan esi, Doc. i. p. 1G2.
 
 Giovanni Pisano. 31 
 
 12Sl5, when he left Siena, to the year 1300, when he went to 
 Pistoja to commence a pulpit for the church of Saut' Andrea. 
 During a part of this time he is said to have made a now 
 destroyed monument of Pope Urhan IV. for the Cathedral at 
 Perugia, and it has until recently been supposed that after com- 
 pleting it he went to Ai'ezzo to sculpture the shrine of San 
 Donato, which is now known to be the work of another 
 Giovanni, the son of Francesco d'Arezzo, and Betto di Fran- 
 cesco da Firenze, in the latter part of the fourteenth century.* 
 That it was not made by Giovanni Pisano had long been 
 suspected from the un-Pisan character of the Madonna who 
 sits above the altar and the inferiority of its bas-reliefs to 
 those known to be by this sculptor. At this period of his 
 life his style was so marked that it could hardly be mistaken, 
 as any one may see who looks at the pulpit of Sant' Andrea at 
 Pistoja, upon which he began to work in the year 1302. As 
 this work, which may be regarded as Giovanni's master-piece, 
 resembles the pulpits at Pisa and Siena in its general features, 
 we need only say that its dimensions tally very nearly with 
 those of the first, and pass on to its five bas-reliefs of the 
 Birth of Christ, the Adoration, the Crucifixion, the Last Judg- 
 ment and the Massacre of the Innocents, which latter seems to 
 us the most forcible representation of this painful subject to be 
 found in Italian art. 
 
 The artist's deep dramatic feeling shows itself in the Herod, 
 who looks down with sullen satisfaction upon the maddened 
 soldiers, and in the women, one of whom bows in speechless 
 grief over the body of her child while the other struggles to 
 save her darling from a like fate. The Crucifixion and the Last 
 Judgment are less striking than the Massacre, but the first con- 
 tains an admirable group of women at the foot of the cross, and 
 the second is powerfully treated throughout. It is, however, like 
 the bas-reliefs at Pisa and Siena of the same subject, overcrowded 
 and confused. Some lingering trace of Niccola's influence 
 shows itself in the statuettes about the pulpit which represent 
 the virtues under classical forms — as for instance the Fortitude 
 as Hercules, like that at Pisa — but as a rule, the tendency to 
 clothe Christian ideas in a Pagan dress is far less conspicuous. 
 
 * Vasari, ed. Milanesi, vol. i. p. 311, note 1.
 
 32 Historical Handbook of Italian Sculpt 2ire. 
 
 The new spirit reveals itself in the fine statue of an angel with 
 a book, typical of St. Matthew, grouped with the winged 
 Lion, the Ox, and the Eagle, respectively symbolic of his 
 brother evangelists. Having greatly increased his reputation 
 
 by this admirable work, Giovanni turned 
 his steps towards Florence, where he 
 reasonably hoped to find a fresh field 
 for the exerci::e of his talents, but 
 in this he was doomed to disappoint- 
 ment, as for some unknown reason 
 he failed to find that patronage at 
 the hands of the Florentines which 
 his fellow pupil Arnolfo di Cambio 
 had met with during his long resi- 
 dence among them. He left but one 
 record of his visit, -namely, the Ma- 
 donna and Angels in the lunette of 
 the so-called Porta della Canonica on 
 the cast side of the Cathedral. To 
 this group he may have owed his 
 introduction to the Cardinal Matteo 
 d'Aquasparta, through whose influence 
 he obtained the commission for a 
 proposed monument to Pope Benedict 
 XI., who had lately died at Perugia after eating of poisoned 
 figs from a basket which his enemy Philippe le Bel had 
 caused to be pr. pared for him. On his accession to the 
 Papacy Benedict had sustained the King's policy, and re- 
 voked the decrees of his predecessor, Boniface VIII., against 
 him, but when Philip demanded that the late pope should 
 be declared a heretic, and that all those who had taken 
 part in his humiliation at Anagni should be excommuni- 
 cated, Benedict refused to comply, and soon after met the fate 
 of those who opposed the will of the unscrupulous king. The 
 nine months' session of the Sacred College which followed 
 upon this event, gave Philip time to mature his plans for getting 
 the Papacy into his power, and it was mainly by the timely 
 advice of the Cardinal Aquasparta that he eventually secured 
 the election of a French Cardinal, Bertrand de Got, who under 
 the name of Clement V. was crowned at Lyons, and took up
 
 Giovanni Pisano. 33 
 
 his abode at Avignon. Meanwhile Giovanni Pisano liad com- 
 menced to work upon the monument to Philip's victim, in the 
 church of St. Domenic at Perugia. Before designing it, he 
 must have seen Arnolfo di Cambio's tomb to Cardinal de 
 Braye, in which, as we have already said, angels drawing 
 back curtains from the recess which contains the sepul- 
 chral effigy first appear. Struck with the beauty of the idea, 
 Giovanni appropriated it, following an example which was 
 widely adopted by sculptors of the Pisan school. In the 
 monument to Pope Benedict the effigy of the deceased, thus 
 watched over by angels, lies stretched upon a sarcophagus under 
 a lofty Gothic canopy supported upon twisted columns whose 
 spirals are decorated with mosaic. The little nude figures 
 climbing up their shafts were jDrobably introduced to enhance 
 the richness of the general effect ; at least no better reason 
 for their use in such a place suggests itself. 
 
 Between 1305 and 6, when Giovanni Pisano sculptured this 
 papal tomb, and 1311, when he began the pulpit for the Cathe- 
 dral at Pisa, we have no certain data concerning him. In the 
 interval he may have made the very impressive monument of St. 
 Margaret at Cortona, though it is somewhat doubtful if it be his 
 work. Like that of Pope Benedict it has the sepulchral effigy, the 
 curtained recess and the watching angels, together with bas-reliefs 
 representing the Magdalen washing the Saviour's feet, the raising 
 of Lazarus, the investiture of the penitent Saint, and the 
 bearing of her soul to heaven by Angels. Its Pisan character 
 is unmistakable, but as the monument is better in design than in 
 execution, we may not be far wrong in supposing that Giovanni 
 planned it, and entrusted the carrying out of his design to 
 some one or more of his scholars, of whom eight are known 
 to us, namely, Leonardo who assisted him in making a holy 
 water vase for the Church of San Piero near Pisa ; Bernardo 
 his son, who was an architect and at one time " Capo maesti'o " 
 of the Cathedral at Pisa ; Andrea Pisano, one of the greatest 
 of Italian sculptors ; the four Sienese, Agostino di Giovanni, 
 Agnolo di Ventura, Tino di Camaino, and Ciolo di Ventura, 
 and the Pistojan, Jacopo di Matteo. 
 
 Among the uncertain works of Giovanni we must not omit 
 to mention the monument of Enrico degli Scrovegni in the 
 Arena Chapel at Padua. If he died in 1321 and Giovanni in 
 
 D
 
 34 Historical Handboolc of Italian Sculptm'e. 
 
 1320, it cannot be his work, nor is it likely to be such if both 
 died in the same year. If however Giovanni lived until 1329 
 as Milanesi asserts,* we might accept him as its sculptor, 
 were it not that its style indicates a Venetian hand. The 
 portrait statue of the same Scrovegno at an earlier period of his 
 life, near the choir of the Chapel, and the Madonna and Child, 
 look much more like Giovanni's work, and may be taken as such. 
 
 Two years after the death of the Princess Margaret (1311), 
 wife of the Emperor Henry II., Giovanni erected her tomb 
 in S. Francesco di Castellato at Yoltri, of which a few fragments 
 exist in the neighbourhood at the Villa Brignole Sale. 
 
 A grave slab in front of the archiepiscopal palace at Siena, 
 which was set up twenty years before Giovanni's death, indicates 
 that he intended to be buried there, but as he died at Pisa his 
 fellow- citizens laid him in the same sarcophagus with his father. 
 This is not distinguishable among the many at the Campo 
 Santo, where the only memorial of these two artists to whom 
 Pisa owes so much of her fame, is a modern tablet set up by 
 the curator Lasinio. The inscription upon it is as follows ; — 
 
 In memoriam Niccolae Pisani et Jobannis fili, 
 
 Sculptore artis restitutoruin. 
 Hen ! principe Pisanis artifices 
 
 Hie jacerent sine titnto. 
 
 * Yasari, ed. Miiauesi, vol. i. p. 310. 
 
 •^•^iA»ase ./>-
 
 Andrea Pisano and his Scholars. 35 
 
 CHAPTER III, 
 
 ANDBEA PISANO AND HIS SCnOLAr.3. 
 
 Andrea Pisano, the most eminent of Giovanni Pisano'a 
 scholars, born at Ponteclera about the year 1270, was the son 
 of a notary of Pisa named Ugolino di Nino.* No record of his 
 early youth and manhood exists, and it is not until he wa3 
 nearly sixty that we have any reliable iaformation concerning 
 him, though we have ground for believing that when he was 
 thirty-five he spent a year at Venice,! during which he sculp- 
 tured several statuettes for the facade of St. Mark's, and made 
 designs for the reconstruction of the arsenal which were subse- 
 quently carried out by Filippo Calendario.t Andrea's visit to 
 Venice would become an important fact in the history of Italian 
 sculpture could it be proved that this ill-fated Venetian archi- 
 tect and sculptor, of whom we shall have occasion to speak 
 elsewhere, studied under him and carved the capitals of the 
 columns of the Ducal Palace, whose Tuscan affinities of style 
 seem to give ground for the conjecture that they were sculp- 
 tured under a foreign influence. In 1330 Ave find Andrea at 
 Florence, with so great a reputation as a bronze caster,§ that 
 
 * Andrea is mentioned as *' famulus Magistri Johannis " iu the arcliives 
 of the Pisan Duomo, 1299-1305 (Ciampi, op. cit. p. 47). 
 
 t Vasari"s doubtful assertion (vol. i. p. 486, ed. Milanesi) is confirmed by 
 a MS., -whicli Orlandi cites iu the Ahecedario Pittorico, and (as it appeared 
 to Cicognara) by ancient Venetian chronicles, in which, however, Andrea 
 is not mentioned by name. Selvatico, op. cit. pp. 110, 111, states his 
 belief that the style of the Pisani penetrated into Venice through 
 Andrea. 
 
 X Hanged in 1354, as implicated in the conspiracy of Marino Faliero 
 
 § Vasari, ed. Milanesi, vol. i. p. 487, note 2, ascribes the crucifix of 
 bronze, which Vasari says Andrea sent as a present to Pope Clement V. 
 at Avignon, to Andrea Arditi, a Florentine goldsmith. 
 
 D 2
 
 36 Historical Handbook of Italian Sctilptitre. 
 
 he obtained the commission for those noble gates of the Bap* 
 tistry which are his chief and enduring title to fame. He 
 began them on the 22nd of January, and completed the models 
 of the reliefs in wax on the 2nd of April, with the assistance 
 of three Florentine goldsmiths, Piero di Jacopo, Lippo di Dino, 
 and Piero di Donato, whose share in the work is unknown. 
 
 The gates were unsuccessfully cast in 1332 by a Maestro 
 Lionardo, son of a bell-maker of Venice named Avanzo, and 
 the work had to be recommenced by Andrea himself, who on 
 the 24th of July, 1333, agreed also to model twenty-four 
 lions' heads, and to have them cast and gilded by the 1st 
 of December. The second casting, which he superintended, 
 proved satisfactory in every respect, and the gates were finished 
 and set up in 1336,* opposite the Cathedral, in the place after- 
 wards occupied by Ghiberti's second gate. The twenty large 
 panels contain reliefs representing leading events in the life of 
 St. John the Baptist ; and the eight of a smaller size are 
 adorned with allegorical figures of Faith, Hope, Force, Temper- 
 ance, Charity, Humility, Justice, and Prudence. In considering 
 the compositions, we are, in the first place, struck with the antique 
 simplicity of the means employed to relate the stories. Where 
 Niccola or Giovanni Pisano would have brought in a crowd of 
 figures, Andrea contented himself with a very few, and thus 
 avoided that confusion of line and overloading of space which 
 mar their best work. Thus, for instance, in the bas-relief of 
 Zacharias called upon to name the Child, but four persons are 
 introduced, a venerable old man writing at a table, a youth, 
 and two women ; and again, in the Burial of St. John there 
 are but seven figures, namely, four who lower the Saint's body 
 into the sarcophagus, one who holds up a part of the winding- 
 sheet, an old man praying with clasped hands, and a young 
 monk holding a torch. 
 
 In the second place, we admire the sobriety and elegance of 
 the architectural accessories, as in the last-named composition, 
 
 * The inscription upon tlie gates is as follows : — 
 
 " Andreas Ugolini Nini de Pisis me fecit, a.d. mcccxxx.*' 
 
 The elaborate frieze around them was begun by L. Ghiberti and his 
 son Vittorio, in 1454. After Ghiberti's death in 1455, it was completed 
 by Vittorio, Ant. PoUajuolo, and other pupils.
 
 Andrea Pisano. 2>7 
 
 where the figures are enframed by and sheltered under a Gothic 
 canopy. Thirdly, we see that the draperies are disposed in 
 broad folds, which accentuate form without concealing it, and 
 fourthly, that the figures are rhythmically disposed, as in the 
 Burial, where the four disciples who sustain the corpse bend 
 forward by a simultaneous movement, which contrasts happily 
 with that of each of the other figures. The same praise may be 
 given to the Baptism, the Beheading of St. John, the Dance of 
 Herodias, &c., as to the two compositions of which we have 
 been speaking, and also to the Virtues upon the small panels 
 — of all such personifications perhaps the most admirable. 
 
 If we compare them with those painted by Giotto at Padua some 
 thirty years earlier, it is not to point out any resemblance, but 
 to appreciate the diff"erence between Andrea's truly plastic, and 
 Giotto's thoroughly pictorial conceptions of the same subject. 
 The *' Spes " of the sculptor, like that of the painter, raises 
 her arms to grasp a celestial crown, but while the first is 
 a seated, the second is a flying figure. Other parallel subjects 
 in the two series show the same essential difi'erences in con- 
 ception, which seem to prove that the influence of Giotto over 
 Andrea did not affect his essentially plastic style, though 
 it may have quickened his perception of the mystical and 
 spiritual in Art. These qualities are, however, even more 
 conspicuous in the reliefs upon the gate of the Baptistr}', 
 which are not in any way connected with Giotto, than in those 
 of the Arts and Sciences upon the sides of the Campanile, 
 some of which, Ghiberti tells us in his Second Commentary, 
 were modelled by Giotto himself, while others were sculptured 
 by Andrea after Giotto's designs.* This may be so, but to us 
 they seem Giottesque only so far as they are conceived in the 
 naturalistic spirit of the Florentine, rather than in the old 
 classical spirit of the early Pisan school, which shows itself only 
 in the attributes of the Hercules. As in the reliefs by Andrea 
 on the gates of the Baptistry, the action is carried on with few 
 exceptions by one or two figures, treated in the same simple 
 style, which becomes unusually animated in the Equitation, a 
 
 spirited figure on horseback, and in the Agriculture, a group 
 
 i 
 
 * The five reliefs on the side of the Campanite towards the Cathedral 
 are by Luca della Robbia. See chap. iii. book ii. p. 13!). 
 
 1473S1
 
 38 Historical Handbook of Italian Sculpture. 
 
 of men and oxen ploughing. In all essentials they are like 
 Andrea, and were it not for tradition, we doubt whether Giotto's 
 co-operation would have been thought of. The truth would 
 seem to be that the great painter and architect, not being 
 himself a sculptor, engaged Andrea to adorn the Campanile 
 Avith reliefs, and the facade of the Cathedral (which was far 
 advanced at the time of his death) with statues.* One of 
 these, long hidden in a corner of the Oricellari gardens, 
 represents Pope Boniface VIII. clad in pontifical robes, and 
 with a very tall tiara upon his head. Though stiff, it is 
 dignified in bearing, and in its present mutilated condition 
 strikingly suggestive of the miserable state of helplessness to 
 which this proud Pontiff was finally reduced by Philippe le Bel 
 of France. The only other sculptural works by Andrea known 
 to us are a bas-relief of the Madonna and Child on the out- 
 side of the Bigallo at Florence, and another in the Campo 
 Santo at Pisa, with, perhaps, some of the statuettes in tho 
 Villa Medici at Castello. 
 
 He built many palaces, villas, and castles in and abou^ 
 Florence, strengthened the Palazzo Vecchio for the tyrant 
 Walter de Brienne, whom the citizens had in an evil hour 
 (1341) made Captain and " Conservatore " of the People, and 
 began to build the Baptistry at Pistoja, with the assistance of 
 M"- Cellino di Nese, a Sienese architect. He died at Florence 
 in 1345, and was buried in the nave of the Cathedral, near 
 the pulpit, under a monumental slab, which has long since 
 disappeared. His scholars were his sons, Nino and Tommaso, 
 Alberti Arnoldi, Giovanni Balduccio of Pisa, and the world- 
 renowned Andrea Orgagua, 
 
 Alberto Arnoldi, whom we shall first mention,t was the son 
 of a Lombard stone carver of the same name, who in the early 
 
 * Vasari says that Andrea made statues of the four Doctors of the 
 Church, and of SS. Stephen and Lorenzo for the facade. Mihinesi 
 doubts it, as it is not until after 1357 that the registers of the Cathedral 
 make mention of statues to be made for it. These registers show that 
 the commission for the statues of the four Doctors of the Church was 
 given to Pietro di Giovanni, and to Niocolo di Piero d'Arezzo, in 1396; 
 and that in 1391 the last naraed^sculptor was working on the S. Stephen. 
 Vasari, ed. Milanesi, vol. i. p. 484, note. See Appendix, Letter E. 
 
 t Mention is made of Alberto Arnoldi bj Franco Sacchetti, Novella 
 229, and Novella 13G.
 
 Alberto A mo Id i and Nino Pisano. 39 
 
 part of tlie fourteenth century took up his residence at Florence, 
 where both were made citizens. The sou was employed in 1351, 
 with other workmen, to decorate Giotto's Campanile witli coloured 
 marbles. lie was afterwards made head-master of the Cathe- 
 dral workshop (Opera del Duomo), and in 1359 was commis- 
 sioned to make the arch of the great portal of the same 
 building. 
 
 In sculpture, properly speaking, he is known to us only by 
 the half figure of the Madonna on the exterior of the Bigallo, 
 sculptured in 1361, and long erroneously attributed to his 
 master, Andrea, and by the life-size group of the Madonna and 
 Child with angels, which stands over the altar of the Bigallo 
 chapel. The contract for this work, dated June 13th, 1359, 
 stipulates that it is to be adorned, that is, have the robe- 
 borders, &c., picked out with gold, and to be of equal excel- 
 lence with the Madonna by Andrea Pisano at Pisa. We have 
 no doubt that Arnoldo endeavoured to make it so, for the work- 
 manship is in every respect careful and conscientious, but to 
 fulfil such a promise was out of his power. The statue, which 
 conforms to the Pisan type of treating this subject, is cold 
 and rigid. A certain grandeur is given to the group by 
 the massive folds of the once star-spangled drapery of the 
 Madonna, which falls over the lower limbs of the Child, who 
 sits poised upon her left arm, but the faces are singularly 
 inexpressive. 
 
 Nino Pisano, the son and scholar of Andrea, was a much 
 more -genial sculptor than his fellow pupil. His masterpiece, 
 the Madonna della Rosa in the Church of Sta. Maria della 
 Spina at Pisa, is a gentle Virgin, who holds a rose in her 
 left hand which the child Jesus leans forward to take, and 
 wears a crown upon her head, from which a veil falls in grace- 
 ful folds upon her shoulders. The sweetness of Nino's manner 
 is here kept within the bounds of discretion, but it degenerates 
 into mawkishness in the statues of the Virgin and the Angel 
 of the Annunciation (incorrectly called Truth and Charity) 
 in the Church of " Sta. Caterina " at Pisa, Avhose eyes and hair 
 were coloured, according to the common practice of the time, 
 and their draperies picked out with gold but faint traces of 
 which now remain. The monument of Archbishop Saltarclli, 
 in the same church, was at least designed by Nino. Hia
 
 40 Histoi'ical Handbook of Italian Sculpture. 
 
 death occurred about 1367,* while he was working upon a 
 monument to the Pisan doge, dell' Agnello, who made him- 
 self odious to his fellow citizens for four years by his osten- 
 tation and his exactions. Tommaso Pisano, the second son 
 of Andrea, who was architect, sculptor, painter, and gold- 
 smith, built the upper story of the Leaning Tower, designed a 
 palace for the Doge, made a now destroyed monument of his 
 wife, the Duchess Margaret for whom he painted two chests 
 ("cassone"), and a marble Ancona for the Church of San Fran- 
 cesco, now in the Campo Santo. It consists of six Gothic 
 niches, whose pointed gables are filled with half-figures of 
 saints, and of a predella covered with bas-reliefs. Though 
 rich in general effect, it is coarsely sculptured, and the poorly 
 drawn figures have none of Nino's sweetness of feeling. As 
 it looks rather like the work of a goldsmith than of a sculptor, 
 we are inclined to believe that Tommaso was more skilful in 
 the first than in the second capacity. 
 
 Moving in a narrow sphere, the two sons of Andrea Pisano 
 could do nothing towards propagating the principles of his 
 school out of Tuscany, but such was not the case with his 
 scholar Giovanni Balduccio, who long resided in the north of 
 Italy. Born at Pisa about the beginning of the fourteenth 
 century, he worked at first in Tuscany, upon a pulpit for the 
 Church of Sta. Maria al Prato, at Casciano near Florence, and 
 on the rude monument of Guarnerius, son of Castruccio Castra- 
 cani (1328), for the Church of San Francesco at Sarzana. This 
 work gave Castruccio so favourable an opinion of his talents 
 that he recommended him to Azzo Visconti, Lord of Milan, 
 who during two years spent in Tuscany after his liberation, 
 through Castruccio's mediation, from the dungeon at Monza 
 into which he had been treacherously thrown b}" the Emperor 
 Louis of Bavaria, had imbibed a love of Art which led him, 
 after his accession to power, to invite eminent foreign artists 
 to settle in his dominions. Among those who came at his 
 bidding was Balduccio, who, according to some authorities, built 
 a palace for him at Milan which Giotto afterwards adorned 
 with frescoes, and executed many important works in sculpture.! 
 
 * Proved by a decree of the Pisan magistrates, dated Dec. 8th, 1368, 
 to pay twenty florins to Andrea, son of the late sculptcj*, Nino di Andrea 
 (Doc. pub. by Prof. Bonaini ; Vasari, vol. ii. p. 44, note 1). 
 
 ^ See Appendix, letter F.
 
 Baldiiccio Pisano. 41 
 
 The most remarkable of these is the monument to Fra Pictro 
 da Verona, commonly known as St. Peter Martyr, in the 
 Church of San Eustorgio. This elaborate work, which was 
 commenced in 1336 and terminated in 1339, consists of a 
 sarcophagus with a sloping lid, surmounted by a Gothic taber- 
 nacle, and supported upon eight pilasters faced by allegorical 
 statues of the Virtues. The eight bas-reliefs upon the sides of 
 the sarcophagus, representing scenes in the life of the Saint, are 
 hardly worthy of the scholar of Andrea Pisano, but some of 
 the statues are remarkable and strikingly Gioltesque in cha- 
 racter, Giotto himself might have modelled the Hope, the 
 Temperance, or the Prudence, so closely do they correspond to 
 his style in type of face, conception, and mode of represen- 
 tation. The monument to which they belong was hardly com- 
 pleted when Azzo Visconti died, and Balduccio was called 
 upon to design his patron's tomb for a chapel adjoining the 
 palace, whence it was, long after, removed to the Trivuizi 
 Palace, where it exists in a mutilated condition. The recum- 
 bent figure of the prince, watched over by angels, lies upon a 
 sarcophagus, whose front is adorned with figures of knights in 
 relief (typical of the cities subject to Azzo) and of their patron 
 saints kneeling before St. Ambrose. Other fragments, which 
 we are unable to place in the general design, are the figures 
 of St. Michael and the Dragon, and of a woman holding in 
 her arms a child with clasped hands, possibly emblematic of 
 her soul. 
 
 Another work attributable to Balduccio, in the church of 
 S. Marco at Milan, is the tomb of Lanfranco Settala, an 
 Augustinian monk and professor of theology, who is repre- 
 sented lying on a mortuary couch behind which two angels 
 raise the folds of a curtain, and in a relief on the front of the 
 sarcophagus, in the act of giving instruction to his scholars. • 
 The bas-reliefs set into the wall opposite this tomb, which 
 belonged to that of Salvarino de' Aliprandis (d. 1344), 
 together with the tomb of Stefano Visconti, an Ancona, and a 
 bas-relief of the Magi at San Eustorgio, a bas-relief on tlu- 
 outside of the Porta Xuova, aiul some rude figures in tiu' 
 Mediteval Museum at theBrera, are woi'ks rather of Balduccio's 
 school than of the master himself 
 
 Many such outside of Milan, show how extensive an iiillu-
 
 42 Historical Handbook of Italian Sculpture. 
 
 ence be exercised upon sculpture in the north of Italy, as foT 
 instance, tlie Area di Sant' Agostino at Pavia, which was prob- 
 ably made by Matteo and Bonino da Campione, the two most 
 remarkable artists formed by Balduccio during his residence at 
 Milan.* Twelve years were employed, and 4,000 golden scudi 
 spent, in constructing it in the sacristy of San Pietro in cielo 
 d' oro (1382), whence it was removed to its present position in 
 the Cathedral, when that building was demolished. Enriched 
 with bas-reliefs, statuettes, and architectural accessories in the 
 pointed style, it forms an ensemble of the most imposing 
 character. The effigy of the saint, covered with a winding- 
 sheet held up at the corners and sides by six angels, lies upon 
 a mortuary couch seen through the open arches which support 
 its second storey. The statuettes of the aj)ostles, grouped in pairs 
 within compartments around the lower or basement storey, are 
 separated from each other by pilasters faced by statuettes of the 
 Virtues. Above them are placed smaller statuettes of saints and 
 prophets, with seated figures of saints and martyrs. A row of 
 pointed gables enriched with crockets and finials runs round 
 the upper storey, which is decorated with a series of bas-reliefs 
 representing incidents in the life of St. Augustine, and with 
 twenty statuettes. All the figures upon this monument are 
 highly polished, the borders of their robes are carefully elabo- 
 rated, and the pupils of their eyes are painted black, according 
 to a common custom of the time. 
 
 After the death of Azzo Visconti, his paternal uncles, Luchino 
 and Giovanni, nominally ruled the state together, though the 
 latter, being little inclined to politics, left the reins of govern- 
 ment in the hands of his brother, who was one of the best 
 princes of his house but not a patron of art. Mention is made 
 of many palaces which he built and decorated with frescoes, 
 but we have no proof of his having given any commission to 
 Balduccio or his scholars, though he may have ordered the 
 former to make the already described monument to Azzo. That 
 to Stefano Visconti in the chapel of St. Thomas Aquinas at S. 
 Eustorgio, which has been attributed to Balduccio, was most 
 
 * According to Vasari it was made by Agostino and Agnolo Sanesi, 
 but this cannot be, as they died before the middle of the centnry, and the 
 Area is dated a.d. 13G2. Cicognara ascribes it to Pietro Paolo and 
 Jucoliello dell" Massegne, but no work of theirs is known prior to 1380.
 
 Bonino and Mattco da Canipione. 43 
 
 probably erected by order of Luchino's three sons, Matteo II., 
 Bernabo and Galeazzo, \vliom be bad exiled, and Avbom Gio- 
 vanni recalled to share the territory of Milan with him. This 
 division was soon simplified by Bernabo and Galeazzo -who 
 poisoned Matteo, to save themselves from a like fate. Of the 
 two, Galeazzo was perhaps the worst, for he w^as persistently 
 cruel and unjust, while his brother sometimes varied his course 
 of crime by acts of justice and even of kindness. Galeazzo dis- 
 regarded the claims of art and wantonly destroyed the frescoes of 
 Giotto in Azzo's palace, while Bernabo patronized it as a means 
 of self-glorification. 
 
 His equestrian statue in the Mediaeval museum at the Brera 
 which was probably sculptured by Balduccio's scholar Bonino 
 da Campione, represents him clad in armour, and holding the 
 baton of command in his left hand. The rider sits stifily on 
 his horse whose trappings, enriched with his cypher and the 
 emblems of his house, were once gay with gilding and colour, 
 while two diminutive figures of Fortitude and Justice stand 
 like pages at his stirrups. The sarcophagus, upon which 
 the group is raised, is supported by nine short columns, and 
 adorned with coarsely-modelled bas-reliefs of the Crucifixion, 
 the dead Christ and angels, the Evangelists, and single figures 
 of saints. Bernabo erected this monument to the memory 
 of his wife Regina della Scala, behind the high altar of San 
 Giovanni a Conca, in such a position that the worshippers ap- 
 peared to be praying to him, and this was considered so scanda- 
 lous that soon after his death it was removed to a more fitting 
 place near the door. We are rather inclined to ascribe it to 
 Bonino than to Matteo da Campione, because the equestrian 
 group resembles that upon the Gothic tomb of Can Signorio 
 at Verona, which is certainly by Bonino, and because its style 
 is less simple than that of the pulpit by Matteo at Monza.* 
 Matteo, the elder of the two, who succeeded the unknown archi- 
 tect of the Cathedral at Monza about the middle of the fourteenth 
 century, designed its facade in a mixed Gothic stjde, and 
 
 * Torre, o-p. cit. p. 50, does not give the sculptor's name. Rossi and 
 Cataneo, MS. Hist, of Lombard Artists, in the Biblioteca Melzi, suggest 
 Bonino. Calvi, op. cit. p. 45, says Matteo, the inferiority of whoso work 
 in it as compared with that at Monza he ascribes to his having so bad a 
 Bubject as Bernabo to treat. 
 
 *
 
 44 Historical Handbook of Italian Sculptiire, 
 
 decorated it with slabs of coloured marble, in the manner 
 originally introduced by Arnolfo di Cambio at Florence. He 
 also sculptured a now destroyed font for the baptistry, and the 
 pulpit, which is adorned with statuettes of the Apostles in 
 niches separated by panelled pilasters, upon which are small 
 and remarkably well-designed figures in very low relief.* The 
 compartments which divide the surface of the projecting read- 
 ing dosk contain small statuettes of the four Evangelists, and 
 one of our Lord holding a book and a thunderbolt, a piece of 
 paganism which would have been less surprising a century later^ 
 The accessories are executed in a simple unpretending style, 
 which leaves little room for criticism. The works of Matteo at 
 Monza are thus enumerated in the mortuary tablet set into the 
 outer wall of the duomo : " Here lies the great architect, the 
 devout master Mattheus da Campilione, who built the fa9ade of 
 this holy church as well as its pulpit and baptistry, and who 
 died in the year of our Lord 1396." 
 
 Balduccio's best scholar, Bonino, who is supposed to have 
 belonged to that family of Fusina which gave several artists 
 to Milan, is mentioned by Giulini and Mazuchelli as a simple 
 ^' scarpellino," but the tomb of Can Signorio della Scala at 
 Yerona, of whose equestrian group we have spoken as like that 
 cf Bernabo Visconti at the Brera, proves that he deserved a 
 higher title. f 
 
 At the time when he was called upon to design it, othei 
 tombs to princes of the same distinguished family, which did 
 so much to promote arts and letters in the north of Italy, 
 existed in and about the church of Sta. Maria Antica where it 
 was to be placed. One of these, that of Cane della Scala (1329) 
 over the portal, is a sarcophagus with reliefs, under an arched 
 canopy surmounted by a spirited equestrian group ; another, 
 that of Mastino II. (1351), by Perino of Milan, in the 
 graveyard adjoining the church, corresponds to it in general 
 design. 
 
 To both these tombs, Bonino may have recurred for hints as 
 to the leading features of his monument to Can Signorio, such 
 
 * Their close resemblance to those upon the Area di S. Agostino at 
 Pavia, confirms the belief in Matteo's co-operation in that work. 
 
 t " Hoc opus sculpsit et fecit Boninus de Campiglione Mediolanensia 
 {vide, MafFei, Verona Illustrata, ed. in 8vo. vol. iv. p. 128).
 
 Andrea Orgagna. 45 
 
 as the equestrian statue, the canopy and the placing of the 
 sarcophagus, but he designed it on a far more sumptuous 
 scale, in accordance with the ^\■ishes of the prince, who, while 
 dying of an incurable malady, had set aside 10,000 golden 
 florins for the purpose, and had summoned Bonino to 
 Verona to sculpture it. The edifice, for so it may well be 
 called on account of its imposing size and intricate struc- 
 ture, consists of three parts, the base, the sepulchral effigy 
 under a canopy, and the pyramidal roof crowned by an eques- 
 trian statue. The eight columns with Corinthian capitals, 
 upon which the canopy rests, serve as supports for Gothic 
 niches containing statuettes of military saints, the sides of 
 its pyramidal roof are enriched with other niches in the same 
 style filled with statuettes of the Virtues, and the spaces 
 between the columns are spanned by Gothic arches of rich 
 design, through which the sepulchral efiigy of the deceased, 
 lying upon a sarcophagus, is watched over by an angel with 
 half-spread wings. Can Siguorio is himself represented in a 
 bas-relief upon it, kneeling at the feet of the Madonna to 
 receive the benediction of the Infant Saviour. 
 
 After completing this magnificent work (1375 ?) Bonino 
 returned to Milan and aided in the building of the Cathedral, 
 whose registers show that he took part in a discussion concern- 
 ing alleged errors in its construction, and refer to him as dead 
 in an order of the year 1397 for the removal of a marble figure 
 to Milan from the quarries at Gandolia, where he had sculp- 
 tured it. 
 
 From the pupils of Balduccio, let us now return to his fellow 
 scholar under Andrea Pisano — Andrea Arcaguuolo di Clone, 
 commonly called Andrea Orgagna,* who was born at Florence 
 about 1308. As his father Maestro Clone was a celebrated 
 goldsmitht it is natural to suppose that he received his first 
 lessons in the paternal workshop, though Vasari tells us that 
 
 * Orgagna, or Orcagna, is a corrupt abbreviation of Arcagnuolo. See 
 E'jmohr's, It. Forsch. vol. ii., and Vasari, ed. Milanesi, i. p. 603, note 1, 
 
 t jMilanesi (ed. Vasari), p. 593, note 2, suggests a doubt as to whether 
 Cioni was a professional goldsmith ; but this is hardly compatible with 
 the fact that he made a silver altar for the baptistry. It was wantonly 
 destroyed in 1336, and a few reliefs belonging to it were set in a new altar 
 with others by J\Iichelozzo, Pollajuolo, Ghiberti, and other eminent 
 artists. This altar is kept in the Opera del Duomo.
 
 46 Historical Handbook of Italian Sculpture. 
 
 he -was apprenticed to Andrea Pisano at a very early age. Be 
 this as it may, it is certain that he studied painting under 
 his hrother Nardo, and that the early part of his life was spent 
 in the practice of that art. In 1343 he was admitted to the 
 painters' guild, and to that of the sculptors nine years later 
 (1352), hut long hefore that time he must have studied archi- 
 tecture and sculpture very thoroughly', as he soon after showed 
 his complete knowledge of hoth arts in the famous Tabernacle 
 at Or San Michele, which he completed in 1359. 
 
 The church in which it stands was originally a covered 
 hall or Loggia, built for a grain market by Arnolfo di Cambio 
 (128-1), on one of whose brick piers a Sienese artist named 
 Ugolino painted a Madonna, which began to manifest miracu- 
 lous powers in 1292. In 1304, when the Loggia was much 
 injured by fire, the city guilds determined to rebuild it on a 
 much larger scale, and two years later, when the corner-stone 
 was laid with immense pomp and ceremony, the magistrates 
 granted the petition of the silk Merchants' Guild, that its 
 members should be allowed to place the statue of their patron 
 saint in one of the niches upon the outside of the building. 
 This example was followed by other guilds, until the remaining 
 riches were gradually filled with statues made by the greatest 
 sculptors of the fifteenth century. 
 
 As time went on the brotherhood of Or San Michele became 
 enormously wealthy through the gifts of devotees to the mira- 
 culous picture, and the many donations made by citizens,* 
 who offered their treasures still more freely at the shrine when, 
 after a long period of prosperity, a terrible pestilence desolated 
 the city (1348) .f Thus enriched, the confraternity commissioned 
 Andrea Orgagna to finish the granary as a church, and to erect 
 a Tabernacle within its walls, in which the famous picture of 
 the Virgin, which had been the cause of their association, 
 should be enshrined. t Summoned for this purpose from Or- 
 
 * In tlie course of half a century the offerings to the chapel amounted 
 to 350,000 florins. 
 
 t Boccaccio says that more than 100,000 persons perished at Florence, 
 between JMarch and July. Villani says, Florence lost three-fifths, and 
 Pisa four-fifths of their inhabitants, and Siena 80,000 citizens. 
 
 X Ugolino's iDictnre, ■which, like all his works, was painted "alia 
 Greca," and on the " intonaco," or plaster surface of one of the 
 pilasters of the Loggia, undoubtedly perished in the fire of 1304. The
 
 Andrea Orgagna. 47 
 
 Tieto, whither he had gone to superintend the mosaics of 
 the Cathedral, Orgagna returned to Florence to design and 
 construct a work which pre-eminently emhodies the spirit of 
 medingval Christian art. Built of white marble in the Gothic 
 style — enriched with every kind of ornament, and storied with 
 bas-reliefs illustrative of the Madonna's history from her birth 
 to her death — it rises in stately beaut}', and whether considered 
 from an architectural, sculptural or symbolic point of view, 
 excites the warm admiration of all who can appreciate the 
 skill with which its bas-reliefs, statuettes, busts, intaglios, 
 mosaics and incrustations of " pietre dure," gilded glass and 
 enamels, are welded together into a perfect unit, 
 
 Che passa di bellezza, s' io ben recolo, 
 Tntti gli altri die son dentro del secolo.* 
 
 The altar occupies the front of the Tabernacle under the 
 miraculous picture of the Madonna, over which rises the open- 
 work roof, decorated with statuettes of the Archangel Michael, 
 and an attendant angel. The base is adorned with bas-reliefs 
 in octangular recesses, representing the Birth of the Madonna 
 and her Presentation at the temple, separated by a small figure 
 of Faith on the right side ; the Marriage of the Virgin and • 
 the Annunciation, by one of Hope in front ; the Birth of our 
 Lord and the Adoration of the Magi, by one of Charity on the 
 left side ; the Presentation in the Temple and the Angel who 
 comes to inform the Madonna of her approaching death, at the 
 back. Above this relief is another of large size in which the 
 Madonna lies on her death-bed surrounded by apostles and 
 disciples (one of whom is a portrait of Orgagna, see tail- 
 piece), and ascends to heaven in a mystic mandola or aureole, 
 from which she drops her girdle to the incredulous St. Thomas. 
 
 The most interesting of the reliefs, if only for its novelty as 
 a subject, is that of the warning visit of the angel to the aged 
 Madonna, who sits tranquilly gazing at the celestial messenger 
 as he brings her a palm branch endowed with miraculous 
 power to conceal her dead body from the eyes of the Jews, 
 
 present picture, which is upon canvas, and in a Giottesque style, was 
 probably painted by some artist of the fourteenth century. Vide Yasari, 
 Comm. alia Vita di Ugolino, vol. ii. pp. 23, 25. 
 * Poem upon the Tabernacle, by SacchettL
 
 48 Historical Handbook of Italian Sndpttire, 
 
 ^vben it shall be borne to the tomb. In this, as in the other 
 compositions, Orgagna treats his subject as a painter would. 
 The flying angel, the little window of coloured glass, and the 
 attempt to put the chamber and the objects within it into per- 
 spective, are all pictorial devices which Andrea Pisano, with 
 his just sense of plastic requirements, would never have resorted 
 to. It reminds us that Orgagna was wont to write " sculptor" 
 
 after his name upon his pictures, and to inscribe himself as 
 "pictor" upon his sculptures. The last designation seems 
 true in another sense than that which it was inteii led to 
 convey, for the bas-reliefs of which we have been speaking 
 are treated pictorially, and as they are Orgagna's only works 
 in sculpture, we may look upon him as a precursor of Ghiberti. 
 In multiplicity of intellectual gifts (we are far from saying 
 in quality) he even surpassed Michael Angelo, whom Pindemonte 
 calls the man of four souls — Orgagna had %e, for he was archi-
 
 Andrea Orgagna. 49 
 
 tect, sculptor, painter and poet, and goldsmith besides. Only 
 one side of Ins complex personality comes properly under con- 
 sideration here, yet we cannot take leave of him without at least 
 referring to his reputed great work as an architect, the Loggia 
 de' Lauzi, that world-renowned portico which foreshadowed a 
 turning-point in the architectural history of the nation, the 
 approacing transition from mixed Gothic to pure Roman forms. 
 It announced the end of the Mediaeval and the be^inninff of 
 the Renaissance period, and is in architecture what the con- 
 temporary writings of Petrarch and Boccaccio are in literature, 
 evidences of the coming classical revival which in the first 
 half cf the fifteenth century embraced all forms of thought. 
 But did Orgagna build it ? that is a question, raised in our 
 day, which turns upon the date of his death. The order 
 for the construction of this sumptuous place of assembly for 
 the discussion of political and commercial matters at times 
 when heat or rain made the uncovered platform (ringhiera) 
 before the Palazzo Vecchio untenable, was passed by the general 
 council in 13G8, but the foundations of the Loggia, called de' 
 Lanzi, from its location near the guard-house of the German 
 Lands Knechtsor hired soldiers, were not laid until 1376, eight 
 years after the death of Orgagna as fixed by modern authorities. 
 Vasari, who first ascribed the building to Orgagna, says that he 
 died in 1389, but this must be an error, as the last certain in- 
 formation about him is a record of the year 13G8, in Avhich he 
 is spoken of as dangerously ill. In another, often years later, 
 he is mentioned as a deceased person. His death, in 13G8, is 
 perfectly compatible with the supposition that he left designs 
 for the Loggia, which were carried out by the eminent architects 
 Benci di Clone and Simone di Francesco Taleuti, when they 
 were appointed head masters of the building.'"' Its great round 
 arches, of which there are three in front, and one at the end, 
 are supported upon piers with Corinthian capitals, and sur- 
 mounted by a broad entablature adorned with six half-figures 
 of the Virtues in relief, and a group of the Madonna and Child 
 under a canopy. The Virtues were sculptured by Jacopo di 
 Piero, one of Orgagna' s scholars, perhaps after the designs of 
 Angelo Gaddi, with the possible exception of the Fortitude and 
 
 * /See Appendix, letter G.
 
 50 Histo7'ical Handbook of Italian Sadpttire. 
 
 Temperance. These are attributed to Giovanni Seti, an other- 
 wise unknown sculptor. 
 
 The subterranean church of the Certosa convent, near Flor- 
 ence, which if not built by Orgagna is of his time, contains 
 some interesting monuments of its founder Niccolo Acciajuoli, 
 Grand Seneschal of the Kingdom of Naples under Queen 
 Joanna, and of his family. These are in all probability works 
 of OrfraOTa's scholars. The recumbent statue of Niccolo, clad 
 in armour, is placed under a rich Gothic canopy, set high up 
 against the wall above the tombs of his father, daughter and 
 son Lorenzo, whose funeral obsequies were celebrated at the 
 enormous cost of 50,000 gold florins by his afflicted parents. 
 
 With Orgagna, the Pisan school, whose rise and progress we 
 have now traced through the better part of two centuries, may 
 be said to close. The Florentine school properly dates from 
 Donatello andGhiberti, and may be considered as the successor 
 of the Pisan and Sienese schools, "which died out respectively 
 the one in the fourteenth, and the other in the fifteenth century.
 
 Siena. 
 
 51 
 
 CHAPTER IV. 
 
 SIENA. 
 
 »r» 
 
 The reader's attention has been already called to the impulse 
 given by Niccola and Giovanni Pisano to architecture and 
 sculpture at Siena in the latter half of the thirteenth cen- 
 tury. The presence and example of father and son did much 
 to raise the standard of excellence in both arts, whose 
 improved condition found ample opportunity for its display 
 through the enlargement and embellishment of the Cathedral, 
 the construction of the Abbey Church and Monastery of S. 
 Galgano, and the building of walls, bridges, gates and fountains 
 in and about the city. Many artists who as rectors represented 
 the greater and lesser art guilds in the city government, were 
 involved in the struggles which constantly arose between the 
 nobles and the people, but despite these disturbing influences, 
 and those arising from the open state of war between the 
 Ghibellines and the Guelphs, they made notable progress. 
 
 Few of them are known to us even by name, and still fewer 
 by their works, which were doubtless for the most part of a 
 decorative character. Nothing is known about the personal 
 history of Ramo or Romano di Paganello, son of Paganello di 
 Giovanni,* one of the first whose name is something more 
 than a name to us, save that he was banished for having killed 
 or maltreated his wife ; that in 1281 he was recalled by a 
 decree of the general council ; f and that he subsequently 
 worked at the Cathedral under Giovanni Pisano. It was pro- 
 bably at this period (1288) that he sculptured a statue of St. 
 
 * Kumohr {It. Forsch. vol. ii. p. 143) says that Kamo's fatlier was per- 
 haps Roclolpho, called " II Tedesco," one of the German artists who 
 introduced the Gothic style into Italy in the thirteenth century. 
 
 t The decree mentions Ramo as " Intalliatorlbus de bonis " (mean- 
 ing those who worked upon ornaments and leaves) ; " et sculptor- 
 ibus et subtilioribus " (as expressing those excessively minute works in 
 the " semi-tedesco " style, then in fashion) " in mundo qui inveniri possit." 
 
 £ 2
 
 5-'? Historical Handbook of Italian Sadpture. 
 
 Francis, which formerly stood over the door of the Church af 
 San Francesco. In 1296 he went to Orvieto with Lorenzo 
 Maitani, and there presided over the sculptors working ahout 
 the Cathedral as " capo loggia, " an office to which none but a 
 man of remarkable capacity would have been elected. Though 
 we cannot suppose him to have worked upon the bas-reliefs of the 
 facade, as they were begun somewhat after his time, he doubt- 
 less aided in carving some of the capitals of its pilasters. 
 
 One cf his contemporaries, Goro di Gregorio,* military architect 
 nnd sculptor, made the sarcophagus under the high altar of the 
 Cathedral at Massa Maritima, which contains the body of St. 
 Cerbone, Bishop of Massa. Its five bas-reliefs represent the 
 bishop summoned to Eome by the messengers of Pope 
 Virgilius, drinking the milk of a hind while on his journey 
 thither, restoring the sick whom he met on his way, presented 
 to the pope at Rome, and celebrating mass before the pope, 
 who by placing his foot upon that of the saint, hears angelic 
 melodies inaudible to other ears. Although technically rude, 
 these reliefs are not devoid of expression. The statuettes above 
 the sarcophagus are carefully draped, and the ornaments about 
 the cornices are delicately carved. Goro sculptured a bas- 
 relief of the Baptism of our Lord for the Baptistry of Eosia, 
 a castle near Siena, some statues for the facade of the 
 Cathedral (1332), and the monument of the Petronio family 
 in the subterranean chambers of the first cloister of the church 
 of San Francesco (1332). 
 
 Piamo and Goro were artists of purely local celebrity, but 
 such was not the case with Lorenzo di Lorenzo Maitani, who 
 built the beautiful Gothic cathedral at Orvieto. Gifted with 
 rare genius, and thoroughly versed in architecture, sculpture, 
 bronze- casting and mosaic, he was eminently fitted for his 
 work, and, thanks to the singular fortune which permitted him 
 to watch over the building from the day when its corner-stone 
 was laid to that which saw its last pinnacle pointed towards 
 heaven, he carried it out with a unity of design unattainable 
 by an artist less versatile than himself.f At the time of its 
 foundation no fewer than forty Florentine, Pisan, and Sienese 
 
 * Not to be confounded with Niccola's pupil, Goro di Ciuccio Ciuti, a 
 Florentine, fiee ch. ii. pp. 23, 24. 
 f See Appendix, letter G.
 
 Lorenzo Maitani. 53 
 
 architects, sculptors and painters came to reside at Orvieto, 
 and were formed into a corporate body subject to Lorenzo 
 Maitani, the master of masters, who with his council pro- 
 nounced judgment upon the models and drawings presented to 
 them in the " Loggia, " a building set apart for their use 
 near the Cathedral. Many of these artists were employed in 
 procuring and working upon marbles at Rome, Siena, and 
 Corneto, as also at Albano and Castel Gandolfo, whence the 
 prepared material was dragged by buffaloes, or sent up the 
 Tiber in boats, to the neighbourhood of Orvieto.'^'" Aided by 
 the Orvietans and the country people, who on fete days assisted 
 in transporting building materials to the Piazza di Sta. Maria, 
 the work was advanced so rapidly, that eight years after the 
 laying of the corner-stone (1298) Pope Boniface VIII. celebrated 
 mass within the walls, which had already risen to a considerable 
 height. 
 
 The beautiful facade, rich in sculpture and mosaic work, was 
 begun in 1321, and carried on under Maitani's direction until his 
 death nine years later. " Artist Philosopher," says Piomagnuoli, 
 " he adorned its base with scenes from the Old and New 
 Testament, the foundations of our faith ; decorated the upper 
 space about the round window Avith the symbols of the 
 Evangelists, together with statues of the Apostles and Popes ; 
 and crowned the whole with angels placed at a dangerous and 
 almost aerial altitude." The bas-reliefs of the base spoken of 
 by the Sienese writer in this passage, are sculptured upon four 
 piers placed on either side of the great portal. On the first, called 
 the Pier of Creation, because its subjects are taken from the book 
 of Genesis, we see the calling into being of the sun, moon, 
 and stars, of birds and beasts, and of man and woman, by 
 Christ, who " in all religious art as in all sound theology is 
 the Creator in the active and visible sense." t In each act be 
 is attended by angels, who follow him with bowed heads and 
 folded arms, or, as in the scene where the Lord walking in the 
 garden calls to Adam, float in the air above his head. What 
 we find to praise in these works, is their unaffected simplicity 
 of expression, their clearness of narration, their freshness of 
 
 * Lettere Sanesi, p. 103. 
 
 t History of Our Lord, by Mrs. Jameson and Lady Eastlake, vol. L 
 p. 66.
 
 54 Historical Handbook of Italian Scnlpture. 
 
 feeling, and the careful and loving treatment of rocks, plants, 
 leaves, and other accessories. These qualities give them a charm 
 which takes fast hold upon us. The reliefs of the Temptation, 
 the Expulsion, and the Murder of Abel, on the upper part of the 
 first pier, and those relating to the Mosaic dispensation on the 
 second, called the Pier of Prophecy, are inferior to the Creation 
 series in conception and execution. Those on the third pier, of 
 
 Fulfilment, r.ve remarkably excellent in composition and treat- 
 ment of drapery. In these respects the Annunciation and 
 the Visitation especially, stand in the first rank, but they want 
 that peculiar charm which in art as in life, belongs only 
 to youth, the charm of childhood as compared with man- 
 hood, of spring with summer, of the bud with the full grown 
 ilower. 
 
 In the reliefs upon the fourth pier, of Judgment, the 
 resurrection of the dead is treated with -'igorous realism and
 
 Orvieto. 55 
 
 great power. Skeleton forms lift the heavy lids of the sar- 
 cophagi -which they have long tenanted, to join the elect who, 
 led by their guardian angels, mount to never-ending joy, or 
 to be added to the troop of the condemned who, driven in a 
 leash by an archangel, are seized by demons with serpents' tails 
 and bats' wings. A vine springing from the base of each 
 pier encircles every relief with its branches, leaves and tendrils. 
 If it be typical of Christ — the true .Vine — as w^e may suppose, 
 and not simply decorative, it is notable as the only piece of 
 symbolism, excepting the symbols of the Evangelists, used in 
 these sculptures, and this is no little remarkable at a time when 
 sculptors and painters still spoke in that mediaeval languaofe. 
 The works of Giotto and the Giotteschi, of Giovanni and 
 Andrea Pisano, abound in representations of the Virtues and 
 Vices, the Liberal Arts, the Seasons, &c. 
 
 In inquiring as to the authorship of the sculptuies which wo 
 have under consideration, it might be hazardous to take their 
 paucity of symbolism as an indication of a preponderating 
 Sienese influence, although the school of Siena was less 
 addicted to its use than that of Florence or Pisa, but it 
 hardly seems so when we couple it with the certainty that a 
 Sienese architect directed, when he did not personally design, 
 every part of the edifice. To attribute them to Maitani as a 
 whole is impossible, for not only do they vary greatly in technic, 
 but also in style, and as the bronze symbols of the Evangelists, 
 Avhich he cast in the last year of his life (1330), are the only 
 works about the facade known to be his, we can form from them 
 no idea of his capacity as a sculptor. As it is equally impos- 
 sible to identify the bas-reliefs with any one or more artists 
 of the period, we must content ourselves with showing who 
 among them can or cannot have worked at Orvieto. Niccola 
 Pisano, despite Vasari's assertion, cannot have done so, as he 
 died twelve years before the corner-stone of the edifice was 
 laid. Giovanni, his son, is said to have died in the very year 
 (1320) which saw the reliefs of its facade commenced, and as 
 his name is not mentioned in the carefully kept registers of the 
 Cathedral, we may dismiss all idea of his co-operation. Era 
 Guglielmo Agnelli, to whom Padre Marchesi attributes the 
 greater part of the reliefs, came to Orvieto in 1290 and re- 
 mained there until 1301, but as they were not begun until long
 
 56 Historical Handbook of Italian Scnlptitre. 
 
 after, and as the well-known works of this sculptor at Bologna 
 and Pisa are very inferior to them, we are disinclined to believe 
 that he took part in them. Arnolfo di Cambio, who came to 
 Orvieto about the same time as Agnelli, went to Florence in 
 1290, and remained there overwhelmed with work until his 
 death, so that he also must be dropped from the list of possible 
 sculptors. Among the Sienese artists who certainly did take 
 part in decorating the facade were Vitale Maitani, the son 
 of Lorenzo, and his successor in the office of head-master of 
 the works ; Buzio di Biaggio, who made the bronze group 
 of the Madonna and Child over the great portal of the Cathe- 
 dral, and Niccola Nuti or Nuzii. The co-operation of other 
 sculptors of the time, such as Agostino di Giovanni and Angelo 
 di Ventura, Tino di Camaino, Antonio Brunaccio, Cellino 
 di Nese, and Gauo, is possible but in nowise certain. The 
 two first, of whom Yasari's account is full of errors, were 
 not brothers, as he states, or scholars of Giovanni Pisano, 
 neither did they sculpture those statues of the Prophets upon 
 the fa9ade of the Cathedral at Orvieto, which he attributes to 
 them.* We know them by one work only — the monument to 
 Bishop Guido Tarlati in the Cathedral at Arezzo, for which 
 they received the commission (1330) from that prelate's brother, 
 Pietro Saccone di Pietramala, through the good offices of 
 Giotto who, as Vasari declares, kindly supplied them with the 
 design. f Without accepting this as a fact, it is impossible for 
 any one who examines the sixteen bas-reliefs upon the monu- 
 ment, of the sieges and battles in which this warlike prelate 
 took part, to doubt that they were sculptured under the great 
 painter's influence. Kudely executed, pictorial in style, and 
 dramatic in spirit, they form the one novel feature of a menu 
 ment which otherwise differs in no respect from tombs of the 
 Pisan school already described. Agostino and Angelo, who 
 were much employed at Siena as architects, died there about 
 the middle of the fourteenth century- Agostino had two rons, 
 one of whom, Domenico, was a goldsmith, and the other, Gio- 
 vanni, a sculptor. His Giottesque-looking bas-relief of the 
 Madonna and Child with angels in the Oratory of San Ber- 
 
 * Agostino and his son Giovanni are mentioned in the Cathedral 
 registers of the year 1339. Angelo's name is nowhere recorded. 
 f Bee Appendix, letter H,
 
 Tino da Camaino. 57 
 
 nardino at Siena, shows that the painter's influence was not 
 limited to one generation. 
 
 We now come to a Sienese sculptor who deserves a more ex- 
 tended notice, if only on account of the wider field in which he 
 worked, Lino or Tino di Camaino, the son of Camaius di Cres- 
 centius or Crescentius di Diotisalvi, who was in all probability 
 the scholar of Giovanni Pisano. One of his more important works 
 (1315), the tomb of Henry VII., which was removed from the Ca- 
 thedral at Pisa to the Campo Santo in the early part of the present 
 century, consists of the imperial effigy, clad in a mantle decorated 
 with the lions and eagles of the Guelphs and Ghibellines, lying 
 upon a sarcophagus with mourning genii sculptured at either 
 end, and several heavy but not ill-draped figures of saints disposed 
 along the front. ^ A long inscription upon the base records the 
 translation of the body to Pisa, from the Castle of Suvareto in the 
 Maremma, in which it had been temporarily deposited on its way 
 from Buonconvento, where the ill-starred Henry of Luxemburg 
 died of fever or poison (1313), after the two years' struggle 
 which followed upon his descent into Italy to reassert the long 
 dormant rights of the German Emperors. Hailed by Dante as 
 the saviour of his distracted countrv, and crowned at Milan 
 with the iron crown, he had vainly besieged Kome and Florence, 
 before death put an end to the hopes and fears which his pre- 
 sence had 'ixcited. There is little doubt that he would have 
 captured Florence had it not been for the brave Bishop Antonio 
 d'Orso, who directed its defence, and it is not a little singular 
 that Tino should have been selected to sculpture the monuments 
 of the Emperor who attacked, and of the Bishop who defended, 
 the fair city. The latter stands in the left aisle of the Cathedral, 
 and consists of a statue of the Prelate sitting in his robes of 
 office, wdth his hands crossed upon his breast, on the top of a 
 sarcophagus, which is decorated with a bas-relief representing 
 the Bishop as a young man kneeling before our Lord, to whom 
 he is presented by Angels. 
 
 Another tomb attributed to Tino, is that of Bishop Felice 
 Aliotti in the Ptuccellai Chapel at Sta. Maria Novella, but as they 
 
 * The tomb of Henry YII., in accordance with common usage at tho 
 time, was decorated with colours. Ciampi in his Notizie Inediti mentiona 
 four painters employed for this purpose, and th« expense incurred for 
 rarnish, gum, &c., used by them.
 
 58 Historical Handbook of Italian Sculptiwe. 
 
 died in the same year, and the sculptor spent the last thirteen 
 years of his life at Naples, it can hardly be his work. Ho 
 went there about 1323, having been appointed by the last 
 will and testament of Queen Maria, wife of Charles II. of Anjou, 
 together Avith a M* Gerardus da Sermona, to erect a monument 
 to her memory in the Church of Sta. Maria Domina Regina. As 
 this tomb served as a model for the Angevine monuments at S. 
 Chiara, which Neapolitan writers also erroneously attribute to 
 Masuccio II., it gives Tino an importance in the history of 
 sculpture as the introducer of the Pisan type of tomb in the 
 south of Italy. The sarcophagus, under a tent-liko canopy, is 
 supported upon statues of the Virtues, and its front is divided 
 by columns into Gothic niches enriched with mosaics, and 
 filled with seated figures of King Eobert and lolanthe of Aragon, 
 his first wife, of his father Charles II., his son the Duke of 
 Calabria, and his brother St. Louis of Toulouse. Angels hold 
 back curtains from above the effigy of the queen, which lies 
 under a Gothic canopy supported upon marble columns 
 decorated with mosaics. The gable contains a medallion of 
 Christ giving the Benediction. On one side of it the kneeling 
 queen is presented by an angel to the Madonna, and on the other 
 she appears with the model of the church which she rebuilt and 
 endowed. After the completion of this monument (1826) Tino 
 was chiefly employed as an architect, by Duke Charles of Calabria 
 and by King Robert, during the remainder of his life, which 
 must have ended before July 11, 1336, as a successor to "the 
 late" royal architect Tino da Siena, was then appointed.^ 
 
 Maestro Gano of Siena, one of Tino's contemporaries, who is 
 said to have been a scholar of Agostino and Agnolo Sanesi, 
 made the tombs of Bishop Tommaso di Andrea, and Raniero 
 Porrina, in the collegiate church at Casole.f The statue of 
 Porrina is the work of one who copied nature simply and 
 without pretension. Dressed after the fashion of his day in a 
 tight under-garment, over which his " lucco " or mantle falls 
 in long straight folds, and holding a book under his right arm, 
 this sturdy upholder of the Ghibelline cause and most dcoted 
 
 * Tino built tlie Incoronata Chapel in the Cathedral at Pisa, and made 
 a font with sculptures in relief, now no longer extant. He was head- 
 master of the Sienesc Cathedral in 1319-20. Doc. San. vol. i. p. 185. 
 
 f A small town, about twenty miles from Siena.
 
 C el lino di Nese. ^c^ 
 
 partisan of the Emperor Henry VII., looks every inch tho 
 powerful citizen he was in life. A like simplicity in tho 
 treatment of form shows itself in the monument of Bishop 
 Tommaso di Andrea.* The deceased, with his hands crossed 
 upon his hreast, lies straight upon his back, while two small 
 genii kneel at his head and feet, and angels hold up a curtain 
 behind hira. The effigy is placed under a Gothic arch whoso 
 lunette once contained a fresco by the Sienese painter Pietro 
 Lorenzetti. The monuments of Cardinal Petroni in the Duomo 
 at Siena; of Ugo Causaronti (1346) in the Pieve delle Serre 
 at Ptapolano, and of Nicolo Aringhieri in the university at Siena, 
 are ascribed to Gano, but without evidence. 
 
 Antonio Brunaccio, another sculptor of this period who 
 took an active part in the civic broils and revolutions at Sienna, 
 is mentioned in the Cathedral records of 1356, as having been 
 paid for work connected with the beautiful pavement of the 
 choir. None of his works exist, and no particulars of his 
 career are known, save that he was the object of an urgent 
 appeal from St. Catherine of Siena to forsake the error of his 
 ways and turn to Christ. f 
 
 His contemporary Cellino di Nese, architect and sculptor, 
 ■was called to Pistoja in 1334 to complete the Baptistry, and to 
 sculpture the monument of Messer Cino (Guittone Sinabaldi) 
 after the design of an unknown Sienese artist, for the Cathedral. 
 Its Gothic canopy with twisted columns, and its sarcophagus 
 with a professorial bas-relief, are features common to other 
 monuments of the time, but we do not elsewhere remember 
 a tomb in which the statues of the deceased and his pupils are 
 introduced, as here, on the top of the sarcophagus. One of 
 
 * He was made Bishop of Pistoja in 1283, and afterwards collector and 
 commissary for Pope Nicholas IV., in Tuscany. He died in 1303. 
 
 f Another architect and sculptor of this time mentioned by Vasari in 
 the lives of Berna, Duccio, and Quercia, is Moccio of Siena. The monu- 
 ment of Bishop Simone at Arezzo, in the Church of S. Francesco della 
 Scala, which Vasari attributes to Moccio, is by Andrea da Firenze, who 
 sculptured that of Ferdinand Sanseverino in S. Giov. a Carbonara at 
 Naples. I\rilanesi in his edition of Vasari, vol. i. p. 648 and 657, note 3, 
 states that in 1340 Moccio worked on the enlargement of the Cathedral 
 at Siena, 1345 built the wall of the tower in the Piazza, and in 1326 was 
 architect of the Porta Pisani. In the Cathedral records, he is spoken of 
 as from Perugia.
 
 6o Historical Handbook of Italiaii SciiIptiLre, 
 
 these statues has a peculiar interest as it represents Selvaggia 
 Vcrgiolesi, who was to Cino, as Beatrice to Dante and Laura to 
 Petrarch, the source of all poetical inspiration while living, and 
 the object of unceasing regret when dead. He adressed many 
 sonnets to her during and after the termination of the exile 
 (1307-1319) into which he was driven with her father Filippo, 
 chief of the Bianchi faction, when the Neri triumphed at 
 Pistoja.* Cino died soon after his return there, regretted 
 by his fellow-citizens, who sought by posthumous honours to 
 make amends for the long wanderings to which their factious 
 quarrels had condemned him. Siena, like Pistoja, was also 
 in a perpetual state of unrest during the latter half of the 
 fourteenth century, when her intestine quarrels ended in the 
 exile of many artists, and reduced art in all its branches to a 
 very low ebb. "X^e see evidence of this in the mediocre statues 
 of the Apostles which fill the niches of the Cappella della 
 Piazza, made between 1376 and 1381, by Laudo di Stefano, 
 Bartolomeo di Tomme (called Pizziuo), Mariano di Augelo 
 Romanelli, Giovanni di Cecco, and Matteo di Ambrogio (called 
 Sappa),t as well as in the holy- water vase of the Cathedral at 
 Orvieto made by Lucca di Giovanni, and in the baptismal font 
 opposite to it, which was sculptured in the beginning of the 
 fifteenth century by two Sienese and two Florentine artistiS. 
 after the design of Pietro di Giovanni of Friburg.I 
 
 In the year 1374, when Giacomo della Querela was born near 
 Siena,§ her school of sculpture seemed to be dying out altogether. 
 This remarkable artist, who was the son of a goldsmith named 
 Pietro d'Angelo di Guarnerio, studied the goldsmith's art under 
 
 * Dante's letter to Cino, and the testimony of his biographers, seem 
 to prove that Cino fell in love with many other women after Selvaggia's 
 death, and was fickle and inconstant in his new passion. VideE'pi'stoZa TV. 
 "Exulanti Pistoriense," and the sonnet beginning " lo mio creda," etc. 
 See Appendix, letter I. II Convito e le Epistole, j^p. 432, 437, ed. Bar- 
 bera, 1862. Petrarch wrote a sonnet upon the death of Cino, beginning, 
 " Piangete, donne, e con voi piangi amore," etc. 
 
 f jMilanesi, Siena e il suo Territorlo, p. 155. 
 
 X Valentino di Paolo, Matteo di ISTobili, Pietro di Vanni, and Giacomo 
 di Pietro Guidi. 
 
 § His surname of Quercia was derived either from Querela Grossa, a 
 castle near the walls of Siena, built in 1271 ; or from Guerco, or Guerchio, 
 a popular word signifying workman (Dr. Carpellini, MS. notes to 
 Eoraagnuoli).
 
 Giacomo delta Querela. 6r 
 
 his father, and sculpture perhaps under Lucca di Giovanni. 
 At the age of nineteen, he brought himself into notice by an 
 equestrian statue of wood covered with cloth painted in imita- 
 tion of marble, for the funeral obsequies of the famous Sienese 
 captain Azzo Ubaldini. Soon after this, his patron Orlando 
 Malevolti, with many other patriots who refused to consent to 
 the disgraceful surrender of the city into the hands of Gian 
 Galeazzo Visconti, were driven into exile, and Quercia, although 
 not forced to do so, thought it best to leave Siena.* For the 
 next nine or ten years his history is a blank, but in 1401 we 
 know that he competed for the gate of the Baptistry at Florence, 
 and with no little distinction, since the judges praised his work 
 as next in merit to that of Ghiberti and Brunelleschi. 
 
 We next find him at Ferrara, where, about 1408, he sculp- 
 tured a Madonna and Child in relief,! and the monument of a 
 Dr. Vera, formerly in the Church of San Nicolo, and now in 
 the Church of San Giacomo Maggiore at Bologna, to which it 
 was removed by Annibale Bentivoglio and used as a monu- 
 ment to his father Antonio. The recumbent effigy is placed 
 on an inclined plane, so that although set high up against the 
 wall, every part of the figure is visible from below. Statuettes 
 of SS. Peter and Paul, and four figures of Force, Prudence, 
 Temperance and Faith, stand above the cornice, and the front 
 of the sarcophagus is adorned with a professorial bas-relief 
 added after Quercia' s day to suit the monument to its new 
 uses, for Antonio Bentivoglio was an eminent jurist, as well as 
 a politician and a soldier. 
 
 In the first month of the year 1409, Quercia entered into a con- 
 tract with the Signory of Siena to make the celebrated fountain 
 for the great square of the city from which he derived the surname 
 of " della Fonte." The project of bringing water from Fonte- 
 branda, outside the walls, was conceived in the twelfth century, 
 but the conduits for this purpose were not laid until the middle of 
 the fourteenth (1343). The new fountain thus constructed, called 
 Fonte Gaja, was then decorated with an antique statue of Venus, 
 
 ♦ Vasari says, Quercia made some statues of propliets for the Duomo 
 at tliis time ; but if he ever did so, it must have been at a later date, as 
 his name does not appear in the archives until after 1417, and he left 
 Biena soon after 1391. 
 
 t Eemoved from Cathedral to the Capitolo dei Canonici.
 
 62 Historical Handbook of Italian Scnlpture. 
 
 supposed to be the work of Lysippus, which had been dug up at 
 Siena, many years before. Fourteen years later, during which the 
 city had been more than usually disturbed by factious tumults, 
 a member of the council of twelve denounced this heathen idol 
 as the source of their calamities, and advised that Heaven should 
 be appeased by breaking it in pieces, which when buried in 
 the Florentine territory might work ruin on their adversaries. 
 ''Dettofu fatto," and Fonte Gaja was deprived of its only orna- 
 ment, until Giacomo della Querela, undertook to decorate it in a 
 more Christian fashion.'" His contract bound him to furnish a 
 design subject to public approval, to find his own materials, and 
 to select his assistants. He was to receive in final payment 
 the sum of 2,320 florins. The design offered by Querela,! 
 and accepted by the Signory, consisted of a three-sided marble 
 parapet ; the central and longest divided into nine niches 
 containing statues of the Madonna and Child and the seven 
 theological virtues, and the other two decorated with bas-reliefs 
 representing the creation of Adam and the expulsion from 
 Paradise. Marine animals bearing children on their backs, as 
 well as wolves, and dolphins, whose mouths serve for jets, 
 rise above the surface of the water. As its general effect is 
 excellent, its design original, and its details interesting, Fonte 
 Gaja deservedly ranks among the model fountains of the world. 
 The statues have Quercia's characteristic grace of line, and are 
 free from the mannerism which mars seme of his best work. 
 Though far less refined in style than his great Florentine con- 
 temporaries, and given to the use of heavy draperies, whose 
 snakelike folds seem arranged to conceal rather than to veil 
 and enhance form, he had qualities which entitle him to be 
 regarded as the best Italian sculptor of the fifteenth century out- 
 side of Florence. In disposition he was amiable and modest, but 
 
 * First contract, dated Jan. 22, 1409; second contract, 1412, in which 
 year it was commenced. Date of final quittance, Oct. 20, 1419. Vide 
 Doc. delV Arte 8anesi,vo\. ii. pp. 45, 51, No. xxxii. ; also Romagnuoli and 
 Carpellini. 
 
 t Tizio says. Querela hound himself to do the whole work with his own 
 hands; but this seems impossible, as he had five able assistants, who did 
 much of it for him: namely, Sario or Ansano diMatteo, Paolo di Minella, 
 Nanni da Lucca, Bastino di Corso, and Francesco Valdambrini, Sienese 
 goldsmith and sculptor, one of the competitors for the Baptistry Gate at 
 Florence in 1401-2. Sec chapter on Ghiberti.
 
 Giacomo della Quercia. 62, 
 
 owinj:^ to his habit of accepting a great deal more work than he 
 could possibly carry on simultaneously, he worried his employ- 
 ers and brought much trouble upon himself. Thus in 1413, 
 instead of staying at Siena to complete Fonte Gaja, he went 
 to Lucca and remained there until the Sienese, who in the 
 space of eight months had five times summoned him back 
 without eftect, forced him under a penalty of three hundred 
 florins to return and finish their fountain. This was in 1419, 
 when among other works he had finished at Lucca the monu- 
 ment of Ilaria del Carretto, wife of Paolo Guinigi, Lord of 
 that city, and daughter of Charles, Marquis of Carretto. No- 
 thing remains of this monument, which Avas broken up when 
 the tyrant was driven out, but the effigy and two slabs of the 
 base decorated with children bearing festoons. One of these 
 is in the Bargello museum at Florence, and the other with the 
 sepulchral eflBgy in the cathedral at Lucca. " I name it," 
 says Mr. Kuskin,* " not as more beautiful or perfect than other 
 examples of the same period, but as furnishing an instance of the 
 exact and right mean between the rigidity and rudeness of the 
 monumental effigies, and the morbid imitations of life, sleep or 
 death, of w^iich the fashion has taken place in modern times. 
 The head is laid straight and simply on the hard j)illow, in 
 which, let it be observed, there is no effort at deceptive imitation 
 of pressure. It is understood as a pillow, but not to be mis- 
 taken for one. The hair is bound up in a flat braid over the 
 fair brow, the sweet and arched eyes are closed, the tenderness 
 of the loving lips is set and quiet ; there is that about them 
 which forbids breath ; something which is not death nor sleep, 
 but the pure linage of both. The hands are not lifted in pra3-er, 
 neither folded ; but the arms are laid at length upon the body 
 and the hands cross as they fall. The feet are hidden by the 
 drapery, and the forms of the limbs are concealed, but not their 
 tenderness." 
 
 Another work executed by Quercia at Lucca before his return 
 to Siena was a Gothic altar-piece for the Trenta chapel at San 
 Frediano, where its donors Fedcrigo di Trenta and his Avifc are 
 buried. The Madonna and Child and SS. Sebastian, Jerome 
 and Lucia in its niches, are somewhat extravagant in style, but 
 the bas-reliefs in the predella, of St Catharine of Alexandria 
 * Modern Painters, vol. ii. ch. vii.
 
 64 Historical Handbook of Italian Sculpture. 
 
 {see tail-piece), and of the expulsion of a demon from the body 
 of a child, are delicately sculptured and altogether pleasing. 
 While still at work upon this altar-piece (1416) Querela agreed 
 to model and cast two bas-reliefs for the Baptistry at Siena.* 
 He returned there, as we have seen, shortly after, to complete 
 Fonte Gaja, but when that was done, went to Bologna, where 
 he spent twelve years upon a very important work, of which we 
 shall speak presently, at the end of which time the Sienese 
 lost patience, and wrote to him by a special messenger that 
 they would fine him one hundred lire unless he returned to 
 fulfil his contract. Whether he did so immediately or not we 
 do not know, but in 1428 he wrote to ask that the fine might 
 be remitted, on the ground that he had been forcibly detained 
 at Bologna by his employers. In 1429 he finished one of the 
 bas-reliefs — the calling of St. Joachim. The other was finally 
 assigned to Donatello. 
 
 The important work at Bologna which had prevented Querela 
 from fulfilling his contract was the construction and deco- 
 ration of the great portal of the Basilica of St. Petroniusf 
 for which he had contracted in the year 1425. During the 
 next two years he spent much of his time in visiting Venice, 
 Verona, and Carrara, for the purpose of procuring marbles and 
 superintending their expedition to Cino di Bartolo, goldsmith 
 and sculptor, who worked at Bologna after his designs, with 
 two assistants upon the ornamental portions of the door. In 
 1429 Querela returned to Bologna, and on the 24th of 
 October, having entered into a second contract, devoted him- 
 self, until 1433, to the task of designing and putting into 
 marble the thirty-two half figures of Patriarchs and Prophets 
 on the side-posts and archivolt of the portal, and the fifteen 
 bas-reliefs which are disposed on either hand. Ten of these 
 reliefs represent subjects taken from the Old Testament, from 
 the Creation of Adam to the Sacrifice of Abraham ; and five 
 are taken from the New, beginning with the Birth of Christ, 
 and ending with the Flight into Egypt. Among all the works 
 of Querela, none are so remarkable as the Old Testament series 
 
 * April 16th, 1616. They were to be gilded at the artist's expense, and 
 he was to receive 180 florins a- piece. 
 
 t He was invited to undertake this work by Archbishop Arli, for the 
 sum of 3,600 gold florins.
 
 Giacomo delta Quercia. 65 
 
 of reliefs, several of wliicli explain why he has been called the 
 precursor of Michelangelo. The qualities which justify this 
 epithet are more especially conspicuous in the reliefs of the 
 Creation of Adam and Eve and the Expulsion from Paradise. 
 In these compositions, which recall those of the same subjects 
 upon the roof of the Sistine Chapel, Quercia rose to a dignity 
 and grandeur of style equalled only there, and we cannot doubt 
 that Michelangelo, who spent the year 1494 at Bologna and 
 returned there in 1507, studied them, and had them in his 
 mind when he was called upon to paint his celebrated frescoes 
 at Eome. The resemblance here traceable in the works of 
 these great artists extends in some degree to their lives, for as 
 Michelangelo had his *' Tragedia del Sepulcro," so had Quercia 
 his ** Tragedia della Porta." Broken contracts and ceaseless 
 pecuniary difficulties harassed the lives of both, and as Michel- 
 angelo fled to Florence with the hope of bringing Pope Julius 
 to reason, so did Quercia take refuge at Parma, thinking thus 
 to force his employers at Bologna to confirm his original con- 
 tract. Whether they did so or not is unknown, but certain it 
 is that in 1434 Quercia was at Siena, where he finally esta- 
 blished himself in 1437, the year before his death, leaving his 
 master-work at Bologna incomplete. The directors then warmly 
 urged Jacopo's brother, Priamo, who was sculptor as well as 
 painter, to finish it, but in vain, for his one visit to Bologna in 
 1442 was made solely to regain possession of the property 
 which Jacopo had left behind him. In this hope he was alto- 
 gether disappointed, if it be true that 800 gold florins, with a 
 gold ring and clothes and drawings worth 400, had been stolen 
 by Cino di Bartolo, and that the rest of Jacopo's effects had 
 been sequestrated by his employers to compensate them for 
 loss of time and annoyance. In 1435 Quercia \^sited Bologna 
 for the last time, and may then have sculptured the Madonna 
 with angels, now in the Museum of the University. He died, 
 according to the records of the Cathedral of Siena, on the 20th of 
 October, 1438. 
 
 None among his scholars, with perhaps the single exception 
 of Antonio Federighi, are recognizable by their works. Niccola 
 da Bari, whom we have already mentioned in the life of 
 Niccola Pisano, and who is said to have studied under 
 Quercia, had four surnames, three of which, ** da Bari," 
 
 F
 
 66 Historical Handbook of Italian Sculpture. 
 
 ** II Dalmata," and *' II Bologuese," leave us in doubt as to 
 his birthplace. He is said to have been born about 1414, and 
 to have been brought to Bologna at a very early age. His 
 fourth surname, " dell' Area," is derived, as we have previously 
 pointed out, from the monumental altar over the sarcophagus 
 sculptured by Niccola Pisauo to hold the bones of S. Dominic. 
 Like the Greek sculptor Kallimachos, he wasted much of his 
 time in such microscopic work as a fly no larger than a grain 
 of millet, and a cage full of birds not more than three centi- 
 metres in height. A terra-cotta Madonna on the exterior of 
 the municipal palace at Bologna, a coloured bas-relief of 
 Anuibalo Bentivoglio in the church of San Giacomo Maggiore, 
 and one of the candle-bearing angels on the altar of the shrine of 
 San Domenico in the same city are attributed to him, but whether 
 correctly or not is uncertain.* The chronicler Girolamo de 
 Barzellis describes him as an eccentric and morose person, 
 who spent little, would accept no pupils, and passed his life in 
 solitude. It is said that when dying (1494), he expressed the 
 wish that he could destroy everything that he had ever made. 
 Other pupils of Querela were Nanni, who worked at Orvieto, and 
 carved ornaments about Fonte Gaja at Siena ; Pietro del 
 Minella f (1391-1458), who made all the marble work about 
 the font in the Sienese Baptistry, worked in intaglio and intar- 
 sia at Orvieto, where he was capo-macstro from 1431 to 1433, 
 and filled the same office at a later period in the Cathedral at 
 Siena, in which he built the Cajjpella di San Crescenzio ; and 
 Antonio Federighi detto de' Tolomei, who made the statues 
 of SS. Ansano and Crescenzio in the niches of the Loggia 
 degli Uffiziali at Siena (14G0), designed and executed (1476) 
 the Seven Ages of Man and other compositions in the pavement 
 of the Cathedral,! and superintended the studies of eight young 
 
 * Bee chap. ii. book iii. 
 
 t There were four artists of this family, three sons of Tommaso del 
 Minella, viz. Antonio, Giovanni, and Pietro; and one, Bernardino, son of 
 Antonio. 
 
 X In the little Chapel "de' Turchi," called the Palazzo dei DiavoH, 
 outside the Porta CamoUio at Siena, there is a bas-relief of glazed tei-ra- 
 cotta, probably by Federighi, which, -with the four Evangelists in the 
 church of San Niccola, now the Insane Hospital, has been attributed to 
 Cecco di Giorgio, worker in terra-cotta. See Vasari, Commentary to the 
 Jjife of Luca dclla Eohhia, vol. iii. p. 82, note 1.
 
 // Vccchietta, 67 
 
 men, who were educated as sculptors at the expense of the 
 Fabbrica. He also worked as architect and . sculptor at 
 Orvieto.* 
 
 Quercia's best pupil was Lorenzo di Pietro di Giovanni 
 di Lando, commonly known as II Veccbietta, goldsmith, archi- 
 tect, sculptor and painter, born at Castiglione di Valdorcio, in 
 the Sienese territory, in 1412. No example of his goldsmith's 
 work is extant, f but all lovers of the Sienese school know his 
 pictures at Siena, and Florence, and his masterpiece, the 
 Assumption of the Virgin, at Pienza. Between 14G5 and 1472 
 he made a bronze tabernacle for the Hospital " della Scala," 
 at Siena, decorated with a statuette of Christ and numerous 
 angels and children, which was thence removed to the Cathe- 
 dral, and placed upon the high altar. A better example of II 
 Vecchietta's hard dry style is the bronze effigy of a famous 
 Sienese jurisconsult, Marino Soccino the elder, which formed 
 part of a monument formerly in the church of San Domenico 
 at Siena, and is now at Florence in the museum of the Bargello. j 
 The head is not unlike that of Dante, and appears to have 
 been cast from life, as well as the hands and feet, but the 
 drapery is hard and unpliable, like that of his two statues of 
 SS. Peter and Paul in the niches of the Loggia de' Mercanti or 
 *' degli Uffiziali," which are pure in style, though equally 
 meagre in form and drapery. In the latter part of his life 
 II Veccbietta built, decorated, and endowed a chapel in the 
 Hospital, for which he modelled and cast the candle-bearing 
 angels which stand above the altar, and the bronze statue ot 
 Christ, which has a serpent with a woman's head coiled around 
 the base on which he rests his cross. This figure is mannered 
 in attitude and hard in style. Other works attributed to 
 this artist, who died at Siena in 1480, are an altar in the 
 Chapel of St. Catherine at San Domenico, and a Christ 
 between two angels in the house of the Sacristan of the 
 Madonna di Fontegiusta. 
 
 * Giovanni di Stefano, who made two of the bronze angels above the 
 altar of the Cathedral, was his scholar ; so also were Vito di Marco (1456) ; 
 Franc, di Burtolo (1437-1497) ; and Barto. di Domenico (1472-1522). 
 
 f The silver bust or statue of St. Catherine, which II Vecchietta made 
 Boon after her canonization, disappeared in 1555, when Siena was 
 besieged. 
 
 X Sold by his descendants to the Grand Duke Ferdinando IIL
 
 68 Historical Handbook of Italian Sculpture. 
 
 Among his most noted contemporaries were Turino di Sano 
 di Tiira da- Vignano, goldsmith, and his son Giovanni, gold- 
 smith, sculptor, and niellist, who was born about 1384 and died 
 about 1455. In 1417 these two artists were commissioned to 
 cast two bronze bas-reliefs of the Birth of St. John and of his 
 Preaching in the Desert, for the Font in the Baptistry at Siena. 
 These works were finished in 1427, and Giovanni then received 
 commissions for the enamelled bronze frieze of the font, for 
 three statuettes of Charity, Justice and Prudence, to be 
 placed between the bas-reliefs, and for three *' putti " in the 
 round, to stand above the marble tabernacle which rises from 
 the middle of the font. These works were finished in 1431. 
 In 1425, Turino and his son sculptured the three figures in 
 relief of Saints John the Evangelist, Paul and Matthew, for an 
 intended pulpit at the Cathedral, Avhich are now set in the wall 
 near the altar of the Holy Sacrament, and in 1429 Giovanni 
 cast the Ptoman wolf in bronze, which still stands on a column 
 near the Palazzo del Commune. His brother Lorenzo and his 
 three sons, Turino, Agostino and Pietro, of whom the two first 
 were sculptors and the last a painter, assisted him in his 
 various works.* 
 
 Francesco di Gioi'gio Martini, architect, engineer, sculptor, 
 painter, bronze-caster and writer (1439-1506), was probably one 
 of the scholars of II Vecchietta. This many-sided artist 
 gained special celebrity as military architect and engineer. 
 Among the many Italian princes who solicited and obtained his 
 services in these capacities, the chief was Duke Federigo of 
 Urbino, who, as Francesco tells us in his famous treatise upon 
 military architecture, employed him to build many edifices of 
 various kinds, and to sculpture a series of military machines, 
 arms, and trophies in relief for the facade of the Ducal 
 Palace. -j- These works, which now adorn the walls of a 
 corridor in its lower storey, show fertility of invention, but 
 they give us a less fair idea of his powers as a sculptor than the 
 
 * See the Commentary to the lives of Antonio and Piero del Pollajuolo, 
 for an account of the Turini. Milanesi, ed. Vasari, vol. iii. pp. 303-307. 
 
 + Trattato iV Architettura, etc. etc., di Fco. di Giorgio Martini, pub. 
 by Cav. Cesaro Saluzzo, con Diss, e Note di Carlo Promis. Turino, 1841. 
 That the Duke highly estimated his genius, goodness, and prudence, is 
 proved by a letter which he wrote to the Republic of Siena (Ricca, op. cit. 
 vol. ii. p. 538).
 
 Lorenzo di Mariano. 69 
 
 two bronze angels which he cast (1497) as pendants to those, 
 by Giovanni di Stefano, on either side of II Vecchiettd's 
 tabernacle, in the Cathedral at Siena. In attitude, expression, 
 and treatment they are excellent, as are the candle-bearing 
 angels on the sides of the same altar, which are also attributed 
 to him. The tomb of the Cav. Cristofano Felice in the church 
 of San Francesco, long supposed to have been the work of 
 this sculptor, who died at Siena in 1502, is now assigned 
 to another of II Vecchietta's pupils, Urbano da Cortona, who 
 sculptured a bas-relief over the door of the Oratory of St. 
 Catherine. Francesco's own pupil, Giacomo Cozzarelli (1453- 
 1515), who surpassed his master as a bronze caster and worker 
 in iron, made the torch holders upon the Palazzo Petrucci and 
 the Palazzo del Magnifico at Siena, which are rivalled only 
 by those of the Palazzo Strozzi at Florence, the ne plus ultra of 
 this sort of Pienaissance work. Michelangelo Sanese, a sculp- 
 tor who is mentioned by Cellini as one of his favourite 
 companions at Kome, was Cozzarelli's scholar.* He spent the 
 early part of his life in Schiavonia, and was called to Rome 
 by Baldassar Peruzzi, the famous Sienese architect, to carry out 
 his design for the monument of Pope Adrian VI. in the 
 church of S. Maria dell' Anima. 
 
 The last, and one of the best Sienese artists whom we shall 
 mention is Lorenzo di Mariano, called II Marina or Marinna, 
 who about the year 1517 sculptured the very beautiful High 
 Altar of the church of Fontegiusta, which is traditionally 
 reported to have been carried to Rome on the backs of mules 
 to gratify the curiosity of Pope Julius II. This work, 
 which rivals the marbles of Mine, Desiderio and Rosellino in 
 excellence, consists of a bas-relief of Christ with angels in the 
 lunette, a statuette of a child above the keystone of the arch, 
 a row of cherubs' heads around the door of the central tabernacle, 
 and a profusion of exqusitely sculptured birds, scrolls, griffins, 
 &c. &c., about the frieze, column-capitals and side-spaces. The 
 portal of the chapel of S. Giovanni, the fa9ade of the so 
 called Libreria in the Cathedral (1497), the marble decorations 
 of an altar at S. Martino (1522), and the MarsiH altar at San 
 
 ♦ Probably identical with Michael Angelo di Bernardino di Michele. 
 /See Vasari, vol, viii. p. 227, vol. ix. p. 18; Collini's Autohiographij, ]pp. 
 59-63.
 
 /O Histo7^ical Handbook of Italian Sadpttire. 
 
 Francesco, are attributed to the same charming sculptor, who 
 died in 1534. 
 
 The annals of the sixteenth century furnish us with no other 
 artists of note among Sienese sculptors. With the loss of 
 her liberties, Siena seems to ha^ve lost her artistic power, and 
 when she was added to Tuscany under the sceptre of Cosmo 
 de' Medici in 1555, she brought in dower no new names worthy 
 to rank with those of the best Tuscan sculptors. 
 
 St. Catherine. (By G. della Querela.)
 
 BOOK II. 
 
 THE EARLY RENAISSANCE.
 
 Ghiberti and Donatello, 73 
 
 CHAPTER I. 
 
 GHIBERTI AND DONATELLO. 
 
 Florence can liardly be said to have had a school of sculpture 
 before the fifteenth century, when Ghiberti, Donatello, Luca 
 della Eobbia, and other remarkable sculptors worked under the 
 stimulating influences of the early Renaissance. Unlike Pisa, 
 whose revival in art was due to an architectural sculptor, 
 Niccola Pisano, she owed her revival to a painter, Cimabue, 
 whose greater scholar, Giotto, influenced all art manifestations 
 throughout the fourteenth century. At its close the two streams 
 met in Florence, which thenceforth took the lead in both arts. 
 The period was singularly favourable for a healthy artistic deve- 
 lopment, as it formed a halting-ground between an age of strong 
 religious feeling, and one when Paganism was to permeate every 
 form of literature and art. The waning influence of the Church 
 was still strong enough to keep Pagan sentiment in check, 
 although it was at the same time too weak to attempt to control 
 that growing enthusiasm for the antique, which was fostered by 
 the study of the masterpieces of classic art then daily added to 
 the collections of the time. 
 
 The spirit of the early Renaissance which prompted architects 
 like Brunellesqhi and Michelozzo, and sculptors like Ghiberti and 
 Donatello, to study the antique in order to assimilate its prin- 
 ciples, was life-giving and progressive, but that of the latev 
 Renaissance which cast ofl" even the semblance of respect for 
 religion, and prepared the way for a direct imitation of ancient 
 masterpieces, was deadening and destructive. So completely 
 did classic art and literature usurp the first place in men's 
 afiections, that few were scandalised when Ficino kept a 
 never-extinguished lamp burning before the bust of Plato, 
 as before that of a saint ; when Sigismund Pandolfo dedicated 
 a temple to his concubine Isotta da Rimini, and covered its 
 walls with their interlaced cyphers ; when painters represented
 
 74 Histoincal Handbook of Italian Sctdptnre. 
 
 the Madonna under the features of a well known courtesan ; 
 when the secretary of a pope called Jesus Christ a hero, and the 
 Vh'gin a goddess, and a sculptor modelled the loves of Leda 
 and the swan among the ornaments of the great doorway of the 
 Basilica dedicated to the chief of the Apostles. These abuses, 
 which would have filled the men of the fourteenth and early 
 part of the fifteenth century with horror, and which gradually 
 increased until they roused Savonarola to pour out threatenings 
 of wrath to come, were unknown in Ghiberti's youth, when 
 Florence enjoyed comparative peace, and art grew under the 
 kindly influence of Cosmo de' Medici, who used his great 
 wealth, before and after his accession to power, neither as a means 
 of gratifying his factitious wants, and of dazzling the multitude 
 by displaj', nor of carrying on political intrigues with a view to 
 eelf-aggrandizement, but of encouraging men of learning and 
 genius, promoting the discovery of precious manuscripts, gems 
 and coins, and serving the cause of art, in which his taste was 
 exquisite, of letters, in which he was himself deeply versed, and 
 of philosophy, upon which his judgment was as just as it was 
 profound. 
 
 Averse to show, simple in his habits, and alive to every form 
 of culture, this noble citizen was eminently qualified to lead in 
 the great intellectual movement which radiated from Florence 
 to every part of Italy. He maintained the most friendly 
 relations with all the eminent artists of his time, and more 
 especially with Donatello, Brunelleschi and Michelozzo, but 
 he seems to have looked with less favour upon Ghiberti, not 
 from want of appreciation of his great abilities, but because 
 he found his disposition less congenial, and also, perhaps, 
 because his course of action did not always satisfy him. 
 
 This great artist, Lorenzo di Clone Ghiberti, born in 1378, 
 was the son of Clone di Ser Buonaccorso and Madonna Fiore, 
 whose family removed from Fiesole* to Florence in the thirteenth 
 century, where several of its members from time to time held im- 
 portant positions in the government of the church and the city. 
 When Lorenzo was very young his father died, and his mother 
 soon after married a noted goldsmith, Bartolo di Michieli, who 
 exercised a most important influence upon his stepson's career. 
 
 * " Venere ut fertui*, Fesulana ex arce Ghiberti " (Baldinucci, vol. i. 
 p 348).
 
 Lorenzo GJiiberti. 75 
 
 That the relation between them was in every respect like that 
 of father and son, is proved by the fact that Lorenzo called him- 
 self di Bartolo — that is the son of Bartolo — till he was more 
 than sixty years old, and he would probably never have taken his 
 paternal name had he not been forced to do so in order to clear 
 himself from the stigma of illegitimacy cast at him by his 
 enemies in order to defeat his election to the magistracy.* 
 
 In Bartolo' s workshop Ghiberti obtained that elementary 
 knowledge of all the arts which was of such infinite advantage 
 to him in after life. To estimate the advantage of such training 
 we must drop our modern ideas of the goldsmith, as one who 
 makes articles for personal adornment and table use out of the 
 precious metals, with but little thought for their artistic beauty. 
 The goldsmith of the Renaissance, on the contrary, had to be 
 proficient in all the arts, in order to satisfy the demands made 
 upon him, for he was called upon to exercise each in his craft. 
 He played the architect in little, when he fashioned niches 
 around the stem of a chalice ; he became a sculptor when he 
 modelled images of Saints to fill its niches, or reliefs to adorn 
 the surfaces of its base or supporting shaft ; a painter when he 
 enriched it with enamels, and an engraver when he used a sharp 
 metal point to trace figures upon its surface, whose grooved out- 
 lines and hatched shadow-lines he afterwards filled with niello 
 paste. Versed in the laws of colour and ornament, master, in 
 short, both theoretically and practically, of all the arts of design, 
 the goldsmith was the best of teachers for artists of every kind, 
 and this explains why so many of the great Italian, German and 
 French architects, sculptors and painters of the fourteenth, fifth- 
 teenth, and sixteenth centuries began their education in the 
 goldsmith's workshop. There, dealing with materials whose very 
 nature precluded haste, they acquired those habits of precision, 
 care, and patience which made them what they were. No better 
 example of the effect of such an education could be selected than 
 Lorenzo Ghiberti, whose skill in dealing with the precious 
 metals, and in bronze casting, has probably never been surpassed. 
 
 Although his life was to be passed in the exercise of these 
 arts, it was not as goldsmith or sculptor that he first obtained 
 repute, but as painter. In 1399, when the plague broke out in 
 
 * Gaye, Carlegg'w, vol. i. pp. 148 et seq. See also Gualandi, fourth 
 series, pp. 17-31. The petition is dated April 27, 1444.
 
 76 Histo7'ical Handbook of Italian Scnlphire. 
 
 Florence, lie went to Kimini with a brother artist to assist him 
 in painting certain frescoes in the palace of Carlo Malatesta, 
 and showed so much ability that he attracted the notice of the 
 prince, who endeavoured to attach him to his service by advan- 
 tageous offers cf advancement and employment, which, as 
 Ghiberti himself tells us,* he would have accepted, had he not 
 received a letter from his stepfather urging his return to Flo- 
 •rence, .on the ground that the Signory and the Merchants'] 
 Guild had invited all Italian artists to compete for a bronze 
 door for the Baptistry. Convinced that this golden opportunity 
 of winning fame ought not to be neglected, Ghiberti with some 
 difficulty obtained permission to leave Eimini, and having en- 
 tered his name on the list of competitors, was chosen with six 
 other artists to model and cast a bas-relief representing the 
 sacrifice of Isaac, it being understood that the final adjudication 
 would be made to the most meritorious competitor at the end 
 of a year. Of the seven contestants, two were Florentines, 
 Ghiberti and Brunelleschi ; two Sienese, Querela and Valdam- 
 briui ; two Aretines, Niccolo di Luca Spinelli and Niccolo 
 Lamberti;f and one, Simono, from Colle, a town midway 
 between Florence and Siena. | By this selection, which was 
 fairly made in respect to nationality, the competition was 
 
 * In his Second Commentary, Magliabecchian library, cL xvii. cod. 33. 
 Vide Cicognara, vol. iv. ; vide Vasari, vol. i. 
 
 t (See Appendix, letter K. 
 
 X Francesco Yaldambrini di Domenico da Valdambra, Sienese gold- 
 smith and sculptor, 1401, competed for the Baptistry-gate at Florence; 
 1412, worked with Quercia upon the Fonte Gaja ; 1416, sat in the 
 magisterial body at Siena; mentioned in 1454, when he was sent as 
 Castellano to Lusiguano. Niccolo di Luca Spinelli was a brother of 
 Spinello Aretino the painter; Simone da Colle is otherwise unknown. 
 Niccolo di Piero de' Lamberti, called Pela, from Arezzo, is spoken of by 
 Vasari as a scholar of Moccio, which is doubtful. Among his works arc 
 two statues of saints in the third storey of Giotto's Campanile, between 
 those by Donatello ; the statue of St. Mark in a chapel of the Tribune in 
 the Cathedral at Florence, finished in 1415 ; the Madonna and Angel 
 above the niche which contains Ghiberti's statue of St. Matthew on the 
 exterior of San JNlichele; a bas-relief of the Madonna della Misericordia 
 with Saints, outside the church of the Maria della Misericordia at Arezzo, 
 and two statuettes of saints on the fa9ade of the Vescovado. Gaye, 
 Cartegcjio. i. 82, gives records of this artist from 1390 to 1407. The last 
 record of him in the books of the Cathedral at Florence is in 1419. 
 Milanesi. ed. Vasari, notes 1 and 2, p. 142, vol. ii., says he was alive in 1444.
 
 Lorejizo Ghiberti. 77 
 
 limited to Florence and Siena, for although competitors from 
 other parts of Italy presented themselves, none were accepteJ. 
 When the trial-plates were presented to the judges, they 
 selected those of the two Florentines as the best, and con- 
 sidered them so nearly equal in merit that they were puzzled 
 how to award the prize ; but they were rescued from their 
 hesitation by Brunelleschi, who disinterestedly avowed his 
 rival's superiority and withdrew from the field.* Ghiberti 
 owed his victory to his stepfather as much as to his own 
 genius, for during the year of preparation Bartolo had care- 
 fully criticized the many designs which he encouraged him to 
 make, and had successively submitted them to the judgment of 
 competent citizens, and strangers of note, before permitting his 
 stepson to cast the one which the majority considered most 
 excellent. 
 
 "When we compare the trial-plates of Ghiberti and Brunel- 
 leschi at the Bargello, we wonder that the judges should have 
 hesitated between them, for while the one is distinguished for 
 clearness of narration, grace of line, and repose, the other is 
 melo-dramatic in conception, and inferior in composition. t 
 Ghiberti's Abraham stands ready to slay his son in obedience 
 to the Divine command, but it is evident that he does so 
 with the hope of respite, although he does not yet see the 
 ram caught in a thicket behind him, which is to serve as a 
 substitute for the submissive Isaac. We note also as a point of 
 excellence, that the servants, and the ass which brought the 
 faggots for the sacrifice, are so skilfully grouped below, that 
 they play their part in the story without distracting attention 
 from the principal group. Brunelleschi's Abraham, unlike 
 that of his rival, is a savage zealot, whose knife is already 
 half buried in the throat of bis writhing victim, and who, in 
 his hot haste, does not heed the ram which is placed directly 
 before him, nor the angel, who seizes his wrist to avert his 
 blow, while the ass, and the two servants, each carry on a 
 separate action, and fill up the foreground so obtrusively as 
 
 * Kov. 23, 1403. Gaj'e, Carteggio, vol. i. p. 105. 
 
 t Milanesi, ed. Vasari, vol. ii. p. 226, note 1, quotes Cicognara's obser- 
 vation that the rival plate of Brunelleschi being made of several pieces of 
 bronze, proves his ignorance of the art of casting. That of Ghiberti is 
 cast in a single piece of metal.
 
 yS Historical Handbook of Italian Scnlptiu'e. 
 
 to divert the eye from the main group. For these reasons wo 
 think that his composition is inferior to that of his rival, though 
 both, judged according to the laws of sculpture, maybe criticized 
 as too pictorial in treatment. 
 
 When on the 23rd of November, 1403, Ghiberti received 
 the commission for his first Baptistry-gates, and prepared to 
 commence them, he little thought that they would not be 
 completed and set up (April 14th, 1424), in the doorway- 
 opposite the Cathedral where the gates of Andrea Pisano then 
 stood, until the years which had elapsed since he began them 
 were nearly equal in number to the bas-reliefs with which he 
 had enriched their panels. Twenty represent subjects taken 
 from the History of our Lord, and the remaining eight, the 
 four Evangelists and the four Doctors of the church. 
 
 The most remarkable among the compositions are the An- 
 nunciation, in which the modest Virgin shelters herself in the 
 presence of the angel beneath a little portico of exquisite de- 
 sign, the Nativity, the Presentation, the Ptesurrection of Laza- 
 rus a perfected Byzantine type, and the Temptation. Of the 
 single figures, all of which are of dignified presence and ad- 
 mirably draped, the finest is perhaps the St. Matthew, who 
 sits writing under the inspiration of one of those exquisite little 
 angels which none but Ghiberti could have fashioned. Had he 
 never lived to make the second gates, which to the world in 
 general are far superior to the first, he would have been known 
 in history as a continuator of the school of Andrea Pisano, 
 enriched with all those added graces which belonged to his own 
 style, and those refinements of technic which the progress made 
 in bronze casting had rendered possible. Before the first gates 
 were completed, Brunelleschi had reduced the laws of perspec- 
 tive to a system and made it applicable to all the Arts. The ap- 
 plication of this science to painting simply revolutionized that 
 art, for whereas the scholars of Giotto and Orgagna had painted 
 landscape and architectural backgrounds without any other 
 guide to correctness than the eye, their successors were enabled 
 through Brunelleschi's invention to make perspective foreshor- 
 tenings based on mathematical laws, and thus represent objects 
 in nature with absolute truth. This was an incalculable service 
 to painters, but to sculptors, whose art admits of no attempt 
 at visual deception^ it was a snare^ into which Ghiberti and hia
 
 Lo7'enzo GJiijerti. 79 
 
 followers fell, for by the use of perspective in sculpture they 
 perverted the true character of their art, and gave it that wrong 
 direction which eventually brought it into a perfectly false and 
 vicious condition. The date of Brunelleschi's discovery is 
 approximately fixed by the fact, that while there is no endeavour 
 to use perspective in the reliefs of the first Baptistry-gates, 
 those of the second, begun in 1424, are based upon it ; but we 
 are justified in supposing that the science was applied to 
 sculpture some four or five years earlier, as in Donatello's bas- 
 relief of St. George and the Dragon the architectural and land- 
 scape accessories are represented in perspective. It speedily 
 became the rage among artists. Paolo Uccello the painter 
 pushed his passion for it to the verge of insanity, and his 
 scholar, the great Mantegna, mastered it only to be mastered 
 by it in turn. Ghiberti caught the fever, and when the Signory 
 showed their appreciation of his first gates by giving him 
 a commission (January 2nd, 1424) for the second, he 
 entered upon the task in the spirit of a painter, with brushes 
 of steel and a canvas of bronze. The subjects which he was 
 to represent in his reliefs had been selected from the Old Tes- 
 tament at the request of the Deputies, by Liouardo Bruni, 
 chancellor of the Republic, a man noted for his judgment and 
 literary ability. In his answer to their letter, Bruni wrote as 
 follows : — " I think that the ten stories which you have directed 
 me to select from the Old Testament should possess capacity 
 for illustration, by which I mean that they should afi"ord oppor- 
 tunity for variety in composition, which is pleasant to the eye, 
 and that they should be not only significant, but remarkable as 
 events. In accordance with these ideas, I have made out the 
 enclosed list. The artist who is to model them should 
 thoroughly understand the meaning of each subject, so that he 
 may fitly represent actors and events ; and be gifted with an 
 elevated taste, that he may fitly compose them. Though I have 
 no doubt that the work as I have planned it will prove satis- 
 factory in every respect, still I should greatly like to be near 
 the artist who is to illustrate these Bible incidents, that I 
 might assist him to understand them in all their bearings." 
 
 We are not told whether Ghiberti availed himself of Bruni 's 
 profi"ered explanations, but we are quite sure that in regard to 
 treatment he took counsel only of himself. He tells us in hia
 
 8o Historical Handbook of Italian Sctilptttre. 
 
 second commentary that his aim was to imitate nature ** to the 
 utmost," and that he " studied her methods so that he might ap- 
 proach her as nearly as possible." "I sought," he says, "to 
 understand how forms strike upon the eye, and how the theo- 
 retic part of graphic and pictorial art should be managed. 
 "Working with the utmost diligence and care, I introduced into 
 some of my compositions as many as a hundred fig- 
 ures, which I modelled upon different planes, so that those 
 nearest the eye might appear larger, and those more remote 
 smaller in proportion." The skill which Ghiberti displayed in 
 overcoming the almost superhuman difficulties of his arduous 
 task can hardly be estimated. Our wonder at it increases when 
 we see that some of the panels contain compositions which 
 strike the eye at first as units, and yet when analyzed are found 
 to represent four successive stages of action — as for instance 
 the Creation of Adam and Eve, the Temptation, and the Ex- 
 pulsion. 
 
 This shows the most consummate knowledge of the art of 
 composition. It is sufficiently difficult to treat one subject with 
 many figures, and give unity of effect to it by inspiring them 
 with a common sentiment, whose strongest expression is mani- 
 fested in some central point of action about which all turn, and 
 from which everything radiates ; but to treat four subjects in 
 one composition so ably, that the four central points of interest 
 shall not only not conflict, but shall even apparently coalesce, is a 
 feat which no artist save Ghiberti has, so far as we know, ever 
 successfully achieved. To show twelve or fourteen heads in 
 graduated perspective upon an inclined plane, and yet keep each 
 person and countenance distinct, it was necessary for him to 
 simulate aerial perspective by gradual diminution of relief from 
 Alto, Mezzo, and Basso, to Stiacciato the very flattest pos- 
 sible.* He had also to enrich and occupy space with land- 
 scape and architectural backgrounds, calculated to produce 
 picturesque shadows, and this necessitated the working out of 
 these accessories so that they should not be unduly prominent 
 over the figures, a task of extreme difficulty in sculpture, where 
 there is no atmosphere to keep objects in their right places, 
 or difference of colour and tone to give distance to parts. To avoid 
 
 * In Stiacciato relief the inner parts are little more than drawn, incised 
 or cut in sharply, with no projection even on the most prominent parts.
 
 Lorenzo Ghibej'ti. 8i 
 
 Buch insurmountable flifficulties, Greek sculptors represented 
 multitudes and armies by a few typical figures, a mode better 
 adapted to their bigh state of cultivation than such a positive 
 appeal to the senses as Ghiberti made to those of his country- 
 men in the reliefs of his second gate. 
 
 The twenty-four statuettes of prophets and Scriptural person- 
 ages in niches upon its flat spaces, are gems of art, and the 
 heads of Prophets and Sybils at the angles of each relief no 
 less so. Two other heads are especially interesting as portraits 
 of the sculptor and his stepfather Bartoluccio. To enjoy 
 Ghiberti' s compositions fully, we must examine them lovingly 
 and carefully in every particular, for thus only can we fitly 
 appreciate the grace of movement, and the expression of 
 wondering awe displayed by the groups of angels who attend 
 upon the Creator — here floating above His head when He raises 
 Adam from the dust — there sustaining the half-conscious Eve, 
 and again bearing Him in a glory far up into the sky of bronze, 
 where they fade away as if it were of air ; thus only can we give 
 due admiration to the beautiful group of Israelitish women and 
 boys bearing away corn from Egypt to feed their famishing 
 countrymen (see tailpiece), or to the single figure of Joshua, a 
 pigmy in size, but a giant in majesty of presence, standing 
 beneath the doomed walls of Jericho. 
 
 Five years after the gates were set up (1452) they were en- 
 riched with gilding, now worn away by time, as we think 
 happily, for, although the effect may have been gorgeous to the 
 eye, the precious metal must have interfered with that clearness 
 of outline so desirable in such a complicated series of composi- 
 tions. Fit, as Michelangelo said, to be the gates of Paradise by 
 their exceeding beauty, they are historically of great interest, 
 as they represent the main work of a distinguished artist's 
 life, for Ghiberti when he began them was forty-six years 
 of age, and when he finished them he was an old man of 
 seventy-four.''" He could have completed them much sooner, 
 had he not at the same time executed many commissions for 
 statues, bas-reliefs and goldsmith's work, and also spent some 
 time at Piome, as we know through his enthusiastic description 
 of a statue which he saw there " in the 400th Olympiad " soon 
 
 * The gates were finished in 1447, but they were not gilded until the 
 month of April, 1452. 
 
 a
 
 82 Historical Handbook of Italian Sculpture, 
 
 after it had been dug up in a *' Vigna," near San Celso. " No 
 tongue," he says, " can describe the learning and art displayed 
 in it, or do justice to its masterly style." In a similar strain 
 of enthusiasm, characteristic of the time, he dilates upon 
 another antique dug up near Florence, and conjectures, that 
 it *' was hidden away, in the spot where it was found, by some 
 gentle spirit in the early days of Christianity, who seeing its 
 perfection and the marvellous genius displayed in it, was so 
 moved to pity, that he had a tomb made, in which he buried it 
 under a stone slab to protect it from injury." " The touch only," 
 he adds, " can discover many of its beauties, which escape the 
 eye in any light." None but a great artist who had made 
 antique marbles the object of close study, and had quickened the 
 fineness of his touch by handling them with enthusiastic ten- 
 derness, could have thus developed what may be called a sixth 
 sense. Opportunities for doing so were furnished him by his 
 own collection, which contained many valuable antiques, some 
 of which had been brought expressly for him from Greece. In 
 his statues Ghiberti was by no means so successful as in his 
 bas-reliefs, where his love of detail, richness of invention, and 
 knowledge of perspective found fuller scope for display. The 
 SS. Mathew, John and Stephen, which he cast in bronze for 
 Or San Michele, are less attractive than the beautiful niches 
 in which they stand, though the first is a well-draped, well- 
 posed and commanding figure, and the St. Stephen is simple 
 and individual.'''* 
 
 The two bronze bas-reliefs in the panels of the Baptistry 
 font at Siena, which represent our Lord's Baptism and St. 
 John brought before Herod, are examples of the transition 
 period between our artist's first and second manner. f In the 
 first, where he made use (as in the reliefs of his second gates) of 
 progressively flattened relief to unite the principal group with 
 the angels in the background and thus attain aerial perspective, 
 the two women standing on the shore, form an exquisite group, 
 and in their graceful attitudes and elegantly disposed draperies 
 
 * The St. Matthew— finished in 1422 — was made for the Guild of the 
 Cambiatori; the St. John for that of the Calirnala in 1414 ; and the St. 
 Stephen for the Arte della Lana between 1419-1422 
 
 t Ordered iu 1417, and finished in 1427 (Milanesi, Doc. San. vol. iu 
 pp. 89 ct seq.)
 
 Ghiberti and Donatello. 
 
 83 
 
 eliow the fruit of Ghiberti's loving study of the antique (see 
 woodcut). The second relief, which represents St. John point- 
 ing to heaven as he is dragged by the soldiers before Herod, 
 who sits aloft upon a curule chair absorbed in consultation 
 with a sybilline-looking woman, is remarkably dramatic and 
 effective. 
 
 The eight letters relating to these bas-reliefs, which Ghiberti 
 wrote from Florence between 1424 and 1427 explain his long 
 delay in finishing them.* In the first he says that the 
 pest had frightened away 
 all his assistants, and 
 obliged him to take refuge 
 at Venice, in the second 
 he excuses himself on the 
 ground that he has been 
 obliged to dismiss his un- 
 grateful workmen, who 
 have repaid benefits by 
 injuries, and in the rest 
 he speaks of his progress, 
 of the cost of gilding the 
 bas-reliefs, and announces 
 their completion. f 
 
 Among Ghiberti's minor 
 works are several grave 
 slabs which mark the rest- 
 ing-places of distinguished 
 Florentines ; such as that 
 of Fra Leonardi Stagi (d. 
 1424), General of the Do- 
 minicans (before the high altar of Sta. Maria Novella), which was 
 ordered at the public expense in recognition of his important 
 diplomatic services ; that of Ludovico degli Obizzi (at Sta. 
 Croce), who was Captain of the Florentine troops under Carlo 
 
 * Doeumenti delV Arte Sanesi, vol. ii. pp. 119-125. 
 
 f The bas-reliefs upon the Siena font are six in number, of -whicli two 
 are by Tnrino di Sano and his son Giovanni (ordered in 1417), two by 
 Ghiberti, one by Querela, and one by Donatello. Yasari is mistaken in 
 Baying that II Vecchietta had one of the reliefs assigned to him. (See 
 Vasari, Ed. Le Monnier, vol. ii. p. 109, note 2.) 
 
 On Font at Siena.
 
 84 Historical HandbooJz of Italian Sculpture. 
 
 Malatesta, in the war against Pope Martin V. and Filippo 
 Maria Visconti ;* and that in the same church of the upright 
 and patriotic Gonfaloniere of Florence, Bartolomeo Valori, son 
 of that Nicolo di Taldo, whom the people so trusted that in 
 moments of danger they were wont to say, " God and Taldo will 
 protect us." f 
 
 In 1446 Ghiherti finished a bronze " Cassa " or reliquary 
 for the Cathedral at Florence, to contain the bones of St. 
 Zenobius, and adorned it with a beautiful relief upon its 
 front representing the miraculous restoration of a dead child 
 to life by the Saint, in the presence of his widowed mother 
 and a crowd of spectators. In the centre lies the body, over 
 which the spirit hovers in the likeness of a little child. The 
 story is exquisitely told, the kneeling figures are full of feeling, 
 the bystanders of sj'mpathy, and the vanishing lines of the per- 
 spective are managed with wonderful skill, so as to lead the eye 
 from the principal group, through the nearer and more distant 
 spectators, to the gates of the far-off city. Two other miracles 
 of the Saint are portrayed on the ends of the " Cassa," and at 
 the back there are six angels in relief, sustaining a garland, 
 within which is an inscription commemorative of this holy and 
 learned man, who abjured Paganism in his early youth, 
 bestowed his private fortune upon the poor, and was made ono 
 of the seven deacons of the church by Pope Damasus.J 
 
 Our account of Ghiherti would be incomplete without some 
 mention of him as a goldsmith, although unfortunately we 
 cannot point to tangible proofs of that consummate skill, which 
 we are warranted in believing him to have had. Cellini, who 
 was the very best of judges, says of him in his Treatise upon 
 
 * This slab was dctiigiied but not executed by Gbibcrti. 
 
 f Having been a firm friend of the deposed Pope John XXIII., Bar- 
 tolomeo inherited from him a legacy of two thousand golden florins, 
 spent the last days of his life in the convent of Santa Croce, where he 
 studied the Scriptures, and, as he himself tells us, strove " to learn how 
 to die" (Litta, Faninjlie celehri, vol. ii. Article " Yalori "). 
 
 X In 1428 Ghiherti cast a small " Cassa " to hold the relics of SS. 
 Proteus, Hyacinthus, and Nemesius, for the Monastero degli Angeli. It 
 is now in the Bargello. The lid is enriched with arabesques, and tho 
 front is decorated with flying angels, like those at the back of tho 
 "Cassa" of St. Zanobius, holding a laurel crown, within which is an 
 inscription.
 
 Lorenzo Ghiberti. 85 
 
 the goldsmith's art, " He was truly a goldsmith, whoso 
 forte lay in the art of casting minute works, for although 
 he sometimes worked on a large scale, it is evident that he was 
 then less in his element." In his second commentary, 
 Ghiberti mentions among his chief works as a goldsmith, the 
 mitre which ] made for Pope Martin V. ('1419), soon after his 
 elevation to the Papacy, covered with leaves of gold, between 
 which were introduced many little figures in the round, and a 
 cope button, adorned with a figure of our Lord pronouncing 
 the benediction. Nearly twenty-years later (1439), when Pope 
 Eugenius IV. presided over the great council held at Sta. 
 Maria Novella to heal the schism between the Greek and 
 Latin churches, Ghiberti made a second mitre, adorned with 
 precious stones worth thirty-eight thousand ducats, enriched 
 with many exquisite ornaments, and surmounted by groups of 
 our Lord with angels, and of the Virgin similarly placed and 
 attended. With this tiara upon his head. Pope Eugenius 
 eclipsed not only the Church dignitaries over whom he presided, 
 but even the Greek Emperor John Paleologus, " who wore tt 
 ruby larger than a pigeon's ^gg " * upon his pointed white hood. 
 In the same commentary Ghiberti describes his setting an 
 antique intaglio belonging to Giovanni de' Medici, between the 
 open wings of a golden dragon, crouching with bent head and 
 tilightly raised neck in a bed of ivy leaves. f 
 
 Much as we know of Ghiberti' s artistic career, we know very 
 little of his personal character, and that little, as displayed to 
 us in the story of his conduct to Brunelleschi, is unfortunately 
 not to his credit. We remember (though he would seem to 
 have forgotten) how generously the great architect behaved 
 when they competed for the gate of the Baptistry, how much 
 assistance he gave him in his work, and how he taught him to 
 apply perspective to sculpture, and thus enabled him to perfect 
 his pecular style. Despite these obligations, Ghiberti solicited 
 and obtained an appointment as joint architect with Brunelleschi 
 of the Cupola of the Cathedral, although he knew himself to 
 
 * Muratori, vol. xix. p. 982. 
 
 t Both mitres were probably despoiled of tlieir jewels and melted 
 down by Cellini for Clement VII., 1527, in tlie days of his dire necessity; 
 while the intaglio, with many other treasures of the Palazzo Medici, may 
 have been carried off by the French after the flight of Piero de' Medici
 
 86 Historical Handbook of Italian Sculpttire, 
 
 be utterly unfit to act with him, and during his six years of office 
 perpetually endeavoured to surj)rise Brunelleschi's secrets, and 
 to make use of the models which he had constructed after years 
 of thought and study. Seeing no other way of getting rid of 
 him, Brunelleschi feigned illness and took to his bed, with the 
 certainty that when left to himself Ghiberti would give convincing 
 proof of his incompetency and be forced to resign. The expected 
 result soon followed, and Brunelleschi was re-instated as sole 
 architect of the building for life, with an increased salary. We 
 are loath to add, that after being thus publicly put to shame, 
 Ghiberti insisted that the monthly salary, which had been pro- 
 mised him for a further term of three years, should be paid 
 to his account. His defective education as an architect is 
 proved by his manuscript Treatise on Architecture, an incom- 
 plete fragment, replete with false ostentation, which after 
 Ghiberti's death became the property of his grandson, Buonac- 
 corso di Vittorio, who also inherited his precious collection of 
 antique marbles.* 
 
 In the latter part of his life (1452) Ghiberti was selected chief 
 magistrate of Florence, and in acknowledgment of his signal 
 merit and services as an artist, was presented by the Signory 
 with a farm near the abbey of Settimo. He died of fever at the 
 age of seventy-five, on Dec. 1st, 1455, and was buried in Sta. 
 Croce, in a now forgotten spot, for Florence erected over it no 
 monument to his memory. 
 
 His son Vittorio, sculptor and goldsmith, who assisted 
 him in casting his second bronze gates, was an artist of 
 distinguished ability, who probably made that very beautiful 
 bronze altar in the Bargello, which has been generally 
 attributed to Desiderio da Settignauo.f Among his scholars 
 and assistants were Michelozzo, Lamberti, Vittorio Ghiberti, 
 and Antonio Pollajuolo who completed the bronze frieze of 
 leaves, fruits, flowers, and birds around the Baptistry-gates 
 of Andrea Pisano. We have already said that Ghiberti 
 
 * Codice 2, classe xvii. Biblioteca Magliabecchianu. Upon a loose 
 sheet of paper in the MS. Baron Eamohr has summed up his reasons for 
 beheving in its authenticity, and given his o25inion of it as corroborating 
 Vasari's concerning the incompleteness of Ghiberti's training as au 
 architect. 
 
 f Gaye, o'g. cit. vol. i. p. 108, note.
 
 Ghiberti and Donatello. 87 
 
 bIiouIcI be rather called a goldsmith and a painter, than a 
 sculptor, as he delighted in rich detail and elaborate ornament, 
 excelled in modelling small figures suitable for work in the 
 precious metals, and handled his chisel like a brush upon 
 marble or bronze. We must regard his bas-reliefs as pictures 
 if we would estimate them faii'ly, and although it is vain to 
 deny that in this light they are from their very nature neces- 
 sarily incomplete, their beauty entitles them to be judged by 
 an exceptional standard. Regarded, however, from the point 
 of view of their effect upon others who, without his genius 
 followed in his footsteps, Ghiberti must be judged as an 
 innovator whose illegitimate use of pictorial effects in sculp- 
 ture formed a dangerous precedent. The mischief which he 
 wrought would have been far greater than it proved, had it not 
 been for Donatello, whose more just perception of the true 
 nature of sculpture counterbalanced, and to some extent neu- 
 tralised the effect of his example. 
 
 DONATELLO, 
 
 the greatest of Tuscan sculptors before Michelangelo, was 
 the son of Niccolo di Betto Bardi, a wool merchant, who 
 lived at Florence in the district of S. Pietra in Gattolino near 
 the Porta Romana. His mother's name was Orsa, his sister's 
 Tita, and his brother's Andrea.* Donato, as he was baptized, 
 though he is generally known by his pet name Donatello, was 
 born in 1386, and early apprenticed to a goldsmith.f This 
 training, whose comprehensive nature we have already pointed 
 out, his early intimacy with Brunelleschi, and his visit to 
 Rome at the age of fifteen, are the three important facts con- 
 nected with Donatello's youth which more than any others 
 shaped his destiny. Ten years his senior, Brunelleschi was 
 not only his friend and companion but also his Mentor. 
 Of the two, Donatello had the most artistic temperament. He 
 was a creature of impulse, sensitive in the highest degree, full 
 
 * Semper's Donatello, p. 1. 
 
 t Semper, o/x cit., p. 6, says that Donatello probably learned tlifl 
 goldsmith's art from Cione di ser Buonaccorso, Ghiberti's father; but ua 
 we are not sure that Cione was a goldsmith, and as he must have dieu 
 when Donatello was a child, it seems more reasonable to suppose thpt 
 Ghiberti's step- father Bartolo was Donatello's master if either.
 
 88 Historical Handbook of Italian Sailpture. 
 
 of enthusiasms, ** the best of companions and the warmest 
 of friends ; " while Brunelleschi, on the other hand, had a 
 clear and comprehensive intellect, aird scientific rather than 
 aesthetic tendencies. They met on the common ground of 
 an enthusiastic love of the antique, which is illustrated in 
 Brunelleschi's life by the story of his walk from Florence to 
 Cortona, to see an antique sarcophagus of whose beauties he 
 had heard from his friend. The candour of Donatello's nature, 
 and his willingness to submit to just criticism, are equally 
 well exemplified by his conduct in the case of the Crucifix 
 which he modelled and Brunelleschi criticised as ignoble. 
 Challenged to do better, the latter modelled a Christ more in 
 harmony with his ideal, and Donatello on seeing it frankly 
 acknowledged its superiority by exclaiming, " Compared with 
 this, my Christ is but a crucified peasant." * The third impor- 
 tant fact in Donatello's early life, his visit to Rome, was 
 determined by Brunelleschi's failure as a competitor for the 
 Baptistry gates. This decided him to renounce Sculpture 
 as a . profession for Architecture, and as he could study 
 its principles nowhere so well as at Rome, he went there 
 in 1401 with Donatello for his companion. At that time, 
 and for the next nineteen years, until Pope Martin V. 
 assumed the reins of government, the Eternal City was in 
 a constant state of disturbance. Rival popes contended for 
 the chair of St. Peter, war was waged with Ladislaus King 
 of Naples, who seized the city and expelled Innocent VII., 
 robbers and assassins infested the streets, and desolation sat 
 enthroned upon the seven hills, which were overgrown with 
 rank vegetation, overtopped by solitary cloisters and churches, 
 and peopled with fever- stricken inhabitants staggering under 
 the triple load of war, pestilence and famine. No woader 
 that those who observed our two Florentines unceasingly 
 wandering among the ruins, took them for treasure hunters, as 
 indeed they were, though for treasures of another sort than 
 those which they were supposed to be seeking. Young, and 
 absorbed in their work, they probably thought little of danger 
 
 * Donatello's crucifix is at Santa Croce, in the Cappella de' Bardi. 
 That of Brunelleschi at Sta. Maria Novella. The crucifix at S. Giorgio 
 Maggiore at Venice, has been attributed to Brunelleschi as well as to 
 Micnelozzo.
 
 Donatello. 89 
 
 of any sort, and protected by their apparent insignificance 
 pursued their occupation without let or hindrance. By 
 spending half of each week in doing goldsmith's work, they 
 gained enough to live without remunerative labour during tho 
 other half, during which time Bruuelleschi measured cornices, 
 architraves, pilasters, and columns, investigated Roman laws 
 of proportion, and classified the orders of architecture, while 
 Donatello made drawings of the bas-reliefs, coins and gems, 
 which were turned up in the course of their joint excavations, 
 or came otherwise under his notice. 
 
 In this way the two friends spent four, or perhaps five, profit- 
 able years, and returned to Florence laden with the fruits of 
 their labour in 1405 or early in 1406, when Donatello was 
 twenty or twenty-one years old, and fully equipped for the 
 work which he was to do in life. Let us consider what it 
 was to be, before describing it in detail. Up to his 
 time, that is throughout the middle ages, sculpture being 
 limited to structural decoration through statues and statuettes, 
 bas-reliefs and ornaments, was, in fact, what is i^roperly 
 called monumental, or in other words, strictly, connected with 
 and Sjibordinate to architecture, as it had been in ancient 
 Egypt. From this state of dependence Donatello partially 
 emancipated it byL_.severing the connection altogether as In 
 such single statues as his David and his St. John, or by 
 giving the figures which he sculptured to fill the niches of 
 some great building, the self-dependence and individuality of 
 bis St. George. Removed from the niche in which it stands 
 and placed upon a pedestal, this statue would not produce the 
 effect of a disjointed member of the architectural unit to 
 which it really belongs, as it is complete in itself — the product 
 of an independent art. 
 
 While Donatello thus restored sculpture to the double posi- 
 tion which it had occupied in Greece, he also brought one of 
 its branches, bas-relief, to a pitch of perfection which it had 
 never before attained. Both Greek and Roman art furnish 
 admirable examples of high and low relief, and the oldest 
 Egyptian work about the doorways of pyramids and tombs 
 contains specimens of the flattest and most delicate relief, 
 tut only in the school of Donatello do we see single works in 
 which the sculptor ranges through the entire gamut of relief.
 
 90 Historical Handbook of Italian Sculpture, 
 
 In them the highest and the lowest surfaces may be compared 
 to the extremes of light and shade in a picture, which are 
 united by delicately graded middle tones. These can only 
 be followed through their subtle transitions by passing from 
 the extremes through the variations which lie between them. 
 To attain perfect gradation of tone is comparatively easy with 
 a brush, but with a chisel it is so difficult that it has only 
 been successfully done by Donatello and his followers, whose 
 treatment of bas-relief is so manifestly pictorial, that it may 
 seem inconsistent to praise in their works what we have 
 blamed in those of Ghiberti. It is, however, only necessary to 
 compare one of the relief-panels of his second gate, with Dona- 
 tello's Christ in the Sepulchre at South Kensington for instance, 
 to see that the plastic character of the latter is retained through 
 the flat and simple treatment of its relief-planes, while in the 
 former all plastic character is lost, because the figures in the 
 foreground are treated in the round, and the planes between 
 them and the extreme background are curved. Furthermore, 
 Donatello tells his story on the Greek principle of conciseness, 
 while Ghiberti introduces a crowd of actors upon his mimic stage. 
 As in ornament applied to sculpture mastery over relief is 
 absolutely essential, Donatello who was always moderate in his 
 use of decorative material, may, in consideration of the perfec- 
 tion to which he brought all kinds of relief, be regarded as the 
 source of that excellence which ornament attained in the later 
 Kenaissance. In Gothic architecture open work tracery is the 
 staple of ornament, while in that of the Eenaissance bas-relief 
 takes its place. The skilful use made of it by Donatello and his 
 followers is such, that within any range of vision the design is 
 clear and significant. At a distance the eye seizes the symme- 
 trically disposed masses, on a nearer approach it separates them 
 into their component parts, and on close examination enters into 
 the consideration of surface treatment and minute detail. As 
 studied upon church portals, and the flat spaces of niches and 
 monuments, Renaissance ornament appears severely simple 
 in its earlier periods, but it gradually grows richer in charac- 
 ter, and in the latest period, when all structural form disappears 
 under a bewildering mass of vegetable and animal forms, liko 
 Tarpeia beneath the golden collars and bracelets of the Sabine 
 soldiers, becomes extravagant and confused. Bucranes, masks.
 
 Donatello. 9 1 
 
 garlands and children bearing fesl.oons, derived from the 
 antique, are used in early Renaissance ornainent, and the 
 child, which plays an important part in its decora>tive 
 scheme, is nowhere else treated with such special charm. 
 In Greek and Ronian ornament it stood for the infant 
 Bacchus, for Eros, either as God of Love or as a funeral 
 genius with reversed torch, or it represented one of the 
 numberless genii who people space, or was symbolic of 
 the soul. In Christian art it became representative of the 
 Infant Jesus, whose image was reproduced by every sculptor 
 from Niccola Pisano to Michelangelo, and by every painter 
 from Cimabue to Raphael ; but even if this had not recom- 
 mended the child for use as a decorative element, it would 
 have been adopted for its grace and naive beauty, and because 
 its unaccentuated forms harmonise so well with the fresh 
 loveliness of plants and flowers. In Donatello's scheme of 
 ornament, where vegetable forms have little place, classical 
 details, such as bucranes, masks, festoons, and children (putti) 
 abound, and admirably did he use them, thanks to his skill 
 in relief and his ability, as a draughtsman. On this latter 
 point we have the testimony of Vasari, who says that he 
 drew on paper with suprising ease and boldness, and that of 
 Gauricus (De Sculptura), who tells us that in instructing 
 his scholars he laid the utmost stress upon drawing, using the 
 word as representing the essence of sculpture. If we were 
 asked to state Donatello's special excellence, we should say the 
 apprehension of character. For this he had an intense feeling, 
 which he expressed with such energy and in a manner so 
 peculiar, that his works are not so generally attractive as those 
 of many less individual artists. The taste for them must 
 be cultivated with faith in the result, and it will be found 
 that these thorn-guarded roses when grasped, are of richer 
 colour and sweeter perfume than other flowers which may be 
 handled with impunity. Realistic they are in the nobler 
 sense, that is they are true to nature without being slavish 
 copies of nature, like the works of Denner and Seyboldt, 
 or those of that worst of all schools of sculpture — the modern 
 Italian. Between the Attic and the Florentine schools, which 
 as Mr. Ruskin says are " consummate in themselves, the 
 origin of what is best ia others, and of equal rank, as essen-
 
 92 Historical Handbook of Italian Sculpinre. 
 
 tially original and independent," there is this difference which 
 makes the modern inferior to the ancient, namely, that while 
 the latter discriminated hetweeu plastic and non-plastic elements 
 in nature, and deliberately discarded those which were unfit, 
 or unessential, the former dealt with the special rather than 
 the generic, and represented the effect of passing emotion 
 upon the human countenance, often to the verge of grimace. In 
 his haste to seize and render all facts in nature, Douatello often 
 culled weeds as well as roses, and impelled by an imperious 
 necessity to give utterance to the voice within him, yielded to 
 its pressure without reflection. He, however, condoned these 
 defects by the strength of his assertions, the tire of his style, 
 and the transcendent ease with which his skilful hand traced 
 flowing lines of unsurpassed delicacy and freedom upon the 
 marble. As a first-rate example of his peculiar style we 
 may cite the Entombment, a bronze plaque picked out with 
 gold, in the Ambras collection at Yienna.* From the little 
 child in the foreground v/ho turns frightened and crying 
 to his father, to the old woman who throws up her arms in 
 wild despair, all the actors in the sad scene are animated by 
 a common grief, which finds its culminating expression in the 
 Madonna, who taxed beyond her strength, falls fainting into 
 the arms of Mary Magdalen. Certainly no composition could 
 have greater unity of feeling than we find here, and we may 
 say that it could hardly be more intensely expressed, so 
 intensely indeed, that beaut}' of line and grace of attitude are 
 sacrificed to it, but these were matters of little consequence 
 to the sculptor, in comparison Avith the end which to him was 
 all important, namely, realistic truth. The Donatello who 
 had studied and loved the antique shows himself in the 
 beautiful bas-relief upon the sarcophagus, but the men and 
 women gathered round it with shrieks and gesticulations, are 
 not Greeks who restrain the expression of their feelings within 
 artistic limits, but Italians who give natural vent to the 
 emotions which agitate their souls. 
 
 From this bas-relief, which undoubtedly belongs to a late 
 period of Donatello's career, let us turn to his works of an 
 earlier time, the Crucifix at Sta. Croce, the wooden statue 
 of the Magdalen in the Baptistry, and the marble St. John 
 
 * Bea Appendix, letter L
 
 Donatello. 93 
 
 at the Bargello. "We have ah'cady referred to the first as the 
 object of Brimelleschi's criticism, on the ground of its ignoble 
 realism. It is indeed, as Donatello himself acknowledged it to 
 be, " a crucified peasant," the express image of an ordinary 
 human being dying a most painful death, without any sign 
 of that triumph of the s^nrit over bodily pangs which we should 
 look for in a representation of " The Crucified," but as a 
 conception o- death by crucifixion, so far as we can conceive 
 such a death, it is wonderfully true to nature, considering 
 that the sculptor can never have witnessed the reality. If, 
 as seems probable, this Crucifix was the work of a boy under 
 twenty years of age, it displays a knowledge which may fairly 
 be called miraculous. The same may be said of the wooden 
 Magdalen at the Baptistry, an undated but certainly a very 
 early work, which represents the effects of fastings and weep- 
 ings upon the human frame. In the wasted figure, half 
 hidden under a mass of dishevelled locks, in the attenuated 
 limbs which seem hardly able to sustain even so frail a 
 burden, Donatello realized his vivid conception of one who 
 had long lived on the coarsest and scantiest of food, and 
 snatched rare and uneasy slumbers stretched upon the hard 
 rock. The marble statue of St. John, in the Bargello museum, 
 represents the same theme — famine, but in a less repulsive 
 light, inasmuch as the spirit triumphs over the body. The 
 figure is a gaunt skeleton, but the face is lighted up with a 
 w'ild fanaticism, and the lips are half opened to utter the 
 prophetic message which it is their appointed office to deliver. 
 As these three works, the Crucifix, the Magdalen, and the St. 
 John show no sign of classic influence upon their author's 
 mind, it seems reasonable to believe that they were made before 
 Donatello went to Rome and there came under the spell of 
 antiquity. An important question is connected with his return 
 to Florence, about which we would say a few Avords. Was 
 it after his return from Rome, or before he went there, that he 
 became an inmate of the Martelli palace ? We are inclined to 
 think after, rather than before, despite Vasari's statement 
 that he resided there from his boyhood by the kind permission 
 of Ruberto Martelli, for the following reason, that the first so- 
 named member of the family, was seventy-three years old when 
 Donatello was born, and the second, twenty-two years his junior,
 
 94 Historical Handbook of Italian Sculptttre. 
 
 was the friend of Cosmo de' Medici, Pater-Patriae, the kiud 
 patron of Donatello, Brunelleschi and Michelozzo. It there- 
 fore seems reasonable to suppose that he is the Euberto 
 designated by Vasari as the patron of Donatello, who perhaps 
 did not go to live at the Palazzo Martelli until after the death 
 of his mother (1427). 
 
 Among the earliest works of Donatello after his return 
 to Florence were two marble figures of Prophets for the second 
 northern portal of the Cathedral (November 23, 1406), which 
 may still be seen on either side of its gable, and a bas-relief 
 in sandstone of the Annunciation, for the Cavalcanti chapel 
 at Sta. Croce. This latter work was executed for Bernardo 
 Cavalcanti, one of the three commissioners who represented 
 the Republic on the entrance of the Florentine army into 
 Pisa, which event it was intended to memorialize. The 
 Virgin rising from her seat, shrinks modestly before the angel, 
 who kneels before her in a graceful posture. The recess in 
 which these figures are placed, with its pannelled background 
 and chair of antique design, is formed into a sort of chamber 
 by pilasters, with capitals composed of two masks, a rich 
 entablature covered with classic ornaments, and a base decorated 
 with a winged wreath. 
 
 As it would be impossible in a general history like the present 
 to describe, or even enumerate, all the works of so prolific an 
 artist as Donatello, we must content ourselves with speaking of 
 some of the most important, grouped together without regUrd 
 to chronological sequence, Avhen as is the case with the 
 statues of SS. Peter, Mark, and George, they belong to the 
 same building. 
 
 The first of these was ordered by the guild of the butchers 
 in 1408; the second by that of the linendrapers in 1411, and 
 the third by that of the armourers, about 1416. Saints Peter 
 and Mark are well draped and carefully modelled figures, whose 
 extremities, and especially the hands, are treated with elegance. 
 Michelangelo bore testimony to the earnest character of the 
 latter, by the rather negative praise that ** no one could refuse 
 to believe the gospel when preached by such an honest looking 
 man," but if he said anything, or did we know what he said, 
 about the St. George, we should doubtless find in his words a 
 warmer glow of feeling, as it is remarkable for qualities which
 
 Donatello, 95 
 
 he could not have failed to appreciate. These qualities are well 
 summed up in these words of Vasari : "The figure of St. George 
 is armed and full of life. The beauty of youth is in the face, 
 resolution and courage in the weapons ; a terrible vivacity and 
 living action permeates the marble." The saint, who stands with 
 erect head and piercing glance, as if about to turn upon a deadly 
 enemy, v.-ith one hand resting on the top of an oblong shield, 
 and the other hanging straight at his side, shows that cool re- 
 solve which ensures triumph in every line of his figure and in 
 every part of his limbs. Even the slightly compressed fingers 
 of the right hand express a dominant thought. The base of 
 the beautiful Gothic niche is adorned with a bas-relief of the 
 fight between St. George and the Dragon, in which Cleodolinda, 
 tvho watches its issue, is draped with antique elegance, and the 
 architectual and landscape accessories are treated with masterly 
 freedom. As a treatment of the subject, this relief is in 
 sculpture what Tintoretto's picture at the National Gallery is 
 in painting — unsurpassed and unsurpassable. 
 
 Donatello was assisted by the distinguished Florentine 
 architect Michelozzo Michelozzi in three of his most important 
 works, namely, the tomb of Pope John XXIII. for the Baptistry 
 at Florence (1426), that of Cardinal Brancacci for the church 
 of S. Angelo a Nilo at Naples (1427), and that of Bartolomeo 
 Aragazzi, for the parish church of Montepulciano (1427-29). 
 The first is historically interesting as the last resting-place 
 of the anti-pope who was deposed by the Council of Constance, 
 imprisoned at Heidelberg, and pardoned by Pope Martin V., 
 by whose election the council put an end to the schism 
 which had long divided the Church.* He died at Florence in 
 1419, leaving twenty thousand florins, of which one thousand 
 were spent by his executors upon his tomb, which consists of a 
 naturalistic and un flattered sepulchral efiigy lying upon a couch 
 of gilded bronze, under a lunette containing a bas-relief of 
 the Madonna and Child with angels. Three niches upon its 
 
 * Giovanni di Bicci de' Medici (father of Cosmo), had gained immense 
 sums by banking operations during the Council of Constance, when he 
 lent money to the Pope ; from this, perhaps, arose the story, that Pope 
 John, in gratitude for his deliverance from prison, which, according to 
 one account had been brought about by Cosmo de' Medici, left him heir 
 to an immense fortune. His will, however, proves that he made no such 
 bequest (Cantu, St. degV Italiani, voL ii. p. 967).
 
 96 Historical Handbook of Italian Sculpture. 
 
 base are filled with statuettes of Hope and Charity by Dona- 
 tello, and of Faith by Michelozzo. The epithet " quondam 
 Papa " in the inscription so offended Martin V., that he 
 demanded its removal, but the Chief magistrate refused, saying 
 *' quod scripsi, scripsi." 
 
 Hardly had our two sculptors finished this tomb when they 
 began to work upon that of Cardinal Brancacci,* the compatriot 
 and warm partizan of Pope John, who was crowned by him at 
 Bologna, and whom he served as vicar and legate at Naples, 
 where many years before his death, which took place at Piome 
 at an advanced age, he founded the hospital and church of St. 
 Angelo a Nilo,t in which he lies buried. His monument stands 
 within an arched recess, from the top of which falls a heavy 
 curtain, held back by two mourning genii, who look sadly down 
 upon his sepulchral effigy. It lies upon a sarcophagus sup- 
 ported upcu three full length female figures, which has a 
 relief of the Madonna enthroned and surrounded by angels 
 sculptured upon its front in that delicate sort of relief called 
 Stiacciato, which though scarcely raised above the surface, 
 varies by almost imperceptible gradations, and ajjpears drawn 
 rather than chiselled upon the marble. The great medallists of 
 this period, Pisanello, Matteo de' Pasti, and Sperandio, managed 
 it with the utmost skill in little, but Donatello alone attempted 
 it on a large scale. Other Eenaissance tombs in Italy are 
 more refined in detail, and more elegant in design than this, 
 but none perhaps at once so impressive and affecting.l 
 
 While working on it at Pisa, Donatello and Michelozzo 
 were commissioned by Bartolomeo Aragazzi, the learned secre- 
 tary of Pope Martin V., to sculpture his own monument for the 
 parish church of Montepulciano, upon which extraordinary piece 
 of vainglory Lionardo Bruni thus comments in one of his 
 
 * "Like Saul, his stature was greater than that of most men, and 
 as his noble and great mind fully corresponded to his physical develop- 
 ment, he was highly esteemed among the cardinals of the time " (Cardella, 
 Memorie del Canlinali, vol. ii. p. 304). 
 
 t Founded in 1385. The cardinal died in 1427. (Napoli, Guida derjli 
 Scien'/Aati, vol. i. p. 385.) 
 
 X This monument was commissioned by Cosmo de' Medici, the 
 cardinal's executor. Donatello tells us in a letter (published by Gaye^, 
 that he was to be paid 850 florins, including the expense of its transpor- 
 tation from Pisa (where it was made) to Naples.
 
 Ghiberti and Donate llo. 97 
 
 letters. ** Who that trusted in bis own fame ever thought of 
 erecting a monument to himself? * Not Ca3sar, nor Alexander, 
 nor Cyrus who ordered that his body should be buried in the 
 earth since no more noble place for its reception could be 
 found than that which produced flowers, fruits, and gems." 
 In the same letter Bruni tells us that while on a journey in 
 the district of Arezzo, he overtook the carts on which the 
 Aragazzi monument was being conveyed to Montepulciano. 
 The heavily laden team had stuck fast in the mud, and its 
 driver seeing that the efforts of his panting oxen availed not 
 to extricate it, gave vent to his feelings in a more than 
 muttered wish that the gods would damn all poets past and 
 future. The wish was in some measure gratified long after 
 the poet's monument had been set up in its destined place, 
 for when the church was rebuilt it was taken down and 
 partially destroyed. Some fragments saved from its ruins 
 were afterwards placed in different parts of the building, 
 such as the sepulchral effigy, an alto-relievo of God the 
 Father in the act of blessing, a part of the base, now incor- 
 porated in the high altar, statues of Faith and Fortitude, and 
 two bas-reliefs of exceeding beauty, in Donatello's very best 
 style, f One of them represents the Madonna with the infant 
 Christ, who, looking smilingly down upon the kneeling donor, 
 rests his foot upon the shoulder of one of the three children 
 who kneel before him. Four persons, doubtless members of 
 the Aragazzi family, stand near the throne on which sits the 
 Madonna, behind whose head two little angels hold a garland. 
 The composition is admirable, the treatment of surface masterly, 
 the children are winning and graceful, and the Infant Saviour is 
 full of tenderness and charm. The other relief represents 
 Aragazzi and the three children, together with an old woman 
 whom he takes by the hand while he gives the other to a youth 
 who is accompanied by a monk. These subjects evidently 
 represent incidents in Ai-agazzi's life of which no account has 
 been preserved. 
 
 The reader will perhaps remember that Jacopo della Querela 
 
 * L. Bruni (i?^j. v. vol. ii. lib. vi. p. 45). The Eomans often did so, as 
 the letters V. F., " vivus fecit," and V. S. P., " vivus sibi posuit," in 
 inscriptions show. 
 
 f See page 110. 
 
 n
 
 98 Historical Handbook of Italian Scidptitre 
 
 received a commission which he never executed for a bronze has- 
 relief of the Feast of Herod to decorate the Font in the Baptistry 
 of Siena, and that in 1427 it was given to Donatello, who modelled 
 the highly dramatic relief of this subject which now fills one 
 of its panels.* Sitting at a table with guests, whose gestures 
 betoken their sympathy with his feelings, Herod shrinks back 
 with horror from the head of St. John, which a kneeling soldier 
 offers to him. Behind them rise the prison walls, resting 
 upon arches, through one of which the gaoler is seen in the act 
 of consigning the Saint's head to an attendant. Technically 
 speaking, the surface is treated in a series of flat planes of 
 graduated thickness with the sculptor's accustomed skill. f 
 
 Vasari tells us that Donatello was called to Rome early in 
 the year 1433 to consult with his apocryphal brother SimoneJ 
 about the grave slab of Pope Martin V.,§ then about to be 
 cast in bronze for the Basilica of the Lateran, and that hap- 
 pening to arrive there shortly before the coronation of the 
 Emperor Sigismund, he co-operated with Simone in planning 
 the decorations of the city for that occasion, which were on a 
 scale of great magnificence. As this was the year of Cosmo 
 de' Medici's exile, Donatello probably remained at Rome until 
 his 'friend and patron had been brought back in triumph to 
 Jfiorence. 
 
 * J. 0. EoLinson mentions a relief of the same subject in the Musee 
 Wicar at Lille. It is in very flat relief, like the Charge to Peter in the 
 Kensington Museum, No. 7,629. The grave slab of Giovanni Pecci, 
 bishop of Grossetto, which was cast by Donatello about 1427, is in the 
 Cathedral of Siena, before the chapel of San Ansano. 
 
 t Finished before Oct. 8th, 1437. 
 
 X The inventory of Donatello's property, published by Gaye in the 
 Carteggio, settles the fact that Donatello never had a brother of this 
 name. The Simone referred to by Vasari was either Simone di Giovanni 
 Ghini, a Florentine goldsmith, born in 1407, who after 1427 was employed 
 at Rome by Popes Eugenius IV., Nicholas V., Pius II , Paul II., and 
 Sixtus IV. (see Les Arts a la Cour cles Papes, by M. Eugene Miintz, 
 p. 56), or Simone di Nanni Fcrrucci, of Fiesole, father of the sculptor 
 Francesco Ferrucci. Of the works attributed to Simone by Vasari, 
 Milanesi (ed. Vasari, vol. ii. p. 459, note 1), thinks those in bronze are 
 probably by Ghini, and those in marble by Ferrucci. 
 
 § M. Miintz {op. cit.) says, a modern inscrij^tion published by M. de 
 Reumont {Gesch. der Stadt Bom, vol. iii. p. 526), shows that the grave 
 Blab of Martin V. was cast in 1443.
 
 Ghiberti and Donatdlo. 99 
 
 The friendly relations maintained between this merchant 
 prince and the great artists of his time were especially useful 
 to him in Donatello's case, as his advice was needed in selecting 
 works of art for the Medici collections, and his skill in restoring 
 such mutilated antiques as came into Cosmo's possession. From 
 him Donatello received commissions for medallion copies of 
 eight antique gems to he set up in the cortile of the Medici 
 Palace, and for a charming bronze statue of David, now in 
 the Bargello Museum, which is one of the best examples of the 
 way in which an artist of original genius can be influenced by 
 the antique, and yet preserve his individuality intact. When 
 Donatello modelled it he must have come straight from the 
 Medici Palace, where Greek gems and statues had flashed some- 
 thing of their spirit into his brain. The broad-brimmed 
 shepherd's hat which overshadows features of an unusually 
 classical type, recalls the Petasos of Hermes ; the bodily forms 
 give evidence of an attempt to idealize through selection, 
 and the body is nude, as befits a statue conceived in an 
 antique spirit. With a stone from the brook in the hand 
 which rests upon his hip, and with the great sword with which 
 he has cut off the head of his giant enemy in the other, the 
 Jewish shepherd boy modestly waits to receive the guerdon of 
 praise and gratitude from those whom he has saved. Unlike 
 his St. George, who stands firmly resting equally upon both feet 
 like a statue of Polyclete, Donatello's David is Praxitelean in 
 outline, for the weight of the body is thrown upon the right leg, 
 and the pose is relaxed and graceful. As this statue is classical 
 in spirit, so are its accessories. Nothing indeed could be more 
 so than the little bas-relief, upon the side of Goliath's hel- 
 met, of children dragging a triumphal car, excepting perhaps 
 another bronze relief by Donatello at the Bargello, which repre- 
 sents Bacchus in triumph stretched upon a car and holding a 
 little satyr above his head, while one " amorino " pushes it, two 
 of his brethren sit upon the pole, two drag it, and twelve 
 with clashing cymbals and trailing bunches of grapes, bring 
 up the rear with dance and song. Sometimes, as in the bronze 
 patera or mirror from the Martelli Palace in the Kensington 
 Museum, Donatello worked so completely in the spirit of the 
 antique that we are in doubt whether the work is original or a 
 copy from some ancient gem. The Silenus and the Bacchante, 
 
 H 2
 
 lOO Historical Handbook of Italian Sculptttre.- 
 
 the mask, the tablet with its Latin inscription, the rhyton, the 
 thyrsus, the trophies, the terminal figure, the damascene work 
 and the foliated ornaments in gold and silver, are worthy of the 
 antique, and in point of workmanship challenge comparison 
 with bronzes of any period. 
 
 * The leading characteristics of Donatello as a sculptor have been 
 pointed out in the foregoing pages, with the important exception 
 of his singular ability in determining the finish and general 
 treatment necessary to give a statue the best effect with regard 
 to its greater or less distance from the eye. This requires great 
 judgment, and long experience. A highly finished work may- 
 be regarded as a masterpiece in the studio, and become an 
 absolute failure when raised to a height of thirty or more feet 
 in the air, or vice versa, as Phidias proved in his contest with 
 Alcamenes, and as Donatello proved by a statue of David, known 
 from its bald head as II Zuccoue, which he made for a niche 
 in the third story of the Campanile at Florence.* Treated 
 Avith the utmost breadth of form and drapery, it was all but 
 incomprehensible to those who saw it in Donatello's studio, 
 though when it was set in its appointed place it won universal 
 admiration. The bas-reliefs of singing and dancing boys at the 
 Bargello, which Donatello sculptured for an organ balustrade 
 in the Cathedral, form another instance in point. As seen in 
 their present position they sufier greatly from j)roximity to the 
 spectator, while those by Luca della Eobbia in the same 
 museum, which were made for a companion balustrade, gain 
 proportionately, but if both were raised to the height at which 
 they were intended to be seen, there can be no doubt as to 
 which would produce the best effect. 
 
 The beautiful bas-reliefs of dancing children upon the pulpit 
 outside the Cathedral at Prato (1434) may be cited as another 
 instance of Donatello's skilful adaptation of technic to locality. 
 Here he had to make a complicated series of figures on dif- 
 ferent planes, to be seen at a considerable distance, and this 
 
 * Of the four statues in niches in this storey of the Campanile, three 
 are by Donatello, namely David, Jeremiah, and St. John the Baptist. 
 The fourth is by Giovanni di Bartolo, called Eosso, who made the 
 Brcnzoni monument in S. Fermo Maggiore at Verona, and perhaps the 
 sculptures of the great portal of S. Niccolo at Tolentino in 1431. 
 (Milanesi, ed. Vasari, vol. ii. ]). 404, note 2.)
 
 Donatello. 
 
 lOI 
 
 he accomplislied by cutting the outlines of those in the fore- 
 ground so sharply that they throw clear shadows, which failing 
 upon the figures in flatter relief separate the two, so that the 
 eye can follow every sinuous line with ease, and yet find no 
 confusion to mar its delight. To protect the relief-surfacea 
 from possible injury, their level is kept below that of the cor- 
 nice and pilasters of the pulpit, which being set against an 
 angle of the building, projects from the wall into the piazza. 
 Where, as in his group of Judith and Holofernes at Florence,'* 
 Donatello, applying the same principle to figures in the round, 
 
 kept their extremities within their bounding lines, a certain 
 stiffness and want of ease strikes us, as if he had been fettered 
 by the attempt. This may, however, be partially accounted 
 for by the fact that the endeavour to group figures of large 
 size was new to him. So far as we know he never repeated 
 it, feeling, doubtless, that his strength lay elsewhere, and 
 choosing wisely to do that which he could do best. In that 
 
 * In the Loggia de' Lanzi since 1504. After the expulsion of Piero de* 
 Medici, it was taken from the Palazzo de' Medici to the Ringhiera of the 
 Palazzo Vecchio, and set up with the inscription, " Exemplum sal. pub. 
 nves ponere, 1495," as a warning to tj'rants.
 
 I02 Historical Handbook of Italian Sculpttire, 
 
 best we should certainly include the statue and bust of St. 
 John at the Martelli Palace ; a profile head of St. Cecilia in 
 *' pietra serena " which worthily embodies Dante's description 
 of Beatrice "walking clothed in humility amidst the hum of 
 praise ;" and an exquisite profile bust of the youthful St. John 
 in the Bargello Museum, in which we are at a loss to know 
 what most to admire, the modelling of the cheek and jaw, the 
 expression of the half-open mouth, or the treatment of the 
 hair, whose wayward growth and silken texturo_ are rendered 
 with unsurpassed truth and skill. 
 
 We would gladly linger over this and many other marbles 
 and bronzes by Donatello, did not want of space oblige us to 
 proceed with the story of his life.* In one respect he presents 
 a striking contrast to many celebrated artists, and this is in the 
 extreme conscientiousness which he exhibited regarding the 
 fulfilment of accepted engagements. To this rule we know of 
 but one exception, his failure to cast the bronze statue of 
 Borso d'Este, Duke of Fcrrara, for which he signed a contract 
 in the year 1444, binding himself to complete it within a year. 
 In the meanwhile he had established himself at Padua, and 
 was busily engaged upon an equestrian statue of the famous 
 Condottiore, Erasmo da Narni, called Gattamelata, captain of 
 the Venetian forces, who had recently died (Jan. 16th, 1443), 
 for which, as late researches have shown, he had received the 
 commission from Giovanni Antonio, the son of this great 
 soldier, and not from the Venetian Signory, as has been 
 always supposed. f We can hardly appreciate the difficulties 
 which the execution of this commission offered, if we fail to 
 
 * We give a list of some of Donatello's works not mentioned ia the 
 text. (1.) Female profile head in marble, probably identical with that of 
 the Valori collection, mentioned in Bocchi's " Bellezze di Firenze." (2.) 
 Christ and angels; the delivery of the keys to St. Peter; a Madonna and 
 Child (marble); an Entombment (bronze); Female Saint and Sarco- 
 phagus (marble) ; S. Kensington Museum. (3.) St. Sebastian (bronze 
 relief), M. Ed. Andre. (4) The Mazzocco at Florence (marble). (5.) 
 Madonna and Child (very flat relief) ; Heads of the Saviour and St. John 
 (f. r.) ; M. Dreyfus. (5.) The Flagellation and other bronzes, given by 
 M. His de la Salle to the Musee de la Renaissance at the Louvre. (6.) 
 St. John, a bronze statue (Cathedral at Siena). (7.) Madonna and Child, 
 in Eoyal Gallery at Turin. 
 
 t (See a document dated June 29th, 1453. Arcli. St. It., vol. ii. 1st part, 
 pp. 47-61.
 
 Do7iatello. 1 03 
 
 m 
 
 consider that when Donatello undertook it he had not only 
 never modelled a horse, nor paid any special attention to equine 
 anatomy, but that he had probably never seen an equestrian 
 grouj) in his life, with the possible exception of the Marcus 
 Aurelius at Eome,* and the alto-relief of the Podesta Oldrado 
 di Tresseno at Milan. f Equestrian statues of Tommaso and 
 Bonifazio degli Obizzi were erected at Lucca in the early part 
 of the fourteenth century, of whose character no record remains, 
 but the period to which they belong warrants us in supposing 
 that even if they did come within the range of Donatello's 
 observation he could hive derived little benefit or suggestion 
 from them. Depending upon himself, and possibly carrying in 
 his mind a more or less distinct recollection of one of the bronze 
 horses over the portal of St. Mark's at Venice, he constructed 
 the great wooden model of a horse still preserved in the large 
 Hall of the Palazzo della Eagione at Padua, which, covered 
 with skins, and bearing a gigantic Jupiter on its back, after- 
 wards figured at some public games given at Padua by Count 
 Capodalista, and was praised in verse by the poet Lazzarelli as 
 superior to any work of Daedalus, Phidias, or Praxiteles. 
 
 In due time the group was cast and set up on its pedestal 
 under the walls of San Antonio. Clad in armour, saving the 
 head, holding a baton in his left hand and with the reins 
 gathered in his right, the rider sits somewhat stiffly on the back 
 of a ponderous war horse, which seems hardl}' less a portrait 
 than the man, and shows the closest study of nature in all but 
 one particular, namely, that he moves by lifting his two right 
 legs simultaneously from the ground [see woodcut, p. 101). 
 This error, common to other sculptors, both ancient and 
 modern, may surprise us in the work of so careful an observer 
 as Donatello, but it is quickly lost sight of when, after taking 
 in the group as a whole, we examine it more closely, and 
 rejoice in the beauty of its details. One of the charming 
 " putti " from the richly decorated saddle, one square inch of 
 the horse's trappings, would furnish matter for a discourse, and 
 make the reputation of a collection. "While our admiration for 
 
 * Discovered in the Forum in 1187; raised on the piazza of the Lateran 
 in 1471, and afterwards removed by Michelangelo to the Cauipidoglio. 
 f Bee Introduction, p. xvil
 
 104 Historical Handbook of Italian Sc7ilptttre, 
 
 the sculptor's merits as a bronze caster is excited outside 
 tlie portals of San Antonio by this equestrian group, it is 
 raised still higher when we have passed through them, by the 
 admirable bronzes which are scattered about the church. They 
 were begun for the High Altar about 1444, and completed in 
 five or six years, with the assistance of Francesco del Vag- 
 liante of Florence and Antonio Cliellini of Pisa, goldsmiths, 
 and Giovanni da Pisa,* and Urbano da Cortona,t sculptors. 
 The bas-reliefs of the predella, a dead Christ with angels, two 
 miracles of St. Anthony, and four angels, are in the chapel of 
 the Holy Sacrament ; the symbols of the Evangelists under the 
 singing galleries of the presbytery ; an Ecce Homo, and the 
 reliefs of St. Anthony discovering the heart of a miser in his 
 money chest, and of the healing of a youth who had cut off 
 his foot, are upon the parapet of the High Altar, whose sides are 
 enriched with two angels and various ornaments. Lastly, there 
 are four statues of the patron saints of Padua, with a group of 
 the Madonna and Child and a bronze Crucifix, in the choir. In 
 all these admirable works Donatello's matchless skill in bas- 
 relief, his superior ability in the round, his knowledge of the 
 processes of bronze casting, his conscientiousness in the high 
 finish of metal- surface, and the exquisite charm with which he 
 invested his child-angels, are conspicuously displayed. No 
 wonder that they won for the sculptor such high encomiums 
 from the Paduans, that he modestly declared it to be time for 
 him to return to the more critical atmosphere of Florence, lest 
 his head should be turned, though considering the very great 
 benefits which the Paduans had derived from his visit, they 
 can hardly have lavished too much praise vc^ow him and his 
 works. His Paduan pupils, Bartolomeo Vellano and Andrea 
 Briosco, propagated his school in the north of Italy, and many 
 of the young painters who frequented the Art School opened 
 by Squarcioue at Padua were his debtors, while the works of 
 the greatest among them, Andrea Mantegna, suflice to show 
 that the Florentine master had not visited their city in vain. 
 
 * This artist made the terra-cotta relief of the Madonna and Child, 
 with three saints, in the church of the Eremitani at Padua. See 
 I'Anonimo (Morelli) and Milanesi's ed. of Vasari, vol. ii. note 1, p. 424;. 
 
 t Mentioned by Vasari, ed. Milanesi, vol, v. p. 107; not otherwise known.
 
 Donatella. 105 
 
 He left Padua towards the end of 1456 for Venice, there 
 carved a statue of St. John in wood for the altar of the Floren- 
 tine chapel at the Frari, and then proceeded to Faenza, where 
 he remained long enough to sculpture the charming bust of the 
 youthful St. John, to which we have previously referred, and a 
 statue of the same saint in wood, for the convent of the Padri 
 Eiformati. In March, 1457, he was called to Ferrara to act 
 as one of the judges of the bronze statues cast by Niccolo and 
 Giovanni Baroncelli for the Cathedral, and having fulfilled this 
 duty, returned to Florence, after an absence of thirteen years. 
 One of the many changes which had occurred during his long 
 absence, the death of Brunelleschi (1446), must have made 
 Florence other than it had been to him, but Cosmo de' Medici 
 still lived, and, as w'e know, treated him with constant kindness, 
 until his own death, in 1464. Thinking that Donatello dressed 
 too meanly for an artist of his rank, Cosmo sent him a red 
 mantle, hood and surcoat, but he returned them with thanks, 
 as being much too fine for his use. He did, however, accept a 
 sum of money sufficient to maintain him and four workmen, 
 who assisted him in the works which he undertook at San 
 Lorenzo, and after Cosmo's death, received a like pension from 
 Piero de' Medici, in lieu of a farm at CafFagiolo, which he con- 
 sidered too troublesome a piece of property for a man of his 
 age and occupations to hold. Among his later works are the 
 bronze statue of St. John in the Cathedral at Siena (1458), 
 the very beautiful niche at Or San Michele which contains 
 Verrocchio's group of the Incredulity of St. Thomas (1463), 
 and the statue of St. Louis of Toulouse at Santa Croce. At San 
 Lorenzo, whose sacristy contains his monument to Giovanni 
 d' Averardo de' Medici, Donatello modelled the Evangelists 
 in stucco, several busts of saints, cast the small bronze door of 
 the sacristy, and commenced the two bronze pulpits, which 
 were finished by his pupil Bertoldo,* after his death, on March 
 13th, 1466. "While paralyzed and bed-ridden for some time 
 before it occurred, he had expressed a wish to be buried at 
 San Lorenzo, so that in death as in life he might be near 
 Cosmo de' Medici, and his funeral obsequies were there 
 
 * For notice of this artist see next chapter.
 
 io6 Historical Handbook of Italian Sciilpttire, 
 
 celebrated, in the presence of his brother artists and others 
 among his fellow-citizens, who honoured him no less for his 
 singular uprightness than for his genius. Many of them must 
 have recognized him not only as a representative man in his 
 profession, but as one who, having struck the keynote upon 
 which so many of the subtlest harmonies of his century were 
 based, stood to art of every kind in the fifteenth century as 
 Niccola Pisano had stood to that of the thirteenth, as Giotto 
 to that of the fourteenth, and as Michelangelo was to stand to 
 that of the sixteenth. On this account not only sculptors, but 
 architects, painters and goldsmiths mourned his loss as one 
 which specially concerned the profession to which each one of 
 them belonged. 
 
 All men then regarded him as the greatest of Italian sculp- 
 tors, and though in the lapse of time the crown was placed 
 upon the head of another great genius, wc think that it had 
 been well bestowed. While it cannot be denied that Michel- 
 angelo was the greater artist of the two by reason of his 
 superior intellect, multiplicity of gifts, imagination, and power 
 of thought, yet as style and teclmic are qualities which deter- 
 mine rank in sculpture more than in any other art, we must 
 still call Donatello the greater sculptor. The treatment of 
 material in sculpture, whether of bronze or marble, is of 
 supreme importance, both as regards technic, which includes 
 all craft that can bring out its finest qualities, and style, which 
 comprises the limitation of the subject, and the adaptation of 
 its treatment, to the exigencies of the material. Judged by 
 this rule, the palm belongs to Donatello, for while he made 
 metal and stone yield all that they were capable of yielding, 
 Michelangelo looked upon them simply as vehicles for the 
 transmission of his thoughts, and paid little or no heed to their 
 special qualities either in respect to surface-treatment or the 
 adaptation of his subjects to their nature. There is yet 
 another glory which belongs to Donatello, and this is, that he 
 sowed no seeds fruitful of mischief to art in the future. Had 
 his example prevailed and his precepts been remembered, 
 sculpture would not have fallen into the mad extravagances of 
 the Baroque, and so soon have become a hybrid art. 
 
 As compared with Ghiberti, he has been called a Pagan in
 
 GJiibeiHi and Donatello, 
 
 107 
 
 Arl, but tbis is manifestly unjust, for tbougb botb loved tbe 
 antique, and owed tbcir bigbcst excellences to tbe study of it, 
 none of Gbiberti's works are so Christian in spirit as tbe 
 St. George, tbe St. Jobn, and many of tbe bas-reliefs of 
 Donatello.
 
 jo8 Historical Handbook of Italian Sculptit,re, 
 
 CHAPTER n. 
 
 (1.) THE SCHOLARS OF BRUNELLESCHl. 
 
 Indirectly, Brunelleschi Avas the master of all the great 
 painters and sculptors of his time, for he taught them how 
 to apply science to art, and so far both Ghiberti and Donatello 
 were his pupils, but the last was almost literally so, since as we 
 have shown, the great architect was not only his friend, but 
 alst) his counsellor and guide. Strictly speaking, however, 
 Brunelleschi's pupils, as mentioned by Vasari, were six in 
 number ;* namely, Domenico di Lugano, of whom we know 
 nothing ; Geremia da Cremona, the falsely reputed author of 
 a sculptured sarcophagus in the Cathedral at Cremona ; f 
 Schiavone, who is perhaps identical with Luciano Martini di 
 Lauranna, who built the Ducal Palace at Urbino ; Simone, to 
 whom Vasari attributes a Madonna at Or San Michele,! and 
 the sculptures upon the facade of the so-called " Chiesa 
 vecchia " at Tagliacozzo, in the Abruzzi ; and the Florentine 
 bronze-casters Antonio di Cristoforo and Niccolo Baroncelli, to 
 whom reference Avas made in the last chapter, as the author 
 of five bronze statues in the Cathedral at Ferrara.§ Li 1450 
 Donatello went from Padua to Ferrara, to confer with the 
 directors of the " Fabbrica," who wished him to undertake the 
 commission for these statues, but as they could not come to 
 terms with him, it was offered to Antonio Baroncelli, then at 
 Venice, and on his refusal it was assigned to his brother 
 Niccolo. When he had partially completed his work, Dona- 
 tello again visited Ferrara to act as one of the judges appointed 
 to estimate it. History is silent as to his valuation of it, aud 
 
 * Milanesi's Vasari, vol. ii. p. 385. 
 t The work of Omodeo; see p. 189. 
 X Made for the guild of the Chemists in 1399. 
 
 § (See p. 105, and Gualandi Mem., iv. series, pp. 33-48. and v. series, 
 pp. 178-183.
 
 The Scholars of Ghiberti. 109 
 
 equally so as to his opinion of the merits of the three statues of 
 Christ Crucified, the Virgin, and St. John, then finished, but to 
 us they seem lifeless and uninspired, and chiefly commendable 
 as examples of bronze-casting. The two other saints, George 
 and Maurelius, were modelled and cast after the death of Nic- 
 C0I6 Baroncelli (1453), by his son-in-law Domenico di Paris.* 
 Niccolo's most important Avorks were the statues ot Duke Borso 
 d'Este, and of his grandfather, the Marquis Niccolo, which 
 stood on either side of the great portal of the Palazzo d' Este 
 at Ferrara, until they were destroyed by the Ptepublicans in 
 1796. f The first was a seated figure, the second an equestrian 
 statue ; the horse by Niccolo, \ and the rider by his brother 
 Antonio. 
 
 (2.) THE SCHOLARS OF GHIBERTI. 
 
 Michelozzo Michelozzi, the son of a tailor, Bartolomeo di 
 Gherardo, called Borgognona, is to be classed as one of the 
 great architects of the quattro-cento with Brunelleschi and 
 Alberti, and as sculptor and goldsmith with Ghiberti and 
 Donatello. He was born at Florence, about 1396. Vasari calls him 
 the pupil of Donatello, with whom he certainly worked upon 
 the monuments of Pope John, Cardinal Brancacci, and Barto- 
 lomeo Aragazzi in 1427, and probably upon the pulpit at Prato 
 in 1434. § It appears, however, that previously to the first of 
 these dates he had worked with Ghiberti, for in the schedule 
 of property which he drew up in 1427, he refers to the year 
 1419, when he was associated with Lorenzo di Bartoluccio in 
 casting the statue of St. Matthew for the niche of the Arte del 
 
 't> 
 
 * Kiccolo Baroncelli is perhaps the ISTicholaus F. (Florentiaus) who 
 cast the well-tnown medal of Lionello d'Este, 1441. L Friedlander in 
 the Jahr Biuih, S**"^ Band, 1* Heft, p. 20, concludes that there were two 
 artists of the same name, one, Kicholas the elder, who made this model, 
 and the other, Nicholas Fl., who made the equestrian statue in 1461. 
 
 t M. Miintz, La Renaissance a la Cour des Papes, 1, p. 258, says that 
 Meo di Cecco, of Florence, one of Niccolo Baroncelli's pupils, assisted his 
 master in this work. Meo was at Ferrara in l^Si, and at Rome in 1462. 
 
 X Called Niccolo del Cavallo, because he cast the horse for the statue 
 of the Marquis Niccolo, 1467 ; made a design for the completion of the 
 Cathedral at Ferrara, 1492-3; paid for a wooden model of the same. See 
 Notizie relative a Ferrara, by the Cav. Cittadella, pp. 100, 101. 
 
 § Gaye's Carteggio, vol. i. p. 117, Denunzia de' beni.
 
 no Historical Handbook of Italian Sadptiire. 
 
 Cambio at Or San Micliele. The part which Michelozzo took 
 in this work was wholly subordinate, while that which fell to him 
 in the Brancacci and Aragazzi monuments was very much more 
 considerable. Certain parts of the latter monument, as for in- 
 stance the sepulchral effigy and the figure of Faith, are worked 
 in somewhat rounder planes, and in a less realistic style than 
 is habitual to Donatello, and may be altogether by Michelozzo, 
 though the general design and all the best parts of this and the 
 other monuments upon which they worked together, evidently 
 belong to the master only.* 
 
 As the greater part of Michelozzo's life was devoted to 
 architecture, he left little of metal or marble work from which 
 we can form an estimate of his ability either as goldsmith or 
 sculptor. The small statue of Faith in one of the niches upon 
 the base of the monument of Pope John, a statuette in silver 
 of St. John the Baptist which he made for the Baptistry altar, f 
 and the sculptured portal of the Palazzo Yismara at Milan, are 
 all that can be attributed to him with certainty. When Cosmo 
 de' Medici was banished from Florence he went to Venice, and 
 spent his year of exile (1432-3) in the convent of S. Giorgio. 
 Moved by feelings of gratitude for the shelter afforded him, he 
 then caused Michelozzo, who had accompanied him, to build a 
 Library in the convent adjoining the church, which he endowed 
 with a number of MSS. and presented to the monks. The wooden 
 crucifix in the church, said to be by Michelozzo, and if so, 
 sculptured at this time,t is a thoroughly naturalistic, carefully 
 stu-lied, and admirably modelled representation of a death of 
 agony, in which the spirit achieves no triumph over the pangs 
 of the body. The Library of S. Giorgio was destroyed in the 
 seventeenth century, and this is much to be regretted, as it 
 would doubtless have strengthened Michelozzo's claims to recog- 
 nition as the pioneer of the Pienaissance style of architecture 
 in the north of Italy. He returned to Lombardy in 1456, to 
 enlarge the Palazzo Yismara, which Francesco Sforza had pre- 
 
 * M. Eng. Miintz considers it to be the work of Michelozzo, executed 
 under Donatello's direction. Bee " Le Tour du Monde," 3 Juin, 1882, 
 p. 350. 
 
 t In the life of PoUajuolo, Yasari attributes this figure to that artist, 
 but it was certainly made by Michelozzo in 1452. 
 
 X It is attributed to Michelozzo by Cicognara, Borghini and Morrona. 
 ScG Cicogna, Iscriz. Venet. t. iv. p. 313.
 
 Michelozzo Michelozzi. 
 
 1 II 
 
 sented to Cosmo de* Medici, and then sculptured its very Lcau- 
 tiful portal, which, within a few years has been removed from 
 the Via de' Bassi to the museum at the Brera, It is in the 
 Renaissance style, and of sifnple and elegant design. The 
 greyhound, the palm, and the hand, as ducal cognizances, are 
 sculptured upon its architrave, together with medallion por- 
 traits of the Duke and his wife Beatrice d'Este, while armed 
 men, and two richly dressed dames holding spears upon whose 
 points hang eagle-crowned helmets, fill the flat spaces of the 
 pilasters on either side of the entrance. This portal is perhaps 
 the prototype of many such palace entrances afterwards erected 
 in Lombard cities during the domination of the Sforza, in token 
 of the gratitude of their partisans who had been rewarded for 
 faithful service by gifts of confiscated lands and funds.* 
 
 Of Michelozzo' s distinguished career as an architect we are 
 not here called upon to speak, otherwise than to mention that 
 as such he was constantly employed by Cosmo de' Medici, for 
 whom he built the Medici and Eiccardi Palaces, the Villa 
 Careggi, the Villa Mozzi, the Convent of St. Mark, and the 
 Library of the Marciana, which Cosmo endowed with a precious 
 collection of MSS. made by Niccolo Niccoli, a citizen of Florence, 
 and placed under the care of the learned Thomas of Sarzance, 
 afterwards Pope Nicholas V. Michelozzo died about 1476, 
 and was buried at St. Mark's. 
 
 The Palazzo Vismara at Milan, which he rebuilt for Cosmo 
 de' Medici, is mentioned by Antonio Averulino, called Filarete, 
 Florentine architect and bronze-caster, in a manuscript treatise 
 on architecture, dedicated to Piero de' Medici, preserved in the 
 Magliabecchiana Library at Florence. f This treatise is divided 
 
 * " Such marble portals," says Mongeri {Bull"" della Consulta Arch., 
 Anno ii. fasc. 4 : Milano, 1875), " were the great luxury of the time. Many 
 have been destroyed, but there still remain at Milan the Gothic portal 
 de' Borromei, and the Renaissance portals of the Portisian, del Fon- 
 ta-na, dei Castani, del Yimercati (Pal. Vismara by Michelozzo); at Lodi, 
 alia casa dei i\Iozzanici ; at Piacenza alia casa dei Landi ; at Cremona, 
 the Porta della Stanga," erected in 1-199, and now one of the chief 
 ornaments of the Renaissance Museum at the Louvre. It was bought 
 by the French Government in 1876 for 43,000 francs. See an article 
 in the Gazette clcs Beaux Arts, of February 6th, 1876. 
 
 t Class xiv. There is a copy of it in the Palatina, and a Latin trans- 
 lation dedicated to Matthias Corvinus in the Marciana at Venice. For 
 notices of this treatise see A. F. Rio, de VArt Chretien, vol. ii. pp. 329
 
 112 Historical Handbook of Italian Sculpture, 
 
 into twenty-five books, treating of the origin and construction 
 of buildings, and of the selection of a favourable site for a city 
 called Sforzinda, after Francesco Sforza, which he builds in his 
 pages with that mingled spirit of Paganism and Christianity 
 characteristic of the times in which he lived. In its midst he 
 places a splendid Cathedral in the style of St. Mark's at Venice, 
 " like the ideal man, durable, beautiful, and useful," and 
 groups around it palaces, convents, churches and hospitals, 
 destined to be decorated by all the great artists of the day, with 
 works of art calculated to have a bearing upon the moral and 
 religious education of the sovereign, and of his people whom he 
 divides into the nobles, compared to chalcedony and sardonyx, 
 whose transparent texture shows every flaw ; the middle classes, 
 whom he likens to porphyry and alabaster ; and the " plebs,'* 
 to marbles and inferior stones. Around the Prince's palace 
 he places four churches, dedicated to SS. Francis, Dominic, 
 Augustine, and Benedict ; and a gymnasium where the young 
 men pray and fast, and the women sew, spin, weave, and 
 embroider.* 
 
 The author of this treatise was an accomplished architect, 
 but he is not to be ranked with the great men of his time 
 either as sculptor or as bronze-caster.f It is, therefore, not a 
 little strange that he, rather than Ghiberti or Donatello, should 
 have been selected by Eugenius IV. to cast the gates of the 
 great Pioman Basilica, which commemorate the Council held by 
 this Pope at Florence, in 1434, with the hope of uniting the 
 Greek and Latin churches, | The result of the Papal commis- 
 
 et seq. ; V Anonimo (Morelli), p. 169, note 74, and Vasari (ed. Milanesi), 
 vol. ii. p. 458, note 1. 
 
 * Written in an affected style, replete with Latinisms, and tediously 
 prolix, this treatise contains some important notices of artists and 
 works of art, of which Vasari, despite his hard judgment uj^on it, did 
 not scruple to avail himself without acknowledgment. 
 
 t Filarete designed the great hospital at Milan, and built a part of 
 the Cathedi-al at Bergamo. The dates of his birth and death are un- 
 known. He was the son of a certain Peter, as we learn from the 
 inscription on the gates of St. Peter's. 
 
 X The gates must have been commenced after 1434, the year of the 
 Council. They were set up on the 2Gth of June, 1445. In 1447, Pope 
 Eugenius commissioned a Dominican sculptor, Fra Antonio Michele, to 
 represent the principal events of his pontificate upon wooden doors to 
 fill up the side portals of St. Peter's. These doors were destroyed
 
 Antonio Avernlino. 1 1 3 
 
 Bion, as might have been anticipated, is unsatisfactory from an 
 artistic point of view, though historically cousitlcred the gates 
 are very interesting, for many illustrious persons appear in the 
 reliefs which fill their panels. In one of them, where the 
 Council is represented, the Pope, the Eastern Emperor John 
 Paleologus VI., and his brother Demetrius, tyrant of the Morea, 
 are introduced ; and in another, the Patriarch of Constantinople, 
 the Egyptian Abbot of S. Antonio, and Eugenius kneeling to 
 receive the keys from the hands of St. Peter. The Saviour and 
 the Madonna, with SS. Peter and Paul are represented in the 
 upper panels, the crucifixion of the first Apostle and the decapi- 
 tation of the second, in those of a smaller size below them, while 
 the borders of the panels are enriched with medallions, whose 
 mythological subjects show to what extent the spirit of 
 Paganism already pervaded Art in the first half of the fifteenth 
 century. If, however, we are shocked to find Leda and the 
 Swan, Jupiter and Ganymede, &c., among them, we are no less 
 struck with the singular want of respect for the sanctity of the 
 place shown by Filarete, in placing at the bottom of one of the 
 gates on the inside, a bas-relief of himself and his workmen 
 going into the country on a frolic, accompanied by a donkey 
 well laden with provisions. 
 
 Filarete, who died at Ptome in the latter half of the fifteenth 
 century and was buried in the church of Sta. Maria sopra 
 Minerva, makes no mention in the introduction to his Treatise 
 of the Simone who assisted him in making the gates of St. 
 Peter's, and no name but his own apj)ears in the inscription 
 upon them. It is however certain that he had the assistance 
 of a Simone whom Vasari identifies as the sculptor of the 
 grave slab of Pope Martin V, at the Lateran, and as the 
 brother of Donatello, while he elsewhere mentions a Simone 
 among the scholars of Brunelleschi. As Donatello had no 
 brother of the name, we may suppose that the person referred 
 to as such was his scholar Simone di Nanni Ferucci da Fiesole, 
 and that the other Simone, who worked with Filarete at Ptome, 
 was the Florentine goldsmith Simone di Giovanni Ghini (1407— 
 1491), who was employed at Ptome by Eugenius IV, after the 
 year 1427, and by his three immediate successors. 
 
 under Paul V. See hes Arts a la Gourdes Papes, par Eug. Miintz, voL 
 iv. J). 44 of the Bih. des Ecoles Fr. d'Athenes et de Rome. 
 
 I
 
 114 Histo7'ical Handbook of Italian Sailpture. 
 
 We shall speak later of the Simone Fiorentino who worked 
 with other sculptors at Eimini upon the marhles of San 
 Francesco, and now return to the scholars of Ghiherti not yet 
 mentioned. Antonio del Pollajuolo, the son of Jacopo d'Antonio 
 Benci, called Pollajuolo,* horn at Florence in 1429, was 
 apprenticed at an early age to Ghiberti's step-father, the gold- 
 smith Bartolo di Michele, under whom he acquired that great 
 skill as a niellist, caster, and worker of metals, which he dis- 
 played in many precious articles for church use, and personal 
 adornment, now irrecoverably lost. His extant works are a 
 bas-relief of the Nativity, made for the silver altar in the 
 ** Opera " of the Cathedral at Florence, a bronze relief of the 
 Crucifixion, the bust of a warrior in terra-cotta, and a bronze 
 group of Hercules and Cacus at the Bargello, an enamelled 
 Pax at the UfEzi, a quail rising from her nest in the bronze 
 frieze of Andrea Pisano's Baptistry gate, two Papal monuments 
 at St. Peter's, and two bas-reliefs in bronze at S. Pietro in 
 Vincoli. 
 
 The excessive mannerism of style, and exaggeration in pose 
 and facial expression, which strike us in his pictures,! and in 
 his one engraving of ten naked men fighting in a wood,t are 
 from the very nature of the case far less conspicuous in his 
 bronzes, though clearly visible in the reliefs of the seven 
 Virtues, and the ten liberal Arts (.see page 116), upon the 
 carved sides of the highly ornamented couch which, with the 
 sepulchral effigy upon it {sec page 115), forms the monument 
 of Pope Sixtus IV. in the chapel of the Sacrament at St. Peter's 
 (1493). Called to Ptome by Innocent VIII. after his accession 
 in 1484, to make this monument of his predecessor, Pollajuolo 
 remained there to make that of Pope Innocent, who died in 
 1492. Not content with the usual custom of representing the 
 deceased lying upon a sarcophagus, he placed a second statue 
 above it, of the seated Pontiff, stretching out one hand in bene- 
 
 * Cellini t^ys he was so-called because he was a poulterer. This is 
 denied by BaldinuccI and Gaye (op. cit. i. pp. 2G5, 266), on the ground 
 that Antonio and Piero ranked as citizens. The family was artistic. The 
 famous architect Cronaca belonged to it, as did Matteo, the pupil of 
 Antonio Rossellino, a sculptor of great promise, who died at an early age. 
 
 t Su\all pictures of the labours of Hercules at the Uffizi, Tobias and 
 the Angel, National Gallery. 
 
 X Bartsch, Le Peintre Graveur, vol. ix. p. 47.
 
 Antonio Pollajuolo. 
 
 115 
 
 diction, and holding in the other a lance, v/hich represents that 
 given bj Sultan Bajazet to the Grand Master of PJiodes, who 
 sent it to Rome as the veritable weapon used to pierce our 
 Lord's side at the Crucifixion. This monument, placed at a 
 considerable height above the pavement, cannot be scruti- 
 nised closely enough to judge its minor details, such as the 
 
 statuettes of the Cardinal Virtues on either side of the seated 
 statue, and the crowned woman, emblematic of Divine Provi- 
 dence, seated between Faith and Hope, in the lunette above it. 
 
 The bas-reliefs of the imprisonment and liberation of St. 
 Peter, upon the bronze reliquary which contains the supposed 
 chains of the Apostle, at S. Pietro in Vincoli, are among the 
 last works of Pollajuolo, who died at Rome about 1496, and 
 was buried in the left aisle of this church, near the principal 
 entrance. 
 
 As an ornamental sculptor he is known to us only by the 
 famous quail in the frieze of the Andrea Pisano gate at the 
 Jiaptistry, to which we have already referred as having been 
 assigned to Lorenzo Ghiberti, in 1453, after whose death it 
 was continued and completed by his son Vittorio, with the help 
 of Pollajuolo, and perhaps other assistants. In treatment it is 
 absolutely naturalistic, and, though beautiful, is therefore very 
 much out of keeping with the style of the reliefs upon the 
 gates which it enframes. Like the frieze around Ghibcrti's 
 second gate, which is even less conventional, if possible, it is 
 
 I 2
 
 1 1 6 Historical Handbook of Italian Sculpture, 
 
 made up of leaves, flowers and fruits, whose every detail is 
 literally rendered. The quail, with his wings just spread, the 
 squirrel cracking a nut, the weasel creeping towards the hird, 
 are masterly in execution, but unfit for the use to which they 
 are put, on account of the absolutely unconventional way in 
 which they are treated. In the best Renaissance ornament, 
 where the child plays a conspicuous part, masks, tripods, 
 wreaths and ribbons, as well as plants, fruits and flowers, are 
 freely introduced, but these are treated flatly, and not in the 
 round, on the principle of absolute imitation. They are in fact 
 abstracts of nature, which give us the spirit of life and growth, 
 and thus harmonize with the architectural forms around them. 
 These pictorial tendencies of Ghiberti's school which we are 
 disposed to condemn, both as contrary to correct principles, 
 and as the source of future decadence in ornamental art, are 
 fully exemplified in the friezes of both doorways. Little is 
 known of Vittorio Ghiberti, but that he was born in 1417, that 
 he assisted his father in the second Baptistry gate, and that 
 
 he had three sons, Francesco, Clone, and Buonaccorso, the last 
 of whom followed the paternal profession of goldsmith and 
 bronze caster. His son, Vittorio II., who had no other glory 
 than that of being Ghiberti's grandson, was the last of his 
 race.
 
 The Sc/iolars of Donatelio* ii^j 
 
 (3.) THE SCHOLARS OF DONATELLO. 
 
 ** All tliose who after Douatello's death were good sculptors 
 in relief, may be called his scholars," says Vasari. This is not 
 saying too much, for he so perfected this branch of sculpture 
 that all who studied it were obliged to turn to his works as 
 models. Bertoldo, Nanni di Banco, Desiderio, Rossellino, and 
 Vellano of Padua, are the four artists whom Vasari specifies as 
 Donatello's pupils, and of these the first, Bertoldo di Giovanni, 
 is not mentioned in connection with him until after his return 
 fi-om Padua in 1456, when they worked together at San 
 Lorenzo. How far the two pulpits in this church were ad- 
 vanced when the master died is not known, but it appears 
 certain that much remained to be done to complete the bronze 
 reliefs. Unequal, and in parts exaggerated, as they are, some 
 of them, as for instance the group around the Cross, the Christ 
 in the Descent to Hell, and the Pentecost, are instinct with an 
 energy and dramatic intensity which indicates that the vigour 
 of the old artist was not extinct when he conceived them, but 
 they give us no clear idea of Bertoldo's capacity, as we cannot 
 estimate his share in them. Those, however, who know his 
 bas-relief at the Bargello of a battle between naked horse and 
 foot soldiers, and his very fine medal of Mahomet II., can have 
 no doubt as to his knowledge and ability, of which Lorenzo de' 
 Medici must have been convinced, when he made him Director 
 of the Academy which he ojaened to artists in the Gardens of 
 St. Mark. Bertoldo retained this office until his death at 
 Poggio a Cajano, in the last days of December, 1491. 
 
 NANNI DI BANCO. 
 
 Son of a certain Antonio di Banco, *' maestro di pietra," in 
 the service of the "Opera" of the Cathedral in 1407, this 
 sculptor probably learned from him what he knew of sculpture, 
 rather than from Donatello, who kindly helped him out of 
 sundry difficulties caused by his want of thorough training, 
 though ]ie can hardly be considered his master, in the proper 
 sense of the term. 
 
 The anecdotes of Vasari about their relations to each othci,
 
 1 1 8 Historical Handbook of Italian Sculptttre. 
 
 give proof of Donatello's good nature rather than of Nanni's 
 skill. When he was employed hy the Guild of the Carpenters 
 and Masons to sculpture their four patron saints for a niche 
 on the outside of Or San Michele, he did so without first cal- 
 culating its receptive capacity. Finding that he could not 
 crowd them into the allotted space, he turned for help to 
 Donatello, who so curtailed their proportions hy a judicious use 
 of the chisel, that they entered into it without difficulty (1408). 
 The has-relief below them of a sculptor's studio, is well com- 
 posed, and interesting as a record of such a place at Florence 
 in the fifteenth century, but the saints and the statue of St. 
 Philip in an adjoining niche are in no wise remarkable. Dona- 
 tello was to have made the latter, but as he asked a higher 
 price for his services than the Guild of the Hosiers was willing 
 to give him, they employed Nanni, who agreed to take what- 
 ever any competent judge should consider a fair valuation. 
 When it was finished the Guild made Donatello their umpire, 
 who, to their great surprise, named a larger sum than he had 
 asked to make it himself, on the ground that Nanni had spent 
 a great deal more time upon it than he should have done. 
 
 Another statue at Or San Michele, that of St. Eloi, the 
 patron of goldsmiths, has been attributed to Nanni, though as 
 it seems to us without internal evidence, considering that it is 
 unquestionably superior in style and treatment to his undoubted 
 works.* Neither in the Madonna della Cintola, a bas-relief by 
 Nanni (1418-21), over the side portal of the Cathedral opposite 
 the Via de' Serri,f nor in the relief of the sculptor's studio 
 already mentioned, nor in that below the statue of St. Eloi,| 
 which represents the expulsion of Satan from a horse by the 
 Saint, is there any resemblance to Donatello's mode of treat- 
 ment, and this seems to show that Nanni was slow to profit by 
 his opportunities. He died at Florence in 1421, and was buried 
 at Sta. Croce. 
 
 * Baldinucci, vol. i. p. 426, attributes it to l^anni, who is also accredited 
 with it ia a note-book belonging to the Gaddi family, entitled, " Fragments 
 of the Lives of the Painters." Vasari, vol. ii. p. 16 i, speaks doubtfully. 
 Furthermore it is not mentioned in a MS. list of painters in the Strozzi 
 Library. 
 
 t Long attributed to Jacopo della Quercia. Vasari, ed. Milanesi, vol. 
 ii. p. 116, note 1, also p. 165. 
 
 J Id. vol. ii. p. 116, note 1. See. Appendix, letter M.
 
 Dcsiderio. f 1 9 
 
 DESIDERIO DA SETTIGNANO. 
 
 (1428-1464.) 
 
 Desklerio, the son of a stone-cutter named Bartolomeo di 
 Francesco, called Ferro, was born at Settignano in 1428, just 
 forty-seven years before the infant Michelangelo was left there 
 by his parents in charge of a stone-cutter's wife. We know 
 nothing about this sculptor but that he had two brothers, 
 Francesco and Gesi ; that he became Donatello's pupil, 
 that he was admitted to the sculptors' guild in 1453, that 
 he died on January IGth, 1464, leaving a wife and two 
 children, and that he was buried in the church of San 
 Piero Maggiore. Young as he still was at the time of his 
 death, he had gained a reputation which his few extant works 
 fully justify. " Nature, indignant at being outdone by him," 
 sang an anonymous poet in verses laid upon his tomb, " cut 
 short his days ; but her vengeance proved vain, for he had given 
 immortality to his living marbles and they to him." Vasari 
 calls him "an imitator of Donatello's manner," but in this we 
 cannot agree, for it is dramatic, vigorous and energetic, while 
 that of Desiderio is quiet, gentle and unimpassioned. We 
 have little to judge him by — a bust, a monument, and a taber- 
 nacle — but these are suflBcient to show his exquisite taste in 
 ornament, his great technical skill and his originality. 
 
 The bust is that of Marietta Palla Strozzi, wife of Celio 
 Calcagnini, of Ferrara, which has lately passed from the 
 palace of her ancestors at Florence to the Eoyal Museum at 
 Berlin.*' The face is not beautiful, but it fascinates and rivets 
 the attention. The drooping eyelids seem about to close as in 
 sleej) or death, and the almost unnaturally calm features con- 
 trast strikingly with the elaborately arranged hair, the richly 
 brocaded dress, and the broad band of marble below the 
 shoulders, sculptured with recumbent figures and little genii 
 in low relief. Whether the artist thus represented this high- 
 born dame with a meaning, or from mere caprice, we cannot 
 
 * Dr. Bode (p. 32, Lief. 62, E'ztnsf xmdKunstler, etc.) questions whether 
 this can be the bust of the Marietta di Palla Strozzi whose second 
 husband Celio Calcagnini was a minion of Borso d' Este — as she was but 
 sixteen when Desiderio died (1464), and the person represented in the 
 bust looks at least ten years older.
 
 T20 Historical Handbook of Italian Sctdpture, 
 
 say, but his work is a masterpiece, in which the best charac- 
 teristics of quattro-cento sculpture are combined, while their 
 attraction is enhanced by the charm of mystery. 
 
 The qualities which give value to this portrait bust shine 
 out at Sta. Croce in Desidcrio's monument to the learned 
 scholar Carlo Marsuppini {d. 1455), whilome secretary to Pope 
 Eugenius IV,, and to Florence. A recess formed by the pro- 
 jecting architrave and pilasters, both of which are richly 
 decorated with classic ornaments, contains the effigy of the 
 deceased with his hands crossed upon a book, lying upon a 
 parade bed, placed on the top of a lion-footed sarcophagus, 
 whose ends and sides are enriched with elegantly disposed 
 acanthus leaves, intertwined with ribbons attached to a mortuary 
 tablet. It stands on a sculptured platform raised above an 
 ornate base, at either end of which nude children hold armorial 
 shields. They are balanced in the upper part of the tomb by 
 other children, placed at either end of the entablature to bear 
 up the ends of a long pendant festoon which falls from a sculp- 
 tured vase on the top of the lunette, against which they lean 
 for support. This lunette contains a charming bas-relief of 
 the Madonna and Child with two praying angels. Every part 
 of the surface is enriched, but the ornamental details are so 
 symmetrically disposed, and so delicately sculptured, that the 
 monument docs not appear to be overloaded. 
 
 We shall not describe Desiderio's tabernacle at San Lorenzo, 
 with its leaf ornament, its praying angels, and its Pieta in flat 
 relief, nor dwell upon the frieze of angels' heads which he and 
 Donatello sculptured for the Cappella Pazzi,* nor make more 
 than a passing reference to the wooden statue of the Magdalen, 
 at Santa Trinita, which was finished by Benedetto da Majauo 
 after our sculptor's death in 14G4. He who knows his master- 
 works, the bust of Marietta Strozzi, and the Marsuppini monu- 
 ment, knows Desiderio in his possibilities and his limitations. 
 Artists like Donatello, or writers like Shakespeare, may reveal 
 new phases of genius in every added work, but sculptors like 
 Desiderio, or poets like Gray, tell us in a few perfect marbles 
 and poems all that they would have said had their works been 
 infinitely multiplied. 
 
 * Alberti's Memoriale (1510) mentions this frieze as a joint work, and 
 speaks of Desiderio as Donatello's scholar. Bode, op. cit. p. 39.
 
 The Scholars of Donatello. 1 2 1 
 
 BEUN-ARDO ROSSELLINO (1409-14G4), AND HIS BROTHER 
 
 ANTONIO (1425-1478). 
 
 The three finest Eeiiaissance tombs in Tuscany are those 
 of Lionardo Bruni (1444), by Bernardo Ptossellino, at Sta. 
 Croce, of Carlo Marsuppiui (1454), by Desiderio, in the same 
 church, and of Cardinal James of Portugal, by Antonio 
 Eossellino (1459), at San Miniato. The first, which served 
 as a type of the other two, is severely simple in effect, the 
 second extremely rich, though equally quiet in line ; while the 
 third attains the golden mean in point of ornament, thanks 
 to the judicious contrast preserved between adorned and un- 
 adorned spaces, the substitution of the simply disposed folds 
 of a curtain upon the archivolt for a heavy festoon outside the 
 arch, and the opposition of angels and putti in action, to the 
 stillness and repose of the sepulchral effigy. In each the 
 deceased reposes upon a draped parade bed, placed on the top of 
 a sarcophagus stand ir-^g in a recess, and in each the lunette is 
 filled with a circuiar relief of the Madonna and Child, sup- 
 ported by kneeling or flying angels ; but here the resemblance 
 ends, for while Bernardo has placed eagles, and Antonio seated 
 genii at the head and foot of the bier, Desiderio has dispensed 
 with both, and where he introduced children with shields below 
 and above it, Antonio placed winged angels with emblems upon 
 either end of the entablature above the sepulchral effigy. The 
 Madonna and Child under the arch of the Cardinal's tomb is 
 relieved against a blue background, studded with stars, the flat 
 space around it is enriched with cherubim, and the wreath 
 which enframes it is supported by flying angels. The occu- 
 pant of this beautiful monument, a member of the royal house 
 of Portugal, who served the Florentine Republic as ambassador 
 at the court of Spain, "lived in the flesh," says his biographer, 
 "as if he were freed from it, like an angel rather than a man, 
 and died in the odour of sanctity at the early age of twenty- 
 six." 
 
 Antonio Rossellino, w^ho sculptured his tomb, and his 
 brother Bernardo, who made that of Lionardo Bruni, apostolic 
 secretary, chancellor of the Republic, and eminent scliolar 
 (13G9-1444), were the sons of Matteo di Domenico Gam-
 
 122 Historical Handbook of ItaliaJi Sctdptttre. 
 
 berelli.* Bernardo, the elder of the two, was the favourite 
 architect of Popes Nicholas V. and Pius II., for whom he is 
 commonly supposed to have huilt the Piccolomini Palace and 
 the Town Hall at Cosignano (Pienza), the Pope's birthplace, 
 as well as some important edifices at Siena. It is however 
 possible that another Florentine of the same name built them, 
 and not Rossellino.f whose many important works in sculpture 
 ■would seem to preclude the devotion of so much time to archi- 
 tecture as their erection would have demanded. Besides the 
 Bruni monument at Sta. Croce, already described, he made that 
 of the Beata Villana (1451), a Florentine saint of the four- 
 teenth century, at Sta. Maria Novella, and the monument of 
 Filippo Lazzari (1464), doctor of laws, in the church of San 
 Domenico at Pistoja. These tombs, and the busts of the 
 youthful St. John and Battista Sforza at the Bargello, give 
 evidence of remarkable artistic ability, high technical training, 
 and refined taste. They do not however show those qualities 
 of charm and grace which give value to the works of his brother 
 Antonio, who ranks with Desiderio, Mino da Fiesole, and Bene- 
 detto da Majano, among the first sculptors of his time. Although 
 Vasari mentions him among the scholars of Donatello, Antonio 
 really belonged to the school of Ghiberti. His pictorial tenden- 
 cies are evident in the angels of the Cardinal's monument at San 
 Miniato already described, and are fully manifested in the bas- 
 reliefs of the monument of Mary of Aragon {cl. 1470), in the 
 church of Monte Oliveto at Naples, which he made for her 
 husband the Duke of Amalfi.| The Nativity is a picture in 
 marble, charming in expression, excellent in composition, per- 
 fect in execution, but not a bas-relief properly so called, and 
 •the same may be said of the Eesurrection and the relief of the 
 
 * Matteo had five sons, all artists, viz., Bernardo, Domenico, Maso, 
 Giovanni and Antonio. 
 
 t The Vatican registers of Pins II.'s reign, mention M° Bernardo di 
 Fierenza, as architect of the buildings at Pienza, but do not give his 
 family name. Pius II. in his Commentaries, speaks of him as Bernardu? 
 Florentinus. M. Eugene Miintz, oip. cit., vol. iv. p. 234, after careful 
 research, discusses the question whether this Bernardo is Rossellino or 
 Bernarao di Lorenzo, without being able to decide it definitely. 
 
 X The Duke was so delighted with the monument of the Cardinal di 
 Portogallo, that he commissioned Antonio Eossellino to repeat it at 
 Naples.
 
 The Scholars of DGuatcllo. 123 
 
 Virgin, St. John, and the Magdalen at the foot of the Cross, 
 over an altar in the same chapel, as they are equally pictorial 
 in style, and like Ghiberti in all but one particular, the flatter 
 treatment of planes. In this Antonio Eossellino followed 
 Donatello, hut otherwise he worked after the manner of his 
 rival. His circular relief at the Bargello of the Madonna 
 adoring the Infant Jesus, shows this even more markedly, in 
 the gradual flattening of the relief planes, the landscape back- 
 ground, the sky, and the treatment of figures and accessories 
 in persj)ective.* However skilfully managed, the use of theso 
 pictorial artifices in sculpture, here borrowed from the second 
 gates of the Baptistry, cannot be defended. In the busts of 
 Giovanni di San Miniato, doctor of laws (1456), at South Ken- 
 sington, and that of Matteo Palmieri (146S) at the Bargello, 
 Antonio seized and expressed the character of his subjects with 
 force and truth, putting into them that extraordinary vitality 
 which gives a unique value to the best Florentine heads of the 
 fifteenth century in terra-cotta and marble. The finest single 
 statue by this sculptor is that of St. Sebastian in a niche over 
 an altar in the parochial church at Empoli. It has two 
 kneeling angels with the emblems of martyrdom, placed above 
 the cornice, like those above the sepulchral effigy of the 
 Cardinal of Portugal at San Miniato. f 
 
 Among the minor works of Antonio Eossellino, we have yet 
 to mention a Madonna and Child, enframed with cherubim, in 
 the church of Sta. Croce, called the Madonna della Latte, 
 which formed part of the monument ordered by Francesco 
 Neri for himself, before he fell under the daggers of the 
 Pazzi conspirators who slew Giovanni de' Medici in the Cathe- 
 dral on the 26th of April, 1478. As this is the last year 
 in which Antonio Piossellino is recorded as a tax-payer in the 
 Guild of Sculptors, it is probable that he died shortly after, 
 though Vasari says that he lived as late as 1490. 
 
 * The fine " gesso duro " of this relief belonging to C. Drury Fortnuni, 
 Esq., of Stanmore, which is in some respects superior to the marble, 
 perhaps represents the master's original conception. 
 
 t Dr. AV. Bode, op. cit. p. 38, speaks of this statue in terms of hi^Vi 
 praise.
 
 124 Historical Handbook of Italian Scnlptnre, 
 
 BAKTOLOMEO EELLANO OR VELLANO (b. ABOUT 1430, 
 
 D. 1500 OR 1502). 
 
 Among the young artists of Padua who studied under 
 Donatello during his sojourn in that city, was Bartolomeo 
 Bellano or Yellano, who was neither an " iueptus artifex," as 
 he is styled hy Gauricus, nor the all-sufficient representative of 
 Donatello at Padua, after that great artist returned home, as 
 Vasari calls him. Judged by the ten bronze bas-reliefs which 
 Bellano modelled and cast for the choir of San Antonio, 
 where they may be compared on the spot with the bronzes of 
 his master, and of his own distinguished pupil, Andrea 
 Piiccio, he was far from being the equal of either.* They 
 want smoothness and firmness of texture, and that delicate 
 modulation of surface treatment which gives high value to the 
 best Florentine metal work, and are furthermore overcrowded 
 ■with figures, ultra-pictorial in style, faulty in perspective, and 
 wanting in repose. A description of one of these bronze pictures, 
 representing the casting of Jonah into the sea, will suffice to 
 justify this criticism, as it is applicable to all the rest. The 
 greater part of the panel is filled with the ship, heavily 
 labouring in the agitated waves. Her decks, shrouds, and 
 broken masts are covered with a mass of diminutive figures of 
 equal insignificance, who are watching the fall of the doomed 
 prophet, but any anxiety as to his safety is dispelled by seeing 
 him kneeling in prayer below the lofty rocks which rise from 
 the sea coast in the background. Here we can find no trace of 
 Donatello's influence, and must suppose that if Bellano ever 
 felt it, it had lost its power over him in the lapse of j^ears. 
 
 In his other works, with the exception of the two heraldic 
 genii in niches belonging to the monument of Pietro Eoccabo- 
 nella (1491), in the church of San Francesco at Padua, it is as 
 little perceptible. One of the two panels belonging to this 
 monument, placed on either side of the high altar, represents 
 
 * Gonzati, Doc. 82, vol. i. \>. 90. The subjects of the ten reliefs, for 
 which he contracted on the 27tli of ISTovember, 1484-, and completed in 
 1488, are: — 1. Cain and Abel; 2. Sacrifice of Isaac ; 3. The crossing of 
 the Red Sea; 4. Adoration of the Golden Calf; 5. Joseph and his 
 brethren ; 6. The Bronze Serpent ; 7. Sampson destroying the Temple ; 
 8. David dancing before the Ark ; 9. Judgment of Solomon; 10. Jonaru
 
 The Scholars of Donatcllo. 125 
 
 the professor seated at a desk with a book in his hand ; the 
 other, the Madonna and Child seated under a canopy between 
 SS. Peter and PauL In both the heads are disproportionately 
 small for the bodies, and the hard-lined draperies cling to the 
 limbs in square patches. That Bellano worked as architect at 
 Rome for Paul II., as stated by Vasari, is doubtful, but it is 
 certain that in 1466 he cast a statue of this Pontiff for Perugia, 
 which was melted down to make copper money in 1798.* The 
 monuments of Antonio Rossello, and of Raffaele Folgoso in the 
 Basilica of San Antonio at Padua, as well as the medals of 
 Paul II., Antonio Eossello, and of Plotina, the historian of the 
 Popes, are ascribed to Bellano, who died at Padua in the first 
 years of the sixteenth century, and was buried at San Antonio. f 
 
 Having now spoken of the artists classed by Yasari as the 
 scholars of Donatello, we shall mention others who either worked 
 with him or under his influence, namely, Francesco Valenti or 
 del Vagliante of Florence, Antonio Cellino or di Chellino of 
 Pisa, Giovanni da Pisa, Urbano da Cortona, Simone Fiorentino, 
 Bernardo Ciuffagni, Andrea Verocchio, and Giovanni di Bar- 
 tolo. Of these the first four assisted Donatello at Padua 
 between 1444 and 1449, in preparing and casting the series 
 of bronzes with which he decorated the Basilica of St. Antonio. 
 Francesco Yalenti and Antouio Cellino being goldsmiths, were 
 probably employed in the w^ork of cleaning and hammering out 
 the surfaces of the bronzes, while Urbano da Cortona and 
 Giovanni da Pisa being sculptors, doubtless assisted in model- 
 ling and casting them. The latter showed himself to be an 
 able sculptor in the terra-cotta figures of the Madonna and 
 Child with three saints, over an altar in the chapel to the 
 right of the high altar in the church of the Eremitani at 
 Padua. 
 
 We have already spoken of Simone Fiorentino, in the life of 
 Donatello, as an ambiguous personage whom it is difficult to 
 identify. Of the two Simones mentioned by Vasari, the one, a 
 
 * Placed on its pedestal October 20, 1467. The decree of the Perugians 
 asking it to be made is dated November 4, 1466. 
 
 t Gonzati, o\-i. cit. vol. i. p. 133. The monument to Paolo de Castro 
 and his son Angelo, Professor in the University at Padua, in the church 
 of the Padri Serviti at Padua, is ascribed to Bellano (1492). The Rocca- 
 bonella monument at San Francisco was finished by Riccio after Bellano's 
 death. 
 
 *
 
 126 Historical Handbook of Italian Sctdpture, 
 
 Bo-called brother of Donatello, cast the grave slab of Pope 
 Martin V. at the Lateran, and the other, a scholar of Brunel- 
 leschi, who sculptured a Madonna at Or San Michele, and cer- 
 tain works at Tagliacozzo left incomplete at his death, the last 
 was probably the Florentine goldsmith Simone di Giovanni 
 Ghini, born in 1407, who assisted Filareie (Averiiliuo) in 
 casting the bronze gates of St. Peter's, and the first, Simone 
 di Nauni Ferucci da Fiesole,* pupil of Donatello, and co-worker 
 with Bernardo di Piero Bartolomeo de' Ciufrugui and other 
 sculptors employed by Paudolfo Malatesta at Eimini. Bernardo 
 de' Ciuffagni, who was born at Florence in 1531, and educated 
 as a goldsmith, and who assisted Ghiberti in casting the first 
 Baptistry Gate, sculptured the statue of St. Matthew (1409-1415) 
 in the tribune of the Cathedral, the St. Stephen which crowns 
 the gable of its second Northern door (1424), and the King 
 David on the left side wall, near the entrance. f The last seven 
 years of his life, which came to an end in 1457, were spent at 
 Bimini, in the service of Sigismund Pandolfo Malatesta, who 
 caused the church of San Francesco, or the Tempio Malatestiano 
 as it is more properly called, to be re-built by the famous 
 Florentine architect Leo Battista Alberti, in fulfilment of a 
 vow. So far as he completed it it is unquestionably the most 
 perfect of neo-classical buildings, and this is the more remark- 
 able as the original edifice, which he transformed into a 
 mausoleum whose every detail is connected with its founder 
 and his wife, the celebrated Isotta degli Atti, was in the 
 Gothic style. The west front with its noble arcL, its Corinthian 
 columns, its broad entablature and massive cornice, the inter- 
 laced cyphers of Sigismund and Isotta, and the seven bays 
 of the lateral facade, each of which contains a sarcophagus of 
 classic design! give the exterior of this temple a Pagan aspect 
 which is not dispelled by the interior, with its heathen em- 
 blems, its medallions, statues and bas-reliefs, and its Greek 
 
 * This Simone, who made the grave slab of Pope Martia V. at the 
 Lateran, is the artist designated by Vasari as Donatello'a brother, though 
 he had no brother of this name. He is not to be confounded with 
 Simone di Francesco, pupil of Verocchio, who made the Turtagni 
 monument in the church of San Domenico at Bologna, 1477. 
 
 f /See Dr. Hans Semper's notice of Ciuffagni in his Donatello, pp. 72-75. 
 
 X Illustrious men of the court of Eimini are buried in these sar- 
 cophagi.
 
 Sigismimd and Isotla. 127 
 
 and Latin inscriptions. As wo enter, we listen for the boys' 
 voices and the soft flutes which are to make music at the sacri- 
 fice, and watch for the coming of the chaplet-crowned priests 
 and the milk white heifer — 
 
 " Its silken flanks with garlands drest," 
 
 which they are to offer up to the god and goddess of Rimini, 
 whose statues — under the guise of SS. Sigismund and Michael 
 — look down upon us from their altars. 
 
 None perhaps among the Italian princes of the quattro-cento 
 united in himself so many of the typical virtues and vices of his 
 class, as the prince here deified. Brave to a fault, highly cultured, 
 the liberal patron of arts and letters, though cruel, sensual, and 
 crafty, he is said to have strangled his second wife Polixena 
 Sforza for love of Isotta, who maintained her power over him, 
 not through her beauty, for, judging from the many medals* and 
 portraits of her in existence-]- she was far from handsome, but 
 by her strong character and determined will. Contemporary 
 poets and chroniclers exalt her as the peer of Helen in beauty, 
 of Sappho in poetical gifts, of Penelope in constancy, and of 
 Hypatia in her knowledge of physics and moral philosophy, 
 but these are either wholly folse or grossly exaggerated state- 
 ments. The researches of her latest biographer lead to the 
 conclusion that this famous woman did not know how to 
 write, but they also prove that she had remarkable political 
 ability, that she' was a wise and judicious counsellor to her hus- 
 band, and that she often saved him from the consequences of his 
 headlong impetuosity and brutal violence, J She became Domina 
 Isotta de' Malatestis, the legal wife of Sigismund, in 1457, after 
 seventeen years of concubinage ; repeatedly acted as regent of 
 his dominions in his absence, and, surviving him, ruled over 
 Pdmini for several years before she died, as it is said of poison, 
 in the year 1470. 
 
 * Eight in number; seven by Matteo de' Pasti, and one by Pisanello. 
 
 t A marble bust by Mino da Fiesole, in the Camjio Santo at Pisa; a 
 bust in wood belonging to the Barker collection at London, and a bas- 
 relief now lost, of which an engraving is given in Mazzuchelli. A por- 
 trait by Pievo dell a Francesca, in the National Gallery, is mentioned 
 in the catalogue as a likeness of Isotta. 
 
 X Un conclutticre an XV' Siecle : Rimini, Etude, etc., par M. Ch. 
 S'riarte. ■ Paris, Rothschild. See Appendix, letter N.
 
 128 Historical Handbook of Italian Sculpture. 
 
 Letters in the archives at Siena, found by M. Charles Yriarte, 
 throw much light upon affairs at Eimini during the construc- 
 tion of the church of San Francesco, as they were written to 
 Sigismund, in order to keep him acquainted with affairs at 
 home, while he was defending the Sienese against the Count 
 of Pittigliano. The j'ear of his absence, 1454, was that of the 
 decoration of the temple, and various names of jiersons con- 
 cerned in it are given in these letters — one of whom, Maestro 
 Agostino, cited in connection with a sarcophagus of the 
 "Antenati" in the chapel of Sigismund's ancestors, is sup- 
 posed by M. Yriarte to be Agostino di Duccio or Guccio, called 
 also Fiorenza, of whom more anon, and another, '* Matteo de' 
 Bastia," is undoubtedly the famous Matteo de' Pasti, whose 
 admirable medals have made the features of Sigismund and 
 Isotta so familiar to us. 
 
 In examining the sculptures we have to consider the four 
 names of Simone Fioreutino, Bernardo Ciuffagni, Agostino di 
 Antonio di Duccio, and Matteo de' Pas^i as those of the 
 artists with whom a few of the marbles may be identified with 
 some approach to certainty, though these are exceptions.* Of 
 such are the statue of Isotta under the guise of St. Michael 
 over an altar in one of the chapels, and that of St. Sigismund 
 in his chapel, both probably by Ciuffagni. The latter as Dr. 
 Semper observes, resembles this artist's Evangelist at Florence, 
 both in the pose, and the hard, lifeless treatment of the robe 
 and the bead.-]- Another sculptor of far greater ability, evidently 
 brought up in Douatello's school, sculptured the mannered 
 angels in flat relief upon the walls of the same chapel. The 
 complicated folds of their flying draperies, and the flowing out- 
 lines of their forms are treated with such facility and sweep of 
 
 * Vasari, ed. Milauesi, vol. ii. p. 169, says that Liica della Kobbia, at 
 the age of fifteen, went to Rimini to work for Malatesta in the church 
 of San Francesco. This is manifestly impossible, as Luca was fifteen 
 years old in 1416, and the church was commenced in 1457. Vittore 
 Pisanello, the medallist, has also been mentioned among the sculptors at 
 Eimini, but there is no proof that he ever worked in marble. His two 
 medals of Pandolfo Malatesta were executed before 1445, after which 
 year he left Rimini, and was succeeded as medallist to its Lord by 
 Matteo de' Pasti. See ies Medailleicrs de la Renaissance. Vittore 
 Pisano, par Alexis Heis, p. 21. 
 
 t Op. cit. p. 73.
 
 Agostino di Ditccio. 129 
 
 band, that tlicy appear to have been drawn rather than sculptui'ed 
 upon the stone, and it seems not improbable that they arc the 
 work of Agostino di Antonio di Duccio do' Mugnoni, who has 
 been very incorrectly classed in the school of Luca della Robbia, 
 instead of that of Donatello, to which he properly belonged.* 
 Born at Florence in 1418, the son of a weaver named Antonio, 
 this artist is best known to us by the beautiful facade of the 
 church of San Bernardino at Perugia (1467), which he built 
 and enriched with terra- cottas and parti-coloured marbles. 
 
 In the lunette of the great arch which forms its chief archi- 
 tectural feature, San Bernardino is represented in a glory of 
 flaming tongues, attended by angels playing on musical instru- 
 ments. The reliefs upon the architrave, which are notably 
 realistic in style and peculiarly naive in sentiment, relate to 
 incidents in the life of the Saint, while the single figures and 
 groups upon the pilasters portray angels with instruments of 
 music, and virtues, one of whom, Chastity, a female form veiled 
 in a flowing robe, has a branch of lilies in her hand. These 
 charming works, as w^ell as the arabesques and ornaments pro- 
 fusely scattered about the flat spaces of the facade, are treated 
 in plane surfaces, and conceived in that spirit which accepts and 
 makes use of common nature without regard to beauty. If Agos- 
 tino learned the art of making vitrified terra-cottas in the work- 
 shop of Luca della Bobbia, as Vasari would have us believe, he 
 treated it in his own peculiar way under the unmistakable in- 
 fluence of Donatello. As the angels in the chapel at Rimini, 
 which may reasonably be attributed to him, are in marble, and 
 of great size, they do not recall his work at Perugia, but we 
 do not attach importance to this in weighing his claims to the 
 authorship of both, as the difference may be attributed to diver- 
 sity of material, of process and of dimension. f 
 
 Proceeding now with our identification of the marbles at San 
 Francesco, we come to those possibly scul^itured by Matteo de' 
 
 * Vasavi, ed. Milanesi, vol. ii. p. 177. 
 
 t Other works by Agostino di Duccio are the ornaments about the 
 door of S. Pietro, the glazed terra-cottas at S.Dominico, Perugia (1459), 
 and four relief's from the life of San Giinignano, on the fa9ade of the 
 Cathedral at Modena (14-12). A bas-relief in the Archajological Museum 
 at Milan, and a bronze relief of the Crucifixion once attributed to 
 Antonio del Pollajuolo, are ascribed to the same artist by M. C. Yriarte. 
 
 E
 
 130 Historical Handbook of Italian Sculpture. 
 
 Pasti. Among them we should class the medallion portraits of 
 Sigismund Pandolfo upon the pilasters which flank the entrance 
 to the chapel of his ancestors, and the children riding on dol- 
 phins in the second chapel on the left hand.* These attribu- 
 tions are founded on the knowledge which we have of the ad- 
 mirable medals of this artist, who was born in the first quarter 
 of the fifteenth century, and like Pisauello, his master, was a 
 Veronese. "We learn that he was living at Eimini in 1453, by a 
 letter written from that citv to Sigismund Pandolfo, in which 
 he is mentioned, but as among his medals of this Prince, of 
 Isotta, and of several illustrious Riminese, all save one are 
 dated in 1446-7 and 50, he may have been already a resident 
 there for some years when the letter was penned, and he prob- 
 ably remained there as late as 1463. We do not recognize 
 him as the sculptor of the elaborately decorated marble sai'co- 
 phagus in the Chapel of the " Antennati," which contains the 
 bones of Sigismund's ancestors, who as the founders of the 
 house of Malatesta, are represented in its bas-reliefs, grouped 
 around Minerva. Sigismund appears among them, mounted on 
 a triumphal car preceded by prisoners with their arms bound 
 behind their backs. 
 
 The sarcophagus is, perhaps, by Simone di Nanni, but we are 
 unable to ofi"er any conjecture as to the sculptor of the statuettes 
 in niches upon the pilasters which flank the entrance to the 
 chapel in which it stands, or of the eighteen allegorical bas- 
 reliefs of agriculture, ethics, metaphysics, poetry, history, &c., 
 upon the pilasters at the entrance to another chapel in the 
 church. The fanciful mottoes inscribed upon them contain 
 allusions to the Lord of Rimini, and his beloved Isotta. 
 
 GIOVANNI DI BARTOLO. 
 
 Giovanni di Bartolo, called Rosso, whom Yasari classes 
 among the scholars of Donatello, was attached to the Cathe- 
 dral at Florence from 1419 to 1423, and sculptured the statue 
 of the Prophet Obadiah, which fills a niche in the second story 
 of the Campanile. The other three statues in adjoining niches 
 are by Donatello, and this would seem to be why Vasari asso- 
 
 * See Die Italianischen schaumiinzen, by J. Friedlander. Jahrhuch 
 der K. K. P. Kunstsammlungen, Ersterbatid, supplement heft. pp. 263-4.
 
 Andrea del Verrocchio. 131 
 
 ciated them together, as Giovanni, if we may judge him by the 
 ultra-pictorial and scenic monument of the Brenzoni, inscribed 
 with his name (1420), in San Fernio Maggiore at Verona, 
 had no affinity with the great Tuscan sculptor. The monu- 
 ment which resembles certain Venetian tombs in style, has no 
 Tuscan features about it, with the exception of the tent-like 
 drapery held back by angels, which it has in common with 
 them. The canopy shelters a sarcophagus, from which an 
 angel with apparent effort rolls back a stone, while a risen 
 Christ with a banner in his hand stands on the lid. Three 
 sleeping guards in armour, one of whom has his back turned 
 to the spectator, lie upon rocks in the foreground below the 
 sarcophagus, at each end of which are torch-bearing angels of 
 a Venetian type. The whole structure rests upon a heavy and 
 overloaded console, placed against the wall. Were it not for 
 the inscription, which leaves no room for doubt as to its author, 
 we should question the possibility of this tomb's having been 
 sculptured by a Florentine sculptor of the early Renaissance 
 period, 
 
 Giovanni di Bartolo, who adorned the great portal of the 
 church of San Niccolo at Tolentino with sculptures in 1431, 
 is mentioned for the last time in the year 1451, in connection 
 with a statue which he had blocked out at Carrara.* 
 
 ANDREA DEL VERROCCHIO. 
 
 (1435-1488.) 
 
 The works of Andrea di Michele di Francesco Clone, called 
 Verrocchio, show so little trace of Donatello's influence, that al- 
 though the fact is well authenticated we find it difficult to believe 
 that they ever stood in the relation of pupil and master to each 
 other.! Born at Florence in 1435, Andrea was early apprenticed 
 to Giuliano Verrocchio, a goldsmith, from whom he took the 
 name of Verrocchio, which is generally said to have been given 
 him on account of his wonderful correctness of eye. "We can 
 
 * Vasari, ed. Milancsi, vol. ii. p. 40t, note 2. 
 
 t It is offirmed by Baldlnucci, on the strength of a MS. in the Strozzi 
 library, which he discovered and examined. Another MS. cited by 
 Mihmcsi, ed. Vasari, vol. iii. p. 358, note 1, affirms the same fact, and 
 states that Andrea assisted Donatello in making the fountain in the 
 Sacristy of Saa Lorenzo 
 
 k2
 
 132 Historical Handbook of Italian Sculpture. 
 
 form no idea of the skill in the goldsmitli's art which gained 
 him a place heside Ghiberti and IMaso Finiguerra, as his altars 
 and reliquaries adorned with metal M'ork, his chased cope- 
 buttons, his vases covered with animals and foliage in relief, 
 and his cups ornamented with groups of dancing children, have 
 disappeared, together with the silver statuettes of the twelve 
 Apostles, which he made for Pope Sixtus IV.* Of all the pre- 
 cious objects of this class, in the fashioning of which he spent 
 the greater part of his life, none remains save the silver bas- 
 relief of the beheading of St. John, which he made for the altar 
 of the Baptistry at Florence (1477). As little can we judge of 
 his ability as a painter from his one picture of the Baptism of 
 our Lord in the Accademia at Florence, which is so hard in 
 line, dry in style, and wanting in expression, that we are 
 inclined to give credence to the story, related by Vasari, that 
 hurt by being outdone by his boy-pupil Lionardo da Vinci, who 
 had painted the golden-haired angel in its left-hand corner, he 
 gave up painting and thenceforth devoted himself to sculpture. 
 After the death of Donatello (14GS) Verrocchio completed 
 the fountain which he had commenced at San Lorenzo, cast a 
 bronze ball to surmount the cupola of the Duomo (1471), and 
 between 1469 and 1472 made the monument of Piero and 
 Giovanni de' Medici (sons of the great Cosmo) for the sacristy 
 of San Lorenzo, which consists of a porphyry sarcophagus, 
 decorated with bronze ornaments of great elegance, placed 
 beneath an arch, whose recess is filled in with a network of 
 bronze cordage.f About 1473 Verrocchio was at Eome, work- 
 ing upon a monument to Selvaggia di Marco dogli Alessandri, 
 wife of Francesco Tornabuoni, a Florentine merchant, for the 
 church of Sta. Maria-sopra-Minerva.t Nothing of it exists save 
 one bas-relief now in the Bargello at Florence, whose expressive 
 excellence is marred by a hard style, angularity of action, ex- 
 aggeration of sentiment, and the abrupt treatment of draperies. 
 It represents Selvaggia dying in child-bed. Supported by her 
 
 * 1471-1484. They were stolen from the Pontifical Chapel about the 
 middle of the last century (Vasari, vol. v. p. 141, note 1). 
 
 t Finished in 1472. The bodies of Lorenzo and Giuliano, who ordered 
 it, were removed to it in 1559. 
 
 X This Francesco Tornabuoni, who was made ambassador to Venice in 
 1420, is not to be confounded with another person of the same name 
 ■who died at Borne in 1513 (Litta, Articolo Tornahunni, vol. ji. tav. 102).
 
 Andrea del Verrocchio. 133 
 
 attendants, she reclines upon a couch surrounded by her rela- 
 tives and friends, one of whom tears her hair in an agony of 
 grief, while another crouches in silent despair upon the ground 
 with her head enveloped in the folds of a thick mantle. 
 
 After his return to Florence, Verrocchio modelled and cast the 
 bronze statue of David (1470) at the Bargello, which though 
 meagre in outline and wanting in sentiment, is fall of life and 
 animation. The type of face is thoroughly Lionardesque, the 
 head is covered with clustering curls, and the body is protected 
 by a light corselet. The very carefully studied left hand rests 
 upon the hip, and the right grasps a sword, with which the 
 3'oung hero is about to cut off the head of his fallen enemy. 
 More charming than the David, and equally living, is the boy 
 holding a dolphin in his arms, which Verrocchio made for 
 Lorenzo de' Medici, to decorate a fountain at the villa Careggi. 
 This bronze, one of the gems of Florence, now adorns a foun- 
 tain in the cortile of the Palazzo Vecchio, and like a straggling 
 sunbeam brightens the gloomy precincts with its presence. 
 
 Besides his more important works, our artist sculptured many 
 crucifixes that were highly esteemed and eagerly sought after, 
 and modelled many wax figures, which, robed in the costume 
 of the day, were placed in churches as "ex votos."* In this 
 branch of art Verrocchio deserves especial praise, for although 
 dealing with perishable materials, he treated them with con- 
 scientious care. He is also to be remembered for having intro- 
 duced the fashion of taking casts in plaster of hands, feet, and 
 other natural objects for purposes of study, and in this he was 
 imitated by many, who, says Vasari, also cast heads of the dead 
 at a small expense, in such numbers that they are to be seen 
 ** over the chimney-pieces, doors, windows, and cornices of 
 every house in Florence." f 
 
 The last work upon which we know Verrocchio to have been 
 engaged was the equestrian statue of the celebrated Condottiere 
 
 * The soubriquet of Falllmagini, or " Del Cerajuolo," borne by the 
 Benintendi family in token of their profession, proves that such images 
 had been made in Florence before Verrocchio's day (Del Migliore, Flrenze 
 Ulust, Bibliotheca Magliabecchiana, MS.)- These figures resembled 
 those which tlie Eomans, who had obtained the "jus imaginum," were 
 accustomed to place in the " atria" of their houses. 
 
 t See Vasari, vol. v. p. 152, note 2, and Appendix, letter 0.
 
 134 Historical Handbook of Italian Sculpture, 
 
 Bartolomeo Coleoni, captain-general of the Venetian forces, 
 who died at Bergamo (1476), leaving his silver, furniture, 
 arms, horses, and the sum of 216,000 gold florins to the re- 
 public of Venice, on condition that his equestrian statue should 
 be set up in the square of St. Mark.* This condition caused 
 no little embarrassment to the Signory, as an old law forbade 
 that the Piazza should be in any way encumbered, but it was 
 suggested that the square of the School of St. Mark, which 
 adjoins the church of SS. Giovanni e Paolo, would sufficiently 
 fulfil the letter if not the intent of the testament, as a site. 
 
 In 1479 Verrocchio came to Venice at the request of the 
 Signory to undertake the work, and had already modelled the 
 horse, when a report reached him that Donatello's scholar, 
 Bellano of Padua, was to make its rider. Indignant at this 
 intended insult, he instantly broke the head and legs of the 
 horse in pieces, and returned to Florence, where a decree of 
 the Senate reached him forbidding him under pain of death 
 ever to set foot upon Venetian territory. To this injunction 
 he replied that he would never incur the risk, as he was aware 
 that if his head were once cut off, the Signory could neither put 
 it on again nor supply its place, though he could at any time 
 advantageously replace the head of his horse. Struck with the 
 truth of this answer, the Venetians invited him to resume his 
 "work with double pay, and a pledge that he should not again be 
 in any way interfered with. He accordingly returned to Venice 
 in 1488, and had begun to restore his broken model, when he 
 was attacked by a violent illness which speedily carried him to 
 his grave. How much, or rather how little, of his task was 
 then completed, is clearly shown in the passage of his Will in 
 which he supplicates the Signory to allow his scholar, Lorenzo 
 di Credi, to finish the horse which he had commenced.! Instead 
 of complying with this request, they commissioned Alessandro 
 Leopardi, a Venetian sculptor, j to complete the group, whose 
 ample forms markedly contrast with the generally meagre 
 
 * Sanuto's Diary, vol. xxii. p. 1203 ; Muratori, It. Rer. 
 
 t " PJtiam relinquo opus equi per me principiati " (Gaye, vol. i. p, 369). 
 This will was lately discovered in tlie Riccardiana library at Florence. 
 
 J Leopardi was recalled from banishment (to which he had been con- 
 demned for forgeryj in 1490. " Ut tali mcdo possit pcrncere equuvi et 
 statuam 111. Bart, de Collionibus, jam cum mnlta laude cceptam " (Cicogna, 
 op. cit. ; Reumont, of. cit. vol. vi. p. 367, note 38).
 
 Andrea del Verrocchio. 135 
 
 character of the Tuscan sculptor's work. This leads us to con- 
 clude that Leopardi gave himself full liberty in the matter, and 
 to regard him as the chief author of the finest of all modern 
 equestrian statues, as the Venetians did when they gave him 
 the surname of "del Cavallo." '"^ 
 
 Clad in armour, with a helmet upon his head, the rider, who 
 perfectly embodies the idea which history gives us of an Italian 
 Condottiere, sits straight in his saddle, as his horse with arched 
 neck moves slowly forward. His stern countenance is marked 
 with deep-set eyes, whose steady intensity of expression reveals 
 an iron will (see woodcut. Book III.) and the severity of his 
 appearance is happily set ofi" by the rich detail lavished upon 
 the saddle, the breast-plate, the crupper, and the knotted mane 
 of his steed, and by the very elegant pedestal upon which 
 Leopardi raised the group, giving it the noblest possible effect. 
 
 Between the intervals of Verrocchio's first and second visit 
 to Venice (1488), he finished the bronze group representing the 
 Incredulity of St. Thomas, begun many years before, to fill a 
 niche on the outside of Or San Michele.f The faces of our 
 
 * "Would the Signory have talked of appointing Vellano of Padua to 
 make the figure of Coleoni if Verrocchio had ah-eady modelled it? and 
 would he only have spoken in his Will of the horse as " commenced " had 
 it been completed? Would Alessandro Leopardi have been allowed to 
 engrave his name upon the work without reference to Verrocchio, or been 
 ever after styled Alessandi-o del Cavallo, had he not been generally acknow- 
 ledged as its author? This " vexata qutestio " is imiiortant to settle as 
 far as possible, as Leopardi is usually, and it seems unjustly, spoken of 
 as the humble partner of Verrocchio's glory, whereas, for the above rea- 
 sons, he appears to deserve the lion's share. Cav. P. Zandomenighi, in a 
 discourse pronounced before the Accademia delle Belle Arti at Venice 
 (p. 17), says that the original registers of the Council of Ten, of Luca 
 Paciolo and M. Sanuto, " per quest opera non nominano e non lodano 
 che il nostro Alessandro." Vide Iscrhioni Veneti, Fasc. p. 209, 1858. 
 Sansovino (Venezia Descritta, p. 61) says Verrocchio made the group. 
 Temanza {Vite de Pitt. etc. p. 110) says that the description upon the 
 Burcingle, under the horse's belly, " A. Leopardi P.," proves that Leopardi 
 cast it after Verrocchio's design ; F. meaning fudit and not fecit. The 
 inscription upon Leoi^ardi's tomb in Santa Maria dell' Orto speaks of him 
 as the maker of the pedestal. Sanuto says that the statue was originally 
 gilded (Cicogna, Iscriz. Ven. vol. ii. p. 299). 
 
 t In 1466 Verrocchio received this commission. Jan. 15, 1467, he re- 
 ceived 300 lire in advance. March 26, 14S1, the magistrates set aside 
 forty gold florins and 200 lire for its completion. In April, 1484, when 
 it was nearly comDleted the whole sum which he was to receive (viz.
 
 136 Histo7ncal Handbook of Italian Scnlphtre, 
 
 Lord, and of the Apostle who leans forward to thrust his hand 
 into the wound in his Master's side, are expressive, and the 
 composition of the group is excellent, but the draperies are 
 heavy, and their folds angular in line.'''^' 
 
 Verrocchio resemhled his great pupil Lionardo da Vinci in 
 the multiplicity of his talents, hut no comparison can he insti- 
 tuted between his dry uninspired manner, and the divine style 
 of his scholar, to whom all arts and sciences were equally 
 familiar. That Lionardo was an accomplished sculptor there 
 can he no doubt, else he would not have been commissioned 
 to model and cast the equestrian statue of Francesco Sforza 
 by the Duke of Milan, who called him to his court in 1483, 
 made him director of the Ducal Academy of Fine Arts, and 
 member of the committee of architects charged with the build- 
 ing of the Cathedral. During fourteen years Lionardo was 
 more or less occupied with the statue of the illustrious founder 
 of his patron's house, for which he not only made an infinite 
 quantity of designs, but also executed two perfect models of 
 full size, one in a classical, the other in a modern and pic- 
 turesque style. The first of these is probably represented in 
 the frontispiece of a little MS. volume preserved in the National 
 Library at Paris, written by the Cremonese Bartolomeo Gam- 
 bagnola, and entitled " Gesti di Francesco Sforza." f It re- 
 presents the hero armed from head to foot, seated upon a 
 heavy but carefully studied horse, and holding in his right 
 hand a baton which rests upon his saddle-bow. One can well 
 understand that such a design could not satisfy Lionardo, whose 
 genius demanded something of a more original and vigorous 
 type, and accordingly in the year 1490, as he himself tells us 
 in a note written on the cover of his treatise upon Chiaroscuro, 
 
 400 florins) was agreed upon; and it was decided that the group should be 
 set in its place on the Feast of St. John {Beitrdge zur It. Geschichte, von 
 A. von Reumont, vol. vi. pp. 34-8 et seq.). 
 
 * Both Verrocchio and Poliajuolo sent in designs for the monument of 
 Cardinal Fortiguerri, which was erected, probably after the design of the 
 latter, by Lorenzo Lotti and Guido Mazzoni, in the Cathedral at Pistoja. 
 The figure of Hope, and the bas-relief of God the Father are, however, 
 attributed to Verrocchio. The original model, in terra-cotta, is at the 
 South Kensington Museum. 
 
 t Ancien Fonds, petit in folio. No. 9941. An account of this MS., by 
 M. Ch. Clement, may be found in the Bevue dcs Deux Mondes, April, 1860.
 
 Lionardo da Vinci. 137 
 
 he modelled another group of a fighting warrior, reining in a 
 fiery horse over the hody of a struggling soldier. In the four- 
 teen sketches which he made before finally reaching his ideal, 
 he drew the warrior and his horse in various attitudes — both 
 with and without the fallen soldier— and made careful studies 
 of the horse's body, divided as if for casting in bronze.* 
 
 The full si2:ed model which he completed before 1493, was 
 placed on the top of a triumphal arch raised in the Piazza del 
 Castello in honour of the marriage of Bianca Maria Sforza and 
 the Emperor Maximilian, but its casting was deferred for various 
 reasons till a more favourable time. Lionardo was occupied 
 in painting the fresco of the Last Supper, and his patron taken 
 up with those financial and political embarrassments which cul- 
 minated in his overthrow by Louis XII. of France, who seized 
 upon Milan in 1499, and sent him to pass the last ten years of 
 his life in imprisonment at Amboise. It has commonly been said 
 that Louis, being unable to rise above his hatred of the Sforza 
 out of admiration for a great work of art, allowed his soldiers 
 to use Lionardo's model as a target, but this seems disproved 
 by a letter from Hercules I., Duke of Ferrara, dated Sept. 
 1501, to Giovanni Valla, his agent at Milan, requesting him to 
 ask the Cardinal of Rouen, then governor of the city, to cede 
 to him the model of a horse made by Lionardo da Vinci, that 
 he may have it cast in bronze for an equestrian statue of him- 
 self which he intends to set up at Ferrara. Nothing is known 
 of the issue of the negotiations or of the subsequent fate of the 
 model, but the memory of Lionardo's equestrian statue has 
 survived its destruction, and made his name in sculpture, as in 
 all other arts, a synonyme of perfection. f 
 
 * The volume containing these sketches is preserved in the Koyal 
 Library at Windsor. It is entitled Disegni di L. da Vinci restaurati da 
 Pompeo Leoni. Mr. Smith, English consnl at Venice, purchased it for 
 King George III. This precious volume contains 236 loaves mounted 
 on blue paper. It probably came into the hands of Pompeo Leoni after 
 the death of Guido Mazzenta, a Milanese engineer, who possessed thirteen 
 rolumes of Lionardo's MSS., given him by Orazio Melzi, in 1590. Melzi 
 ifterwards took back ten of these volumes, which he gave to King Philip 
 of Spain ; the other three came into the hands of Pompeo. At p. ICO of 
 the Cabinet de VAniatettr, for 1861, M. Piot has published ]\razzenta'8 
 own account of these MSS., from the original MS. which belonged to 
 M. Ambrose Firmin Didot. 
 
 t Lomazzo, in his Trattato delV Arch, etc., lib. ii. ch. viii. p. 213, de-
 
 138 Historical Handbook of Italiaji Sctdpttire. 
 
 Bcribes a terra-cotta head of the Infant Christ by Lionardo, iu his own 
 possession. M. le Baron Eattier, of Paris, has ia his collection a bas- 
 relief inscribed Publius Scipio, which from its general resemblance to the 
 superb drawing of the head of a warrior among the Lionardo drawings 
 at Windsor, has been attributed to Lionardo. The faces of the two are 
 so unlike that we cannot believe the relief to be by the great master. In 
 the drawing the strongly marked lips and protruding chin conform to a 
 type frequently repeated by Lionardo, while in the marble the features 
 are regular, and the expression of the face is placid. As a work of art, 
 however, the bas-relief is masterly, and the winged head of War in very 
 low relief upon the breast is beyond praise, both for expression and iu 
 execution.
 
 Luc a dell a Robbid. 139 
 
 CHAPTER III. 
 
 THE ROBBIAS, MINO, CIVITALI, BENEDETTO DA MAJANO, ANDREA 
 FERUCCI, RUSTICI AND BARTOLOMEO DA MONTELUPO. 
 
 The name of Luca, the son of Simone di Marco clella Eobbia, is 
 even more widely known than that of either of his great contem- 
 poraries, Ghiberti or Donatello, through the famous Eobbia ware, 
 which he invented. Born in his father's house, via di San 
 Egidio,* in 1499, he was, like so many other eminent artists of 
 his time, trained in a goldsmith's workshop. f 
 
 To him, as to them, this was but a stepping-stone to sculp- 
 ture, upon the study of which he entered at a very early 
 period with the utmost ardour ; and yet, strange to say, the only 
 memorials of the first forty-three years of his life are a few 
 bas-reliefs, on the side of Giotto's campanile, towards the 
 Cathedral (1437-1440), j two unfinished reliefs of the imprison- 
 ment and the crucifixion of St. Peter, §> at the Bargello, and a 
 series of ten alto-reliefs in the same museum, which he began 
 in 1433 for the balustrade of a singing-gallery (cantoria) in tho 
 Cathedral, and finished about 1440. Among these dancing 
 children and plaj^ers upon musical instruments, there is one 
 group of choristers whose music has gone out unto the ends of 
 
 * Gaye, Carteggio, vol. i. pp. 182-186, Denunzia de' Beni. Simone della 
 Eobbia lived in the Via San Egidio. 
 
 + This goldsmith, according to Vasari, was Lionardo di Ser Giovanni, 
 who made the splendid silver altar in the Duomo atPistoja, between 1355 
 and 1371. It is, however, more than questionable whether Lionardo could 
 have lived long enough to have instructed Luca della Eobbia. (See Lea 
 Della Rohhia, par H. B. De Jouy, p. 5, note 2; and Milanesi's ed. of 
 Vasari, vol. ii. p. 168, note 2.) 
 
 X Their subjects are Grammar, Philosophy, Music, Astronomy, and 
 Geometry. 
 
 § Assigned to Luca, April 20, 1438, and intended for an altar in the 
 sbapel of St. Peter at the Cathedral
 
 140 Historical Handbook of Italian Sculpture. 
 
 the world. Who that has listened to the shrill treble, the rich 
 contralto, the luscious tenor, and the sonorous bass, has failed 
 to feel with the poet, when looking upon another " marble 
 braid of men and maidens," that " heard melodies are sweet, 
 but those unheard are sweeter ? " Compared in their present 
 position with the boldly treated bas-reliefs of the same subject 
 at the Bargello, which Donatello sculptured for the companion 
 singing-gallery, the highly finished works of Luca della Eobbia 
 are the more effective, but could both be raised to the places 
 which they were intended to decorate, there can be no doubt 
 that the verdict would be reversed, for while Luca would be 
 unheard, Donatello would speak clearly from the height for 
 which his voice was pitched. Having neither the scientific 
 knowledge of Donatello, nor the elegance of Ghiberti, Luca is 
 as simple and plastic as the latter is complicated and picturesque. 
 Nothing in his works corroborates the statement of Baldinucci 
 that he studied under Ghiberti,* though it is possible that he 
 did so for a while, to perfect himself in the art of bronze cast- 
 ing, before he undertook the bronze doors of the sacristy of the 
 Cathedral, which though originally assigned to him on the 
 28th of February, 1446, with Michelozzo and Maso di Barto- 
 lomeo as his assistants, ultimately fell entirely into his hands, 
 on account of the absence of the one and the death of the 
 other. f Their ten panels contain figures of the Madonna and 
 Child, St, John the Baptist, the four Evangelists and the four 
 Doctors of the Church, each attended by two pleasing angels 
 whose attitude and expression are so little varied that the 
 general effect is somewhat monotonous. When compared with 
 Ghiberti's reliefs, in which the bronze looks as if it had been 
 moulded like clay, these seem to want sharpness and clearness 
 of line. 
 
 Among the many beautiful cinque-cento tombs in Tuscany, 
 that of the Fiesolan Bishop Benozzo Federighi, by Luca della 
 Ptobbia (1454-55), in the church of San Francesco di Paolo, 
 below the hill of Bello-Sguardo, holds a high place. \ The admir- 
 ably truthful figure of the dead bishop, clad in his episcopal robes, 
 lies upon a sarcophagus within a square recess, whose architrave 
 
 * Baldinucci, vol. i. p. 452. 
 
 f Finished in 14Gt, August 10. 
 
 X Gaye, Cartcgcfio^oX. i. p. 183. This monument was finished in 1 ll;?*
 
 LiLca dclla Robbia. 141 
 
 and siclcposts arc decorated ^vil,l^ enamelled tiles, painted with 
 flowers and fruits coloured after nature.* At the back of this 
 recess, are three half figures of Christ, the Madonna, and St. 
 John. Their faces are expressive, and that of the Saviour is full 
 of mournful dignity. Two flying angels, bearing between them 
 a garland containing an inscription setting forth the name and 
 titles of the deceased, are sculptured below the rich cornice of 
 the sarcophagus. 
 
 The glazed tiles about this marble tomb were set in place ten 
 years after Luca had made his first works in Eobbia ware, the 
 result of repeated experiment directed towards the discovery of 
 some method of covering clay with an opaque, hard, stanniferous 
 enamel which would not crack, and in which he could multiply 
 his works much more rajndly and far more remuneratively than 
 in marble or bronze. That he invented enamelled pottery, 
 as Vasari asserts, is certainly a mistake, for it was not only 
 known to the Egyptians, Assyrians, and Greeks, but also to the 
 Italians in the middle ages.f Bicci di Lorenzo had modelled 
 and glazed the terra-cotta group of the coronation of the Madonna 
 over the door of the hospital of San Egidio at Florence,! twenty 
 years before Luca applied his discovery to art pui-poses, and at 
 that time the keramic artists of Spain and Majorca (who had 
 learned their art from the Arabs) manufactured glazed vessels 
 of all descriptions, and tiles for church pavements. 
 
 The glaze used by Bicci, which, like that of the ancients, was 
 
 * The result of Luca's endeavour, mentioned by Yasari, to paint 
 objects on flat surfaces of terra-cotta, " which, bein^ covered with vitrified 
 enamels, would give them endless durability." The twelve medallions, 
 painted in chiaroscuro, with impersonations of the twelve months, now 
 in the Kensington Museum, are supposed to have formed part of the 
 decorations of a writing-cabinet, made by Luca for Piero di Cosimo de* 
 Medici. Vide Illustrated Catalorjue, pp. 59-63. 
 
 t Vitruvius (lib. ii. ch. viii.) mentions the use of enamelled bricks upon 
 the Palace of Mausolus at Halicarnassus. That the mediaeval Italians 
 were acquainted with this art is proved by its mention in. the Biv. Art. 
 Sched. of the monk Theophilus, and in the Maravlta Freclusa treatise, 
 written in 1330 by Pietro del Bono, a Lombard, as well as by the use of 
 enamelled plates in facades and friezes by early media;val architects. 
 See M. Piot's Cabinet de VA7natcur, for 1801, pp. 1 et scrj. 
 
 X Attributed by Vasari to Dello Delli, but proved by recently dis- 
 covered documents to be the work of Bicci (G. Milanesi, Arch. St. It, 
 voL xli. p. 183, note 1, Dispensa 33a, a.d, 18C0).
 
 142 Histo7'{cal Handbook of Italian Sculpture. 
 
 colourless, merely served to protect the terra-cotta surface from 
 injury, while that employed at Pesaro in the thirteenth century 
 was opaque and coloured.* In all probability the sight of 
 Spanish and Majorcan pottery, or perhaps an acquaintance with 
 some foreign workmen employed in its manufacture, suggested 
 to Luca the idea of applying their processes of glazing to bas- 
 reliefs and groups, and though the glaze suitable for his purpose 
 cost him much study, it did not entail upon him such sufferings 
 and privations as Palissy the potter endured before he attained 
 success. 
 
 The enamel first used by Luca upon figures was pure white, 
 and that upon his backgrounds and accessories blue and green, 
 but as he and his nephew Andrea considered that their works, 
 if more highly coloured, might be advantageously used to re- 
 place fresco-painting in damp places, they afterwards multiplied 
 the number of colours, and carried them into the flesh and 
 draperies of their figures, with a disregard of true plastic feeling, 
 which little by little degraded their originally pure marble-like 
 surfaces to the level of wax-work. 
 
 The first bas-reliefs in Eobbia ware, those of the Resur- 
 rection and Ascension, were made by Luca about 1440, for the 
 lunettes of the doors leading into the Sacristy of the Cathedral. 
 The Resurrection is probably the earlier of the two as it has no 
 colour, except in the background, while in the Ascension the plants 
 in the foreground are coloured. It is only by such apparently 
 trifling differences that the date of enamelled terra-cottas can be 
 approximately estimated, for as the artist's work is concealed, it 
 is not possible, as in a marble or unglazed surface, to judge by 
 the manner of handling as to what period of his life any given 
 work belongs. In Robbia ware, it is usual to assign that which 
 is simplest in colour and feeling to the period when Luca and 
 Andrea worked together, and that in which colour is unsparingly 
 used to the later period when Andrea and his four sons, Gio- 
 vanni, Luca.IL, Ambrogio and Girolamo represented the school, 
 still there are examples, such as the decorative terra-cotta work 
 in the Capella Pazzi at Santa Croce, where Luca did not con- 
 fine himself to blues and greens, and certain works, such as the 
 lovely altar-piece of the Coronation of the Virgin in the church 
 
 * Marrjatt, History of Pottery and Porcelain, ch. ii. p. 15. Second 
 edition.
 
 Ltica della Robbia. 143 
 
 of the Osservanza near Siena, which would seem to be recog- 
 nizable as his work without the aid of documents or signa- 
 ture, now attributed to Andrea,* though to us the pure white 
 figures, whose draperies are picked out with a modicum of gold, 
 the unbroken background against which they are relieved as 
 against an arrested bit of Italian sky, the grace of the bending 
 Madonna, and the simply composed bas-reliefs of the Annun- 
 ciation, the Birth of our Lord, and the Assumption of the Virgin 
 in the " gradino," all bespeak the master's hand. This also 
 is clearly visible in an altar-piece in the Vetusti Chapel of 
 San Bernardino, at Aquila in the Abruzzi, in which the upper 
 group represents the Coronation of the Virgin with a like sur- 
 rounding of angelic worshippers, and the lower the Eesurrection 
 of our Lord. The four small bas-reliefs of the Nativity, the 
 Annunciation, the Epiphany and the Presentation, in the gradino, 
 are sweet and tender in feeling, and simple in composition. 
 These characteristics give great charm to Luca della Robbia's 
 genuine works, which being eminently serene in sentiment and 
 pure in style, are calculated to soothe the mind, rather than 
 to excite emotion. f They realize the apothegm of Winckelmann 
 that, "perfect beauty like the purest water has no peculiar 
 taste." The death of Luca, who was a truly great artist, took place 
 on the 22nd of September, 1482, and he was buried at San 
 Piero Maggiore, where his nephew and pupil, Andrea di Marco, 
 born in 1437, was also laid to rest in 1528. He and his four 
 sons, who inherited from Luca the secret which was the basis of 
 his and their fortunes, developed that use of glazed and coloured 
 terra-cotta in decorative connection with architecture, of which 
 Luca had set them an example in the medallions upon the 
 fagade of Or San Michele, and Andrea in the tympani of the 
 arches of the Loggia di San Paolo. By far the most striking 
 example of this decorative system is the elaborate frieze of the 
 Ceppo Hospital at Pistoja, which illustrates the seven acts of 
 mercy (1514-1525). Whether this series of brilliantly coloured 
 and skilfully modelled compositions be the work of Andrea and 
 
 * See Burckhardt's Cicerone, fourth ed. p. 345 ; and Dr. Bode, op. cit. 
 p. 17. 
 
 f M. Bavbet de Jouy gives a long list of Eobbian works at the end of 
 his volume (Xes Delia Robhia). See also the Commentary appended to 
 Vasari's lAfe of Luca, vol. iii. pp. 76 et seq.
 
 144 Historical Handbook of Italian Scidptttre. 
 
 his son Luca II., or of some unknown member of their family 
 or school, we are unable to say, but any one who examines them 
 will find proof of close study of nature, both in individual por- 
 trait heads and in such a composition as the Visitation of the 
 Sick, where the effect of illness upon the human frame has been 
 evidently studied with conscientious care. Andrea, who was an 
 accomplished sculptor in marble like his uncle, made a richly 
 decorated altar for the church of S. Maria della Grazie near 
 Arezzo, and several altars in the Chapel of the Madonna for the 
 Cathedral of that city, and Luca II. was at one time employed 
 at Rome by Pope Leo X. to pave the Vatican Loggie with 
 coloured tiles. His brother Giovanni made a highly coloured 
 altar-piece for the convent church of San Girolamo at Fiesole,* 
 as did the monk Ambrogio, Andrea's third son, for the convent 
 of St. Spirito at Siena. 
 
 Girolamo, the fourth son of Andi'ea, architect, sculptor, and 
 painter, went to France with some Florentine merchants about 
 1527, and there found ample employment during the remaining 
 forty years of his life under four kings of the house of Valois.f 
 The Chateau de Madrid, | which he built in the Bois de 
 Boulogne for Francis I., and decorated externally with reliefs 
 in Bobbia ware, whose subjects were selected from the Meta- 
 morphoses of Ovid, is mentioned by Evelyn in his Diary\ as 
 observable only for its open manner of architecture, " being 
 made of terraces and galleries one over the other, to the very 
 roof ; " and for its materials, " which are mostly of earth, painted 
 like porcelain or China ware, whose colours appear very fresh." |1 
 
 * An altar-piece in the Louvre (Coll. Sauvageot) is attributed to 
 Giovanni (Marryatt, o-p. cit. cli. ii. jDp. 16, 19). 
 
 t His name is mentioned in the royal accounts up to 1565. He died 
 in France about 1507. 
 
 J This name, which still clings to the site, is generally supposed to have 
 been given on account of the resemblance of the edifice to the king's 
 prison in Spain, but it was more probably suggested by the use of 
 coloured tiles in its decorations, common upon Spanish buildings, for 
 between the chateau in the Bois de Boulogne, whose style was Italian 
 Renaissance, and such a Moresque Gothic castle as that in which 
 Francis I. was confined in Spain, there can have been no resemblance. 
 
 § Evelyn's Diary (Oct. 25, 1650), vol. i. p. 256. Colburn's edition. 
 
 {{ The Chateau de Madrid had fallen into so ruinous a condition at the 
 end of the last century, that Louis XVI. determined to pull it down ; 
 but the royal edict was never carried into effect, and the building remained
 
 Workers in Robbia-ware. 145 
 
 Although the Eobbias guarded their i^recious secret with 
 j(3alous care, ghazed terra-cotta figures, generally of inferior 
 quality, were made in Tuscany, even in the lifetime of Luca 
 and Andrea, by individuals out of the family, one of whom was 
 Agostino di Duccio, or Guccio, of whom we have already spoken 
 in the preceding chapter as employed at Eimini by/ Sigismund 
 Pandolfo Malatesta in decorating the church of San Francisco. 
 We know by a letter from the Signory to the Legate of Peru- 
 gia,* that he was highly esteemed at Florence, and his great 
 influence upon the development of the keramic art in that dis- 
 trict is proved by his having founded a workshop for the manu- 
 facture of pottery at the small castle of Deruta, which event- 
 ually attained great celebrity. f 
 
 Other workers in Robbia-ware were Baglioni, who made a 
 Madonna with Angels for a chapel of the Badia at Florence, 
 and a now destroyed altar for the Duomo at Perugia ; Pietro 
 Paolo Agabiti da Sassoferrato, sculptor and painter, who made 
 the ancona of an altar at Arceria, in the Sinigaglian district, 
 which is still preserved in the Capuchin convent of that town ; J 
 Agostino and Polidoro, who made the Porta di St. Pietro at 
 Perugia ; and Giorgio Andreoli, from Gubbio, one of whose 
 altar reliefs may be seen in the " Staedelsche Institut " at 
 Frankfurt-am- Main . § 
 
 After existing nearly a century, the school founded by Luca 
 (lella Piobbia died out, and although various attempts have been 
 made to discover the glaze which he used, none have been 
 thoroughly successful. This is not to be regretted, unless 
 another Luca could be found to use it. The purity of a white 
 surface relieved against a background of deep blue, harmonised 
 
 standing until the Terrorists of the Revolution levelled it with the 
 ground, and sold the broken fragments of the beautiful terra-cotta orna- 
 ments to the paviers of Paris, who used them to mend the roads. See 
 Labarte(L« Renaissance des Arts, pp. 1,025 et scq.); and for ground plan 
 and elevation, T. A. de Cerceau {Les jplus Excellents Bdtimcnts cle France. 
 Paris, 1607). 
 
 * Gaye, vol. i. p. 196, dated Sept. 1461. 
 
 + F. Lazzari, Nutlzle clella Eaccolta Correr. p. 59. 
 
 t Dated 1513. " Pregevole lavoro che non invidia le opere di Luca 
 della Robbia" (Ricci, Mem. St. delli Artlstl dalla Marca d' Ancona, 
 pp. 156, 158, Doc. V. p. 15S). 
 
 § Dated 1515. Robinson {Illustrated Catalogue, p. 53) says it is bj 
 Andrea della Robbia. 
 
 L
 
 146 Histo7dcal Handbook of Italian Sculptnre. 
 
 perfectly with his lovely Madonnas and Angels, but it was less 
 consonant with the inferior creations of his scholars, who used 
 colour not as an accessory, but as an essential element of effect. 
 
 Mino di Giovanni, called " da Fiesole " though born at Poppi 
 in the Casentino (1431), is classed by Vasari as the scholar, 
 and by other writers as the imitator, of Desiderio da Settignano, 
 who was but three years his senior and his intimate friend. 
 Their parity of age makes it hardly credible that they can have 
 stood to' each other in the relation of master and pupil, and 
 their styles have not sufficient affinity to make it appear that 
 the younger artist imitated the elder, while in one essential 
 particular they differed absolutely, namely, that the art of 
 Desiderio is never mannered, while that of Mino is seldom free 
 from mannerism. Again, Desiderio produced little, and that 
 little was varied in type, while Mino executed many works, 
 which despite their winning grace and charm, weary by their 
 sameness of type. We can listen for ever to the nightingale, 
 but we soon tire of a songster who endlessly repeats the same 
 notes, however sweet. Only in refinement, technical excellence, 
 and delicacy of surface treatment can they be classed together, 
 but these are general qualities which belong to other sculptors 
 of their day and generation who have no connection with each 
 other or with them. 
 
 The attempt to arrange the works of Mino in strict chronolo- 
 gical order is a hopeless task, both because many of them are 
 not dated, and because they are too much alike in style to allow 
 us to hazard any conjecture as to their execution at an earlier or 
 later period of his life. His earliest dated work is the bust of the 
 rich Floi-entine banker Niccolo Strozzi, in the museum at Berlin, 
 sculptured at Rome in 1454 with that fidelity to nature charac- 
 teristic of Florentine portraiture in the fifteenth century. The 
 bust of Bishop Salutati, sculptured about 1462 for the tomb of 
 that prelate in the cathedral at Fiesole, is a still finer example 
 of Mine's skill in this branch of art, and certainly one of the 
 most living and characteristic presentments of nature ever made 
 in marble.* Any one who has looked at those piercing eyes, and 
 strongly marked features, and at that mouth with its combined 
 
 * Ordered in 1462, by this bishop, who died in 1466. He was learned 
 in sacred and profane jurisprudence, beloved by Poj^e Eugeniua IV., and 
 made Bishop of Fiesole by Nicholas Y., a.d. 1450.
 
 Mino da Fiesole. 147 
 
 Litterness and sweetness of expression, knows that the Bishop 
 was a man of nervous temperament, a dry, logical reasoner, who 
 though sometimes sharp in his words, was always kindly in his 
 deeds. His bust, which is finished like a gem, from the top 
 of the jewelled mitre to the rich robe upon the shoulders, stands 
 upon an architrave supported by pilasters and adorned with 
 arabesques below a sarcophagus resting upon ornate consoles. 
 The lovely altar-piece opposite the Bishop's tomb, which Mino 
 sculptured at his expense, is divided into three compartments, 
 two of which contain statuettes of San Lorenzo and San Remigius 
 in niches under an entablature crowned by a bust of our Lord, 
 and the third a group of the Madonna kneeling with her hands 
 crossed upon her breast, near the Infant Christ, who «;its upon 
 the steps with a globe upon his knee, and smilingly stretches 
 out his left hand to the little St. John, who kneels before him in 
 artless simplicity. The work is as fresh and sweet as a lily of 
 the valley, and in style thoroughly characteristic of the master. 
 Some of our sculptor's best works are to be seen in the church 
 of the Badia at Florence, where he worked at intervals from about 
 1460 to the end of his life. The earliest is an altar to the right 
 of the entrance, made for Diottisalvi Neri, whose bust, also by 
 Mino, dated 1464, is in the collection of M. Dreyfus at Paris, 
 together with two charming figures in relief of Faith and 
 Charity, which once occupied niches in some altar of the same 
 character as that at the Badia. A relief of the Madonna and 
 Child in a roundel, which Mino sculptured for the monks of the 
 convent adjoining the Badia, gave them so much satisfaction, 
 that they commissioned him to design and execute tha monu- 
 ments of the distinguished Florentine Bernardo Giugni (d. 1466), 
 who served the Republic as ambassador on several important 
 occasions, and was made Cavaliere and Gonfalonier, and that of 
 Count Hugo of Tuscany. The arched recess, the statue lying 
 upon a sarcophagus, the Madonna and Child in a lunette, are 
 distinctive features in both these tombs, as in those by Desi- 
 derio and Rossellino at Santa Croce, which are, however, much 
 more ornate. The Giugni tomb is in fact very simply orna- 
 mented, and the figure of Justice below the lunette is meagre 
 in outline though refined in conception and carefully executed 
 Its draperies, like those of Charity which occupies a corre- 
 sponding place in the tomb of Count Hugo, are as in all Mine's 
 
 L 2
 
 148 Historical Handbook of Italian Sailpttire. 
 
 fiingle figures disposed in sharp-edged folds, and the faces of 
 both have a sweet, semi-Chinese character. The tomb of the 
 Count with its lunette relief, its statuettes, its flying angels 
 supporting a memorial tablet, its heraldic genii, and its sculp- 
 tured architrave, is a charming object, but, considering the 
 excellent opportunity offered for relief decoration by the pic- 
 turesque story of his life,* it is to be regretted that it was not 
 assigned to some sculptor like Piossellino, who excelled in relief, 
 rather than to Mino who seldom ventured to attempt it. Its 
 occupant, who was Viceroy of Tuscany during the latter part of 
 the tenth century under the Emperor Otlio II., had long led a 
 worldly life, when one day while hunting, he lost his way in a 
 dense forest. After wandering about for a long time in search 
 of an issue, he suddenly found himself at the entrance to a 
 forge, and looking in saw men tormented in flames, and beaten 
 out on anvils like bars of iron. Asking the meaning of this 
 strange spectacle, he was told by the black forgers that these 
 were damned souls, and that unless he repented of his sins 
 and led a new life he would share their wretched fate. The 
 vision then vanished, and the Count returned home, to sell 
 his patrimony, build seven Abbeys, one of which was that of 
 the Badia at Florence, and to spend the remainder of his life 
 in penitence and prayer. f 
 
 In 1473 Mino made two very mediocre bas-reliefs from the 
 life of St. John the Baptist, for a pulpit in the Cathedral at 
 Prato, and then went for the third time to Rome, where he 
 resided for several years, and executed many commissions. J The 
 most important of these was that given him by Cardinal Barbo 
 for a monument to his uncle Pope Paul II. (Pietro Barbo), scion 
 of a noble Venetian house, who being vain of his personal beauty 
 wished to take the name of Formosus on ascending the papal 
 
 * Count Hugo is the " Gran Barone," spoken of in the Paradiso, 
 canto xvL 
 
 " II cui nome, e '1 cui pregio, 
 La festa di Tommaso riconforta." 
 
 f The vision is related by Scipione Ammirato, 1st. Flor. vol. i 
 pp. 32-33. 
 
 X Mino first went to Rome in 1454. During his second visit, in 1463, 
 he worked upon a pulpit for St. Peter's, commissioned by Pius II. In 
 1464 he returned to Florence and was admitted to the Sculptor's Guild. 
 See M. Eug. Miintz, op. cit., vol iv. p. 253.
 
 Miiio da Fie sole. 149 
 
 throne. As tliis satisfaction was denied him, he consolod him- 
 self hy showing off his handsome person to the greatest advan- 
 tage in gorgeous vestments at church ceremonies, and by wear- 
 ing a costly mitre, blazing with sapphires, diamonds, emeralds, 
 and rubies. Unlike his great predecessor Pius II., he neither 
 appreciated nor favoured Art and Literature, and being neither of 
 an enterprising nor chivalrous nature, abandoned the troublesome 
 but glorious enterprise of repelling the Turks, which that Pon- 
 tiff was about to undertake at the time of his death. The 
 monument erected to him by Mine, at St. Peter's, was pulled 
 down when the old Basilica was destroyed, and after being again 
 set up, in the middle of the sixteenth century was dismounted 
 and dispersed. It consisted of a recumbent effigy of the Pope, 
 stretched upon a sarcophagus resting on a double base, standing 
 under an arch supported by columns, outside of which were 
 statuettes of the Evangelists in niches. Bas-reliefs of the 
 Last Judcjment and the Piesurrection filled the lunette and tho 
 flat space below it, while winged boys with medallions and gar- 
 lands, reliefs of Faith, Charity, and Hope, the Creation of Eve, 
 and the Temptation, and a profusion of rich ornament combined 
 to give the surface of the tomb a rich and varied effect. Of all 
 its sculptures, only a few fragments remain in the crypt of the 
 Basilica, such as the mannered bas-relief of the Last Judgment, 
 in which Pope Paul II. and the Emperor Frederic III. are 
 pointed out to the Redeemer's notice by St. John the Baptist ; 
 the Creation of Eve, the Temptation, which is in a sadly 
 mutilated state, and the highly-polished and carefully finished 
 bas-reliefs of Faith and Charity.* 
 
 There can be no doubt that in these, as in many other works 
 at Rome ascribed to Mine, he employed a great number of 
 assistants who worked after his designs with but little regard 
 to their master's reputation, as for instance, in a second relief 
 of the Last Judgment in the Cloister Court of San Agostino, 
 &c.,tbut the Tabernacle at Santa Maria in Trastevere,! we believe 
 
 * For an engraving of this monument, see Ciaconnius, vol. ii. p. 1,091. 
 
 f Inscribed "Opus Mini." Engraved at Plate 3 of Tosi's Mon. Sep. 
 
 J Dr. Bode, op. cit, attributes to Mino the monument of Cecco Torna- 
 buoni (d. 1480) in the Minerva; the Madonna reliefs in the Innettes of 
 the monuments of Cristofero della Rovere (d. 1179) in S. M. del Popolo, 
 and of Pietro Riario (d. 1474) at SS. Apostoli, and the arms and decora- 
 tion of the interior of the Pal. di Venezia. Many other works, especially 
 tombs, at Rome show the influence exercised there by this master.
 
 150 Histoi'ical Handbook of Italian Scidpture. 
 
 to be an authentic, as it is a very charming, work. The bronze 
 door surrounded by angels, Avhich closes the receptacle for the 
 *' Olea Sancta," and the Christ holding his cross in one hand 
 and extending the other over a chalice, out of which rises a 
 flame typical of the grace which he sheds upon it, are enframed 
 by an arch, adorned with cherubs' heads, and supported by two 
 pilasters with Corinthian capitals, upon whose flat spaces are 
 vases containing lilies. There are also statuettes in niches, an 
 architrave sculptured with cherubs' heads and festoons, and a 
 gable within which the Holy Spirit is sculptured in the likeness 
 of a dove. Repetitions of this tabernacle, with but slight varia- 
 tions, exist in the sacristy of Sta. Croce at Florence, the baptis- 
 try at Volterra (1471), the Church of S. Marco at Rome, and 
 the Baglioni chapel in the church of S. Pietro in Cassinense at 
 Perugia. The hair and robe borders of the statuettes of SS. 
 John and Jerome belonging to this latter work are gilded, and 
 the pupils of their eyes are coloured, like those of the figures 
 and bust of the Salutati tomb and altar-piece at riesolo.(*) 
 
 Mino died at Florence in July, 1484, of a fever brought on by 
 over fatigue, consequent upon the moving of some heavy mar- 
 bles without suflicient assistance, and was buried in the church 
 of San Ambrogio, where he is called to mind by a marble Taber- 
 
 * Other works by Mino, not mentioned in the text, are the busts of 
 riero de' Medici, " il Gottoso " (1454), of a young man in armour, and of 
 Punaldo della Luna (1461); four j^vofile heads in relief, and a Madonna 
 and Child at the Burgello; a bust of Isotta da Eimini in the Canipo 
 Santo at Pisa. Two rehofs of the Madonna and Child— one of great 
 beauty — are in the collection of M. Timbal at Paris, and five in the 
 Kensington Museum, which look rather like the work of an imitator of 
 Mino's style, as they have neither his naivete nor his high finish. The 
 bust of San Giovannino, by Mino, at the Louvre, formerly in the His de 
 la Salle collection, is a gem. [See tailpiece, ch. vi. p. 133.) In the first 
 edition of this work we hazarded the opinion that it might be the work of 
 Desiderio, but further study of it has convinced us that we were in error. 
 Those who doubt may compare it with the shield-bearing child to the 
 left, on the base of the monument of Count Ugo at the Badia. The 
 Louvre also contains an important piece of work by Mino, viz., two marble 
 slabs richly sculptured, nos. 27 and 28, Renaissance Museum. Dr. Code, 
 Kunst unci Kilnstler, Lief. 62, p. 62, mentions also at Florence, a Taber- 
 nacle in the Via de* Conti; several JNIadonna reliefs at Empoli and 
 Urbino in the Museum ; at Paris in the Louvre, and the Gavet collec- 
 tion ; at Beilin in the Museum, a bust of Christ as Ecce Homo, 1466, 
 with a female allegorical bust.
 
 Mattco Civitali di Giovanni. 1 5 1 
 
 nacle sculptured in the latter part of Lis life to enshrine an 
 *' ampulla " of crystal, which is said to contain the sacred ele- 
 ments miraculously transmuted during the celebration of mass on 
 the festival of San Firenze, a.d. 1230. The miracle is typically 
 represented in a bas-relief on the gradino, of the Child Jesus 
 supported by angels, rising from a chalice. 
 
 In the art of Mino da Fiesole we have pointed out as an offset 
 to its real charm, a certain sameness of expression, which is 
 rare among the Italian sculptors of the quattro-cento, whose 
 works as a rule have much variety, however markedly indivi- 
 dual they may be in style. To those already mentioned 
 whose merit in this respect is unquestionable, may be added 
 one of Mino's contemporaries, 
 
 MATTED CIVITALI DI GIOVANNI, 
 
 born at Lucca in 1435, and early sent to study at Florence, 
 returned thence to Lucca to enrich the Cathedral with many 
 admirable works. One of these, the little temple of the Volto 
 Santo (1482), is decorated with a statue of St. Sebastian (1484), 
 whose pure realistic style is very unlike that of Civitali's other 
 woi'ks.* 
 
 Another is the very beautiful monument to Pietro da Noceto, 
 secretary to Pope Nicholas V., which for sobriety of style, ele- 
 gance of proportion, and judicious alternation of plain and 
 ornamented surface ranks with the best quattro-cento Tuscan 
 works of its class. f The arched recess, the Madonna and Child 
 in the lunette, the sarcophagus with the recumbent statue, are 
 features common to other monr.ments at Florence, but the pro- 
 file heads of the son and daaghter-in-law of the deceased, in 
 flat relief, are novel and admirably treated additions. Directly 
 opposite Pietro's tomb is the Chapel of the Holy Sacrament, for 
 v.hich Civitali was employed (1478) to make a marble Taber- 
 nacle and two kneeling angels, by Count Bertini of Lucca, 
 
 * Civitali signed the first contract for this work with Domenico 
 Bertini, January 19, 14S2, and the second on the '21st of February. Tho 
 statue is signed and dated 148t. Vasari, ed. Milanesi, vol. ii. p. 127. 
 
 f Milanesi says this work was finished in 1472. If so, it was made iu 
 the lifetime of Pietro da Noceto, who died in 1479.
 
 152 Historical Handbook of Italian Sculpture. 
 
 whose bust in a roundel is placed at the entrance to the 
 chapel. The angels, which reveal Civitali in an altogether new 
 light, are imbued with a devout feeling even more strongly 
 expressed in the beautiful bas-relief of Faith at the Bar- 
 gello, and in the statue of Zachariah in the chapel of St. John 
 the Baptist in the Cathedral at Genoa, which he sculptured 
 about 1 420. The earnestness with which all these figures pray, 
 would seem to show that the sculptor was himself devout. 
 Though pictorial rather than plastic in style, both in action and 
 in the treatment of draperies, they are really original and beau- 
 tiful works, whose religious 
 5 spirit contrasts strikingly with 
 the Pagan tendencies which 
 show themselves in the works 
 of other quattro-cento sculp- 
 tors. Unlike these bas-reliefs, 
 those upon the Altar of St. 
 Eegulus, which Civitali made 
 for Niccolo di Pietro da Noceto 
 in 1484, and those in the 
 chapel of St. John at Genoa, 
 are executed in a fantastic 
 and exaggerated style which 
 is strangely at variance with 
 that of his statues. In them 
 he reminds us of Pollajuolo, 
 but when he treats portrait 
 heads in relief, as in the 
 Noceto tomb, he recalls the 
 great medallists of the time, 
 and we can give him no higher praise. Of his six life size 
 statues in the Cathedral at Genoa, executed between 1490 and 
 1496, the Zachariah is the finest (see wood-cut). The Elizabeth 
 is well draped and grandiose, and the Habbakuk effective, but 
 the Adam wants dignity, and the Eve is coarse and without 
 expression. 
 
 Although during the greater part of his life Civitali, who 
 died in 1501, worked as a sculptor, he was a thoroughly accom- 
 plished architect, as he proved by the temple of the Volto Santo 
 in the Cathedral, one of the most ]3erfcct examples of the Early
 
 Benedetto da Majano. 153 
 
 Renaissance stj'lc, and by the palace of the Lucchcsini at San 
 Giusto. 
 
 His son, Niccolo, architect and sculptor, built the palaces 
 of the Bernardiui at Lucca, of the Santini at Gattajola, and 
 of the Sinibaldi at Massa Pisana. We know nothing of him 
 as a sculptor, save that he worked at Pietro Santa, Vincenzo 
 Civitali, one of Niccolo's descendants, attained some reputation 
 in the sixteenth century as a military engineer and architect. 
 
 BENEDETTO DA MAJANO. 
 
 Antonio da Majano, " maestro di pietra," had three sons, 
 Giuliano (1432-1490), architect, intarsiatore, and sculptor, 
 who spent much of his life at Naples, in the service of the 
 Duke of Calabria; Giovanni, sculptor; and Benedetto, born 
 at Florence in 1442, with whom, as one of the most remarkable 
 sculptors of the younger generation, we are more especially 
 concerned. A bas-relief of the Pieta by Giuliano and Giovanni, 
 which is set into the pedestal of a life-size terra-cotta group of 
 the Madonna and Child bv Benedetto over the altar of a little 
 wayside shrine, called the Madonna dell' Ulivo, about a mile 
 outside the gate of Prato, on the road to Florence, represents 
 the double tendencies of sculpture in the latter part of the 
 fifteenth century. Both bas-relief and group were executed in 
 1480, and yet they dilfer totally in style, for while the relief, 
 which represents our Lord supported by the Madonna and St. 
 John, is like Pollajuolo in its intensely exaggerated facial expres- 
 sion and hard-lined draperies, the group is like Luca della 
 Robbia, quiet in action, sweet in feeling, and softly rounded in 
 its forms and folds. It is not known when and with whom Bene- 
 detto began to study sculpture. For many years he devoted him- 
 self to intarsia work," in Avhich he was instructed by his eldest 
 brother Giuliano, and, if Vasari is to be believed, he did not 
 
 * This brancli of art, wliich consists in combining different coloured 
 woods into figures, ornaments, and effects of perspective, came into vogue 
 when Brunelleschi and Paolo Uccello perfected perspective. It corre- 
 sponds to the "opus sectile" of the ancients in all but the material 
 (Marcliesi, vol. ii. p. 225). The inlaid chair in the sacristy of the 
 Cathedral (1465), and the doors of the Hall of Audience, in the Pal-azo
 
 154 Historical Handbook of Italian Sctdpture, 
 
 abandon it for sculpture until the destruction of two beautifully 
 inlaid chests by dampness had convinced him that it Avas unwise 
 to spend his energies upon such fragile materials.* He must, 
 however, have studied sculpture long before 1474, when he 
 modelled his first dated work, the bust of Pietro Mellini at 
 the Bargello, as its masterly execution shows a practised hand. 
 For this same person, who was a rich merchant, he made the 
 beautiful pulpit at Santa Crooe, in which the sister arts of archi- 
 tecture and sculpture are admirably combined into a master-work 
 of its kind. Skilfully supported against one of the pillars of the 
 nave, through which its staircase is carried, it shows five panels 
 to view, each containing a bas-relief of an event in the history 
 of St. Francis. One, the finest, represents the dead body of 
 the Saint lying on a bier in the Basilica at Assisi, surrounded 
 by kneeling and standing figures of priests, and boys with 
 tapers and censers. The background, treated in perspective, 
 shows the nave flanked by columns leading up to the altar, 
 over which angels bear the kneeling Saint in a mandorla to 
 heaven. "With this exception, the composition so closely 
 resembles Ghirlandajo's treatment of the same subject in the 
 Sassetti chapel at Sta. Trinita (1485), that we feel some interest 
 in ascertaining the date of the pulpit, commonly fixed at about 
 1495. This would make Benedetto Ghirlandajo's debtor, but 
 if Dr. Bode be right in supposing that the pulpit was com- 
 menced soon after the bust of Mellini (1474), then the case 
 is reversed. •]- The relief is a little more quiet in line than the 
 fresco, and its figures are a little less numerous, but their 
 general arrangement is strikingly similar, and, we may add, 
 their treatment is equally pictorial, for Benedetto here, as in 
 all his other reliefs, painted in marble, as Ghiberti did in bronze. 
 The four other subjects treated in the panels of the pulpit 
 are, like that which we have described, composed with much 
 
 Veccliio (1475-1*81), generally attributed to tlie two brothers, are in all 
 probability by Giuliano alone. Benedetto's skill as an intarsiatore is 
 shown in a door found at Borgo San Sepolcro, and now in a private 
 collection at Palermo. The Annunciation is represented in the two upper 
 panels, and vases of flowers in the two lower. Bode, p. 43. 
 
 * On the way to Hungary, where they ■were to be presented to King 
 Matthias Corvinus. 
 
 f On the ground that the bust represents Mellini, as well advanced in 
 years. Sec Bode, op. cit. p. 43.
 
 Benedetto da Majano. 155 
 
 skill and clearness, and tho four seated Virtues between the 
 consoles are charming statuettes, which combine with the 
 ornamented flat spaces to give the whole a rich and beautiful 
 effect. 
 
 Another master-work of Majauo, which has been hitherto 
 assigned to a later period of his life, is the shrine or monu- 
 mental altar of San Savino at Faenza, which is traditionally said 
 to have been paid for out of a fund left to the Cathedral in 14G8 
 by one of the Manfredi, Lords of Faenza. This makes it more 
 likely that it was commenced in 1471 or 1472, and the similarity 
 of figure treatment noticeable between its reliefs and statuettes 
 and those of the Pulpit at Sta. Croce, would point to the con- 
 clusion that the two works are nearly contemporary. 
 
 The shrine of San Savino consists of a sarcophagus, "with 
 statuettes of the Virgin and an angel on either side, placed 
 under an arch supported upon six pilasters, covered with 
 elaborate Renaissance ornament. In the central sjDace below 
 the sarcophagus there are six flat-surfaced and sharply-incised 
 bas-reliefs, representing incidents in the life of the saint. 
 They represent him as praying when ordered by an angel in 
 the clouds to go to Assisi ; as preaching at Assisi ; as con- 
 ducted in company with his deacons before an idol, which he 
 overthrows ; as having his hands cut off upon the pedestal on 
 which the idol had stood ; as restoring sight to Prisciano who 
 kneels naked before him to receive his miraculous touch, while 
 several spectators show by their gestures and features how great 
 an interest they take in the result, and an admirably conceived 
 soldier in the foreground stands absorbed in the arrangement 
 of his sword and shield ; and lastly, as stoned to death by 
 four men, and lying with his face upon the ground. 
 These pictures in marble approach more nearly to the require- 
 ments of sculpture than many of Ghiberti's reliefs, in that 
 the stories are told by as few figures as possible, as well as in 
 that their surfaces are more flatly treated. 
 
 As Benedetto and Giuliauo received their final j)ayment for 
 the beautiful door of the Hall of Audience at the Palazzo 
 Vecchio in 1480 it must have been made before that time. Its 
 marble framework by Benedetto still exists " in situ," but the 
 garland-bearing children which belonged to it have disappeared, 
 Bnd the statue of the youthful St. John which crowned it has
 
 156 Histo7Hcal Handbook to Italian Sculpture. 
 
 been removed to the Museum of the Bavgello {see tailpiece). 
 In this graceful and pleasing though not strikingly individual 
 figure, the hands are noticeable for their elegance of form and 
 careful treatment. During this same year (1480), while the 
 brothers were employed at the Madonna dell' Ulivo near Prato, 
 of which we have already spoken, Benedetto sculptured a cibo- 
 rium for the Church of St. Dominic at Siena, with leaves, 
 festoons and medallion reliefs of the Evangelists upon its 
 pedestal, and two angels holding candelabra, now removed to 
 another part of the church. The friendship and patronage 
 of Filippo Strozzi, gave hira many opportunities of exercising 
 his talents both as architect and sculptor, and the enduring 
 records of their connection are a marble bust, a palace, and 
 a tomb. The bust, now in the Renaissance Museum at the 
 Louvre, is a master-work of its kind, full of character, modelled 
 with great skill, and evidently an admirable likeness ; * while the 
 palace, massive, rock-like, and defiant, as suited to times when 
 street commotions were common events, is recognized as one of 
 the noblest of the early Renaissan'ce. Its corner-stone was laid 
 by Filii^po Strozzi on the 16th August, 1489, "just as the sun 
 rose above the mountains," and when he died, two years later, 
 the works were suspended. On their resumption, Simon Polla- 
 juolo (Cronaca) superseded Benedetto as architect, and had the 
 glory of crowning its sombre fa9ade with a magnificent Corinth- 
 ian cornice, suggested by an antique Roman fragment. 
 
 The tomb is that of Filippo Strozzi at Sta. Maria Novella, 
 in a recess behind the altar of the Strozzi Chapel. It was 
 ordered by its tenant in the very year of his death, and no 
 doubt the sculptor worked upon it with a deeper interest after 
 that occurred. Its chief feature is not the sarcophagus, 
 with its relief of angels holding a memorial tablet, but the 
 lovely group of the Madonna and Child, to our mind the 
 sculptor's masterpiece, in an ornate roundel borne up by 
 angels and cherubs which fills the space above the sarcophagus. 
 It was, perhaps, by the recommendation of Filippo Strozzi 
 to King Ferrante, whose business affairs he administered, that 
 Benedetto was invited to Naples by the Duke of Terranuova, 
 
 * The Museum at Berlin has a replica of this bust in terra-cotta, whieb 
 has all the marks of being the original from which the marble was 
 taken.
 
 Benedetto dtt Majano. 157 
 
 about 1490, to sculpture a bas-relief of the Annunciation for 
 the Mastro Giudici Chapel in the church of IMonte Oliveto, 
 with statuettes of SS. John the Baptist and Evangelist, and 
 bas-reliefs in the gradino from the Life of our Lord. The 
 Madonna in the Annunciation is pleasing in character and 
 modest, but the angel is violent and mannered in action, and 
 much encumbered with heavy drapery. The background, which 
 is thoroughly pictorial, like all Benedetto's works of its class, 
 represents an elaborately ornamented palace, standing in the 
 midst of a garden. Whether or no Benedetto was appointed 
 architect to the Duke of Calabria after the death of his brother 
 Giuliano we cannot say, but if so he cannot long have held 
 the position as he worked at San Gimignano for some years 
 before his death, and sculptured the busts of Giotto and 
 Squarcialupi, a distinguished musician, for the Cathedral at 
 Florence. In 1494 he received a commission for the tomb 
 of San Bartolo in the church of S. Agostino at S. Gimignano. 
 The Saint (d. 1299), who is called the Tuscan Job, on account 
 of the exemplary patience with which he bore a twenty years' 
 leprosy, was canonized by Alexander VL, after many miracles 
 had been wrought at his tomb. Money for the erection of a 
 chapel in his honour was set aside by the commune in 1488, 
 and six years later Benedetto was charged with the erection of 
 the costly monument in its precincts, whose sarcophagus, placed 
 above the white marble altar, has a bronze tablet set in its 
 front, bearing a commemorative inscription. This tablet is sup- 
 ported by two flying angels, bearing a palm and a crov/n, and 
 below it, in the " dossale " of the altar, are three niches con- 
 taining seated statuettes of Faith, Hope, and Charity, and a 
 predella, adorned with three simply designed and admirably 
 composed stories from the life of the saint. In one he stands 
 upon the steps of an altar with his head reverently bent over 
 a book which he holds in his hands, while he casts out a demon 
 from a possessed woman ; in another he has his feet washed, 
 and in the third he lies upon his death-bed. The roundel, 
 adorned with cherubs' heads, leaves, and flowers, above tho 
 sarcophagus, contains an alto-relievo of the Madonna and Child, 
 almost if not quite equal to that of the Strozzi monument at 
 Sta. Maria Novella. Another admirable work at San Gimignano 
 by Benedetto is the altar-piece at the Cathedral in the chapel
 
 158 Historical Handbook of Italian Scnlpttire: 
 
 of Sta. Fina. The grated doorway, wliicli closes the receptacle 
 for the pyx, is flanked by niches containing statuettes of angels, 
 and surmounted by a group of the Madonna and Child, sur- 
 rounded by cherubs and adoring angels.* The predella is 
 adorned with bas-reliefs representing the saint restoring a dead 
 man to life, her death, and her funeral. The bust of Onofrio 
 Vanni (1493), in the sacristy of the Cathedral, is also by Bene- 
 detto,! who, dying May 29, 1497, left his property in trust to 
 be divided between his male and female descendants, with rever- 
 sion to the company of the Bigallo. This occurred in 1558, 
 when the company became possessed of his unfinished group 
 of the Madonna and Child, and of a small statue of St. Sebas- 
 tian, now in the chapel of the Misericordia. A few other artists 
 of this period, who belong rather to the fifteenth century, in 
 which they had their cradles, than to the sixteenth, in which 
 they found their tombs, may here be mentioned, though none 
 of them equalled the great masters of their time. 
 One of them was 
 
 ANDREA DI PIERO FERUCCI, 
 
 born in 1465, at Florence, who spent the early part of his lifo 
 at Naples, under Antonio di Giorgio da Settignano, architec- 
 tural engineer to Don Ferrante, and after his return to Tuscany 
 sculptured the ancona of the high altar in the Cathedral at 
 Fiesole. Its centre is occupied by a tabernacle, placed between 
 a bas-relief of the Annunciation and statuettes of SS. Matthew 
 and Romulus, and its gradino is sculptured with delicate reliefs, 
 illustrative of the Mystery of the Holy Eucharist. Another 
 altar-piece of the same character, pleasing in style, and ably 
 sculptured, which Ferucci made for the church of San Girolamo 
 at Fiesole, is now in the South Kensington Museum, together 
 with a tabernacle very similar in design to the tabernacles of 
 Mino da Fiesole, above whom Vasari very unjustly exalts him, 
 though he was decidedly Mine's inferior in style and sweetness 
 
 * May 29, 1490 and Dec. 13, 1493, Benedetto is recorded in the Lih. 
 deW Opera as the recipient of certain sums of money for the " Epitaffio 
 di S. Fina " (Pecori, op. cit. p. 519). 
 
 f Vide Pecori, p. 527, and Doc. xcviii. p. 653.
 
 Giozanni Francesco Rtistici, 159 
 
 of fi;eling. He was in truth but a second-rate artist, who owed 
 bis success rather to the good school in which he was educated 
 than to any great natural gifts. One of bis best works is the 
 half figure of Marsilio Ficino in the Duomo at Florence, of 
 which the head is very living, while the hands which hold a 
 book (probably the works of Plato, of whose philosophy he 
 was so celebrated an exponent) are admirably modelled. Other 
 works by Ferucci are the statue of San Andrea in the Cathedral 
 at Florence, a chapel in the church of the Innocenti at Imola, 
 two angels in the Cathedral at Volterra, and two crucifixes in 
 the fourth right-hand chapel of the church of Sta. Felicita 
 at Florence. Shortly before his death (1527), he began the 
 monument of Antonio Strozzi at Sta. Maria Novella, which 
 was completed by his scholars, Silvio Cosini and Tommaso 
 Boscoli.* 
 
 RUSTIC!. 
 
 Giovanni Francesco Rustici, born at Florence in 1474, is 
 classed by Vasari among the scholars of Verocchio, and of his 
 great pupil, Lionardo da Vinci. If Rustici did study with 
 Verocchio, it must have been but for a very short time, as he 
 can hardly have begun to do so before 1486, when he was twelve 
 years old, and much of the remaining two years of Verocchio's 
 life was spent at Venice. At that time Lionardo had already 
 been five years at Milan, where he remained until the over- 
 throw of his patron, Lodovico Sforza, in 1499, when Rustici was 
 twenty-five years old. Six years later (December Gth, 1506) 
 the merchants' guild gave Rustici a commission for the bronze 
 group of St. John disputing with a Levite and a Pharisee, 
 which he finished and set up over the north door of the 
 Florentine Baptistry in 1511. This work bears such unmistak- 
 able evidence of Lionardo's influence that we cannot refuse Rustici 
 the honour of being counted among his pupils, nor can we take 
 from him the credit of authorship, as some have done, by saying 
 that the group was modelled by Lionardo, for the very good 
 reason that he was at Milan when the commission was given, 
 
 * Cosini ^vorked under Michelangelo at S. Lorenzo, and with Boscoli 
 on the monament of Pope Julius at S. Pietro in Vincoli.
 
 t6o Historical Handbook of Italian Sculpture. 
 
 and, witli the exception of a flying visit to Florence in 1511, 
 did not return there until it had been cast and put in its place. 
 Having done his work well, Rustici expected to he well and 
 promptly paid for it, hut in this he was disappointed, for 
 although he received a small portion of the 2,000 scudi which 
 he demanded without delay, he had to wait twelve years before 
 he got the balance — January 21st, 1524. In the meantime he 
 had divided his time between fretting over this treatment, paint- 
 ing, studying natural history, practising sleight of hand, and 
 social enjoyment. He was the leading spirit in a convivial 
 club composed of twelve artists who supped with him at stated 
 times, under the agreement that each should design a highly 
 ornate dish, and that, if any two hit upon the same device, 
 they should be fined. In this way Rustici spent his life and 
 frittered away his property, until after the expulsion of the 
 Medici (1528), when he went to France to make the equestrian 
 statue of Francis L, who had promised him a salary of 500 
 scudi a year, and a palace to live in, but this great good fortune 
 was only partially realized, for when the King died, in 1547, 
 all prospect of casting the statue was abandoned, and Rustici, 
 who, if dates are correct, had long lived like a prince, lost his 
 position through the monarch's demise, and would have starved, 
 had it not been for the timely aid of his countryman, Piero 
 Strozzi, who lodged him in an abbey at Tours belonging to 
 his brother the Cardinal Lorenzo and supported him until his 
 death in 1544. 
 
 EARTOLOMEO SINIBALDI DA MONTELUPO. 
 
 This artist was born at Florence in 1445, and died there in 
 1522. After wasting his youth in dissipation, he became a 
 changed man under the influence of Savonarola, and studied 
 with such ardour that he became an accomplished sculptor. 
 When the death of the great reformer made Florence intoler- 
 able to him, he went to Bologna to model statues of the twelve 
 apostles, by the sale of which he hoped to support his Avife and 
 children whom he had left at home in poverty. The canon 
 at whose house he lodged, wishing to obtain possession of the 
 statues, in order to give them to Giovanni Beutivoglio, Lord of
 
 Bartolomeo Sinibaldi da Hlontclupo. i6i 
 
 Bologna (from whom he hoped to obtain a government office for 
 his brother), tried to persuade Bartolomeo to present them to 
 him, which he refused to do, but being really in great need 
 of money, he offered to sell them for half their value. At this 
 juncture he was unfortunately seized with a fever, whose pro- 
 gress the wicked host determined to assist by mixing slow 
 poison with his medicine, hoping to obtain possession of the 
 coveted statues after the death of his victim. Feeling that his 
 end was near, Bartolomeo prayed earnestly to Savonarola 
 to succour him and his unfortunate family, and immediately 
 beheld the sainted friar floating above his bed in a halo of 
 glory, and heard a voice saying, "Arise, and go to the house 
 of Camillo della Siepe " (his father's old friend), " where you 
 will be restored to health." This he did believing, and with 
 the promised result.'" 
 
 Though we may be inclined to give little credence to the 
 story, we may take it as one of the proofs of that faith in his 
 power with which Savonarola inspired so many artists of his 
 day. Among them were Sandro Botticelli, who gave up paint- 
 ing for love of him, and would have starved without the 
 assistance of Lorenzo de' Medici and other friends ; the Bob- 
 bias, two of whom were made priests by his hands, and who 
 testified their veneration for him by coining a medal bearing 
 his portrait on one side, and on the other a city with many 
 towers, above which appeared a hand holding a dagger pointed 
 downwards, with the motto, " Gladius Domini sup. terram cito 
 et velociter ; " Lorenzo di Credi, who spent the latter years oi 
 his life in the convent of Sta. Maria Novella ; Fra Bartolomeo, 
 who became a monk in the convent of St. Mark, and was 
 so afflicted by Savonarola's death, that he gave up painting for 
 four years ; Cronaca, who ceased story-telling, for which he had 
 become famous, and would talk only of Fra Girolamo ; Giovanni 
 della Corniole, who perpetuated his likeness in one of the 
 finest of modern gems ; and Michael Angelo, who was one of 
 
 * Vita di Savonarola, Burlamacchi, pp. 166, 167. Among the 
 works of Bartolomeo are a statue of Mars upon the monument of 
 Benedetto Pesaro in the Frari at Venice ; the arms of Leo X. on the wall 
 of a garden near the Palazzo Pucci at Florence; the bronze statue of 
 St. John the Evangelist in one of the niches outside of San Michele; 
 and a crucitix in the refectory of the Convent of St. Mark at Florence. 
 He died at Lucca in 1552, aged eighty-eight. 
 
 U
 
 1 62 Historical Handbook of Italian Sadpture. 
 
 the Friar's constant auditors in bis youth, who pored over his 
 sermons when an old man, and ever retained a vivid impression 
 of his powerful voice and impassioned gestures. These his 
 disciples knew that although Savonarola persuaded the people 
 to make bonfires of gems, books, pictures, and drawings of a 
 licentious character, and induced artists to destroy their studies 
 from the nude, he was not an enemy to art.* They well under- 
 stood that he simply desired the triumph of spiritual things in 
 art, in manners, and in politics, and that he was fighting 
 against the Pagan spirit in art wherever it appeared. f 
 
 * According to Prof. Villari, the value of the objects destroyed in the 
 " bruciamento della vanita," at the end of the Carnival of 1497, has been 
 greatly exaggerated. They were chielly rich dresses, portraits of bad 
 women, books adorned with gold, &c., &c. {Vita di Savonarola, vol. i. 
 p. 462). 
 
 f That Savonarola was no enemy to literature is proved by his having 
 induced the monks of St. Mark's to purchase for 3,000 florins the Lauren- 
 tian library, which would otherwise have been scattered among the 
 creditors of the Medici. Among them was the French ambassador, 
 Messer Philippe de Commines, who would have removed it to France 
 'Villari, op. cit. vol. i. p. 467).
 
 The AbrtLzzi. i6^ 
 
 CHAPTER IV. 
 
 Lii the preceding chapter we have followed the history of 
 sculpture in Tuscany up to the end of the fifteenth century, 
 which closes the period of the early Renaissance. In this we 
 propose to speak of sculpture in other parts of Italy from the 
 Revival, up to which we traced it in our Introductory Chapter, 
 to ahout the year 1500, and thus so far complete the history of 
 the art throughout the Peninsula. 
 
 THE ABPvUZZr. 
 
 While in Apulia all practice of sculpture seems to have 
 ceased after the middle of the fourteenth century, it had a 
 longer life in the Abruzzi, and in the fifteenth reached its best 
 period under Tuscan influence. Aquila possesses an interest- 
 ing monument of the thirteenth century in a public foun- 
 tain, called della Riviera, which was made by Tancredi, a 
 native of Pentima di Valva * in 1292. It consists of an immense 
 basin, surrounded on three sides by walls decorated with patterns 
 in white and red stone, and fed with water from the mouths of 
 ninety masks, now much broken and defaced. Sta. Maria di 
 Colemaggio, Sta. Maria Paganica, Sta. Giusta, San Marco, and 
 several other Romanesque churches at Aquila have portals of 
 
 * Pentima is a small town built on the site of Corfinium, not far from 
 Salmona. Zani, Encidopedia Met. xv. 331, mentions Tancredi and the 
 Bolognese sculptor Rengueri (Aulico di Tancredi e Boemondo), with 
 whom he has been confounded; ibid. xvi. 72, 282. The date and the 
 name of the artist are inscribed upon a stone set into the wall of the 
 fountain: "a.d. mcclxxii. Magis. Tangredus de Pentima de Valva fecit 
 hoc opus." Leosini, op. cit. p. 70, states that the north wall of the 
 fountain with its masks was added, long after Tancredi's day, by Alcs- 
 sandro Ciccarone, an Aquilan architect and sculptor. 
 
 M 2
 
 164 Historical Handbook of Italian Sculpture. 
 
 the fourteenth century adorned with sculptured animals full of 
 life and truth to nature and with ornanaents of elegant design, 
 but the figures in the reliefs about them, like the statuettes, are 
 stiff and clums}'. The two monuments at Aquila of the Cam- 
 pioneschi, who were lords of Aquila under the Angevine kings, 
 are very unequal in merit, and different in style, though both 
 are of the fifteenth century. One of them is the picturesquely 
 designed, but clumsily executed Gothic tomb of Count Lalle 
 and his two sons, in the church of San Giuseppe, made in 
 1432 by Walter Alemanno, a German or of German extrac- 
 tion ;* the other is the beautiful Renaissance tomb at San Ber- 
 nardino of Count Lalle's widow, Maria Pereira, and her infant 
 daughter Beatrice, which conforms in its general design to the 
 type adopted by the Florentine sculptors of the period. f It 
 has, however, one strikingly original feature, the double efGgy, 
 of the child under the ornate sarcophagus and of the mother 
 upon it. Death seems but lately to have set his seal upon her 
 Bweet face, which droops to the right shoulder so that it is visible 
 from below, and upon that of her infant, who lies between two 
 mourning genii with one arm crossed upon his breast, an image 
 of perfect repose. In technical treatment, in refinement of 
 feeling, and charm of expression these figures are of that high 
 grade which betokens the Tuscan training of the sculptor, who 
 was probably Andrea dall' Aquila, referred to as the scholar 
 of Donatello, in a letter of recommendation addressed in 1458 
 to the director of the works at the Cathedral of Siena in terms 
 of the highest praise, j and not Salvestro Aquilano,§ who with 
 his pupil Salvatore, made the shrine of San Bernardino in the 
 same church, which is very inferior in style and treatment to 
 the Pereira monument. 
 
 * This artist made a monument in the churcli of San Domenico to the 
 knight Niccolo GaliofE (Leosini, oj). cit. p. 123). 
 
 f Upon the monument is this inscription— 
 
 ''Beatrici CamponescjE, infanti dulci, quEO vixit mens. xiv. 
 Maria Pereyra, Noroniaque mater," &c, 
 
 X See Doc. 'per la Storia clelV Arte Sanese, by Carlo Milanesi, and 
 Schultz, op. cit. iii. 190. Another Andrea dall' Aquila studied at 'Venice 
 ■under Alessandro Vittoria in the succeeding century. Cicogna, Isc. 
 Venit. ii. 124. 
 
 § He was the son of Giacomo da Salmona, and was called rAquilano 
 from AquUa, and d'Arischi from a castle in the Aquilan territory.
 
 Andrea dalV Aqidla. 165 
 
 The slirine of San Bernardino, erected at a cost of 20,000 
 golden florins by Giacomo di Notar Nanni, a rich merchant 
 high in favour with King Charles II. and King Frederic of 
 Naples, and a great benefactor to the churches and religious 
 houses at Aquila, is an immense square pile adorned with 
 statuettes, ornamental work, and reliefs. The most important 
 relief represents the Madonna enthroned upon clouds borne up 
 by cherubs, and the infant Christ, who standing upon her kneo 
 blesses the kneeling Donor, here presented to him by San Ber- 
 nardino.* The figures are simply draped and wiell grouped, 
 the Divine Child is dignified in attitude and bearing, but the 
 Madonna is self-conscious, and San Giovanni Capistrano who 
 kneels on her right hand with a banner in his hand, is man- 
 nered and theatrical. The festoons, birds, fruits, and gro- 
 tesques want sharpness and delicacy, while the statuettes and 
 the bas-relief of the Resurrection of our Lord, hardly rise above 
 mediocrity. The altar-piece, also ascribed to Salvestro, and 
 given by the same Giacomo Nanni to a chapel in the church 
 of the Madonna del Soccorso, is very superior to the shrine. 
 Its angels with gilded wings and draperies, relieved against a 
 blue background in the central space, recall Luca della Robbia, 
 whose masterpiece in the Vetusti Chapel the artist must have 
 Been and studied. 
 
 NAPLES. 
 
 Sculpture at Naples in the thirteenth century is represented 
 by Pietro di Stefano, and that somewhat mythical architect and 
 sculptor, Masuccio I. (1230-1305) who, according to the very 
 unsatisfactory and often contradictory accounts given of him by 
 his countrymen, was a pupil of the unknown painter of a 
 miraculous crucifix at San Domenico which is reputed to have 
 spoken to St. Tbomas Aquinas. After his master's death, 
 Masuccio went to Rome in company with a foreign architect, to 
 study the antique, but hearing that Giovanni Pisano had been 
 appointed architect to King Charles of Anjou, he returned 
 to Naples, and eventually succeeded him in that position. 
 
 * The Saint died at Aquila in 1444.
 
 1 66 Historical Handbook cf Italian Sculpture, 
 
 During his tenure of office be is said to have laid the foun« 
 dation of the Cathedral, and to have designed S. Domenico 
 Maggiore, though the honour of having erected these and other 
 churches is also claimed for the Tuscan architects, Niccola and 
 Giovanni Pisano, as well as for Maglione and Arnolfo di Cam- 
 bio, both scholars of Niccola, who resided at Naples for several 
 years.* 
 
 Among the sculptures designated by Neapolitan writers as 
 the works of Masuccio I., which have either disappeared or are 
 now known to be the works of other hands, are the bust of 
 Cardinal Eaimondo Barile, a bas-relief of Christ between two 
 saints, the tomb of Jacopo di Costanzo, a crucifix in the Capella 
 de' Caraccioli, and the monument of Pope Innocent IV. The 
 latter consisted of several storeys adorned with mosaics and 
 terminated by a half arch, whose lunette contained a bas-relief 
 of the Pope and the Archbishop Humberto di Montorio 
 kneeling before the Madonna.f The recumbent effigy, a simple 
 and expressive figure in the left transej)t of the Cathedral, is 
 especially interesting as a portrait of the pope who excom- 
 municated Frederic II. at the Council of Lyons. As Masuccio I. 
 died about thirteen years before the erection of this monu- 
 ment (1318), and Pietro di Stefano survived him only about 
 five years, it cannot be their work, but it may be by Pietro^u 
 son, Masuccio II. (1290-1387), godson and pupil of Masuccio 
 I., to whom Neapolitan writers ascribe nearly all the churches 
 and tombs of this epoch. They tell us that after his return 
 from Rome, where he had spent several years in study, he wan 
 commissioned by King Robert to build the church of Sta. 
 Chiara,! which had been commenced by an incompetent foreign 
 
 * Niccola Pisano was at Naples from 1221 to 1231 (?). Giovanni 
 Pisano worked at Naples from 1268 to 1274, and perhaps again in 1279. 
 Maglione, built a portion of the church of San Lorenzo, about 1266, but 
 Masuccio II.'s share in the erection of this building was so much greater 
 than his, that he should be rather regarded as its architect. It was com- 
 pleted in 1324 A document of the year 1284, January 25, speaks of it 
 as then nearly finished. See Schultz, iii. 39 ; Boa. Eeg. Karol. I. b. 67. 
 Arnolfo di Cambio was in the employ of Charles of Anjou in the year 
 1277. Vermiglioli, Lc Sc7ilture ddla Fontana di Perugia. 
 
 f Gregorovius, Les Totnheaux des Papes, p. 113. 
 
 X Dedicated in 1340, according to the inscription on the campanile. 
 Schultz, op. cit. iii. 62.
 
 Naples. 167 
 
 arcliitGct. This is possible, but he cannot have sculptureil the 
 Angevine inomimeuts within its walls, as their character 
 bespeaks a Tuscan influence, under which, so far as we know, 
 Masuccio never came. This influence was probably brought to 
 hear upon Naples by the Siencse sculptor Tino da Camaino,* 
 who resided there for about sixteen years (1321-1337), and 
 was appointed by the last will and testament of Queen Maria, 
 widow of Charles II. of Anjou, together with Gallardus of 
 Sermona, to erect her monument in the church of Sta. Maria 
 Domna Eegina, whose general design — a Gothic canopy, sup- 
 ported upon columns over a sarcophagus, with a sepulchral 
 effigy exposed to view by curtain-drawing angels — is closely 
 followed in the tombs at Sta. Chiara.f The white marble 
 figures in some of the bas-reliefs upon the sarcophagi are either 
 set against a dark blue background studded with golden lilies, 
 or relieved upon black marblej as in the tomb of Queen Maria 
 above mentioned. This system of decoration is followed in the 
 bas-reliefs of early Christian martyrdoms upon the pulpit at 
 Sta. Chiara, and in those from the life of St. Catherine upon 
 the organ loft, where, on account of their distance from the eye, 
 they produce a much better effect. 
 
 The most important of the monuments in this church is 
 that which was raised to the memory of her grandfather. King 
 Robert, by Queen Joanna I., who on the 1st of September, 
 1343, only a few months after his death, as we learn from her 
 letter to Jacobus de Factis,§ commissioned the Florentine 
 brothers, Sancius and Johannes, to erect the imposing struc- 
 ture which towers above the high altar and surmounts the 
 doorway leading into the nuns' choir. 
 
 The King is there four times represented: first seated on a 
 throne with the globe and the sceptre in his hands ; then lying 
 on a sarcophagus in the garb of a Franciscan monk with a 
 
 * See chapter iv. 
 
 f Doc. 368, Scliultz, iii. 146, mentions an order given by King Robert 
 to his agents at Eome to obtain and forward the marbles needed by the 
 sculptor Gallardus for this monument. Documents of the time of King 
 Charles II. record the appointment of Tino da Camaino and Gallardus, 
 and mention the sums paid to them during its progress and when it was 
 completed, a.d. 1326. 
 
 ;j; Like that of the frieze of the Erectheum at Athens. 
 
 § Keg. Johanna) I., fol. 8, no. i. doc. cdxix. See Schultz, o'p. cit. iv. 170.
 
 1 68 Historical Handbook of Italian Snilptitre, 
 
 crown upon his head and a ci-oss upon his breast, while angels 
 hold back the heavy curtain folds that they may look down 
 upon him ; thirdly as standing upon the front of the sarcopha- 
 gus, in low relief, with his two wives lolanthe and Sancia, his 
 son Duke Charles with his wife, Maria of Austria, and their 
 daughter Queen Joanna ; and fourthly as kneeling with Queen 
 Sancia before the Madonna, to whom they are presented by St. 
 Francis and Sta. Chiara. Though grand in its general effect, 
 this Gothic tomb is coarsely sculptured, while the figures about 
 
 HCtl AII\J.J»C. 
 
 it are cold, lifeless and of little value apart from their decora- 
 tive office. The same may be said of the monument of Duke 
 Charles (d. 1328), who is represented by a recumbent effigy 
 robed in a royal mantle painted blue and decorated with golden 
 lilies, and in a relief on the front of his sarcophagus seated in 
 the midst of his councillors and vassals. Below it are winged 
 figures of the Virtues, and a wolf drinking out of the same cup 
 with a lamb, symbolic of the harmony which the Duke brought 
 about during his regency between the nobles and the people. Of 
 the remaining tombs we may speak more briefly. Either Marie 
 de Valois, the second wife of Duke Charles, or his daughter
 
 ♦ 
 
 Naples, 169 
 
 Joanna, lies in the monument next ms own,* and her sister 
 Maria da Durazzo in that on the oi:)posite side of the church 
 whose bas-reliefs are of white marble against a black background. 
 The bas-relief in the left transept, representing the infant Maria 
 da Durazzo (d. 1844) wrapped in swaddling clothes and borne to 
 heaven by angels, is notable for its Giottesque character, and 
 that of the Pieta upon the tomb of Agnesa di Perigord, mother of 
 the Duke of Durazzo, for its extravagant and mannered action. 
 The first and best of the six distinct styles perceptible in the 
 sculptures at Santa Chiara, is that of the curtain-drawing angels 
 and the statuettes in niches upon King Robert's monument, all 
 probably the work of the Tuscan artists employed by Queen 
 Joanna ; the second and worst is that of the seated statue of 
 King Robert ; the third is that quiet, lifeless, but comparatively 
 correct style, in which the effigies and figures in relief {see 
 wood-cut, p. 1G8) upon the monuments of Duke Charles of 
 Calabria, Queen Joanna I., and Maria da Durazzo are executed; 
 the fourth is the Giottesque style of the bas-relief of her infant 
 daughter ; the fifth, the extravagant and mannered style of that 
 upon the tomb of Agnesa di Perigord ; and the sixth, that of 
 the figures in relief upon the pulpit and organ-loft. The co- 
 operation of Masuccio II. in any of these works is question- 
 able, and if we are to regard him as the sculptor of the very 
 picturesque Gothic tomb of the Duchess Catherine of Austria 
 at San Lorenzo, seems hardly possible. This quadrangular struc- 
 ture, whose pointed roof is supported upon twisted columns, 
 is divided midway by the sarcophagus, under which a doorway 
 leads into the choir. Mosaics are let into the spirals of the 
 , columns, the pinnacles at each end of the architrave, and the 
 lunette ; statuettes of SS. Peter, Paul, Catherine, and Louis of 
 Toulouse stand at the head and feet of the recumbent effigy, 
 and the front of the sarcophagus is decorated with roundels 
 containing half figures in relief of the Madonna, SS. John the 
 Evangelist, Anthony of Padua, Francis, and Santa Chiara. No 
 Tuscan influence is perceptible in it, but as the curtain-draw- 
 ing angels, here absent, appear in the monuments of Carlo da 
 Durazzo, and of Ptobert d'Artois and his wife Giovanna da 
 
 * Giannone, op. cit., says, at vol. ill. p. 194, Storia di No poll, that 
 Joanna is buried thei'e; but the inscription upon the tomb which recoida 
 l er name is considered to be of doubtful authenticity.
 
 1 70 Histo^Hcal Handbook of Italian Sculpture. 
 
 Durazzo in the same church, we are led to conjecture that they 
 were made hy the artists of King Robert's monument. There 
 is but little hope that the obscurity which prevails about 
 Masuccio and his works will be cleared up, as his name is not 
 mentioned in any inscriptions or documents of the time, and 
 no better proof of his having existed is to be found than Yague 
 tradition and bold assertion, which fixes the date of his death 
 in 1387 at the age of ninety-six.* 
 
 As the fourteenth century is filled with the fame of Masuccio 
 II., so is the fifteenth with that of his scholars, Andrea 
 Ciccione and the Abbate Bamboccio. Ciccione, who is said to 
 have built the churches of Santa Marta and Monte Oliveto, and 
 to have sculptured a monument to Giosue Carracciolo in the 
 Cathedral, was employed by Queen Joanna II. to make the 
 monument of her brother. King Ladislaus, which rises to a 
 great height over a doorway in the church of San Giovanni a 
 Carbonara.t The four colossal figures of the Virtues on either 
 side of the entrance support an open arched gallery containing 
 life size seated statues of the King and his mother, and of Royalty, 
 Charity, Faith and Hope. Above them stands the sarcophagus 
 with the royal efiigy watched over by angels, within a curtained 
 recess, crowned by an equestrian group of Ladislaus holding a 
 sword in his right hand. Through its profuse gilding and colour, 
 and its multitude of figures, arches and pinnacles, the general 
 efi"ect of this monument is imposing, but its coarsely executed 
 accessories and clumsily proportioned forms do not allow of close 
 examination. The same may bo said of another monument in 
 this church, which Joanna employed Ciccione to erect to the 
 memory of her lover Gian Carracciolo, who after ruling Naples 
 with royal power and state was murdered by a band of con- 
 
 * Among anonymous works of the fourteentli century at Naples, we 
 may mention an ex-voto bas-relief on the outside of the church of St. 
 Peter Martyr, dedicated by Franceschino da Brignole, after he had for 
 a second time escaped shipwreck, in 1361. Poor as a work of art, it ia 
 interesting for its subject — " the Dance of Death." 
 
 f There are no certain data as to the author of this tomb. Ciccione 
 ia not mentioned by Summonte {Historia della ClttCi c Uerjiio di Napuli), 
 Colano or Eugenic Carracciolo (NapoU Sacra). All that we know about 
 him rests upon the doubtful testimony of Cresconius and de' Dominici. 
 Ladislaus was a proud, ambitious, prodigal, and dissipated man, who 
 died at the early age of thirty six, a.d. 1414. {See Schultz. iii. 80.)
 
 Andrea Ciccione, 171 
 
 spirators on the 14tli of August, 1432.* Bad in design, and 
 gaudy in colour, it lias but one original feature, the represen- 
 tation of the Virtues in the guise of armed knights, who bear 
 up the sarcophagus, on the top of which stands a rigid portrait 
 statue of the deceased Seneschal, coloured to resemble life. 
 
 Little as there is to praise in Ciccione's works, there is even 
 less in those of his contemporary, Antonio di Domenico da 
 Bamboccio, who was born at Piperno in 1351 and died at 
 Naples about 1422. His warm admirer, the Cardinal Enrico 
 Minutolo, was so delighted with the florid Gothic fa9ade of 
 San Giovanni a Pappacoda, and the portal of the Cathedral 
 at Naples which Bamboccio had ' completed in 1407, that he 
 made him Abbot of a convent near the city, with a revenue 
 of 400 ducats a year, Bamboccio sculptured his patron's 
 tomb and that of Cardinal Carbonef in the Cathedral, as well 
 as that of Margaret of Durazzo (d. 1412) in the Cathedral at 
 Salerno, all of which have the curtained recess, the recumbent 
 effigy, the watching angels, the Gothic canopy, and the sarco- 
 phagus supported by statues of the Virtues, seen in already 
 described tombs at Santa Chiara. By these works, and by the 
 tomb of Lodovico Aldamaresco (d. 1414) in the cloister of San 
 Lorenzo, which according to the inscription upon it, Bamboccio 
 sculptured in the seventieth year of his age, he did little to 
 increase his reputation either as sculptor or architect. His 
 technic and taste were alike defective, and his stvle was either 
 cold and uninteresting, or extravagant and confused. 
 
 The simplicity and absence of pretension, which somewhat 
 redeemed the monotonous and formal style of the school in 
 
 * Lionardo di Bisuccio, a Milanese artist, gilded this monument as well 
 as tliat of Ladislaus ; and Scilla, a sculptor from Milan, worked with 
 Ciccione upon both. 
 
 t Cardinal Carbone, a Neapolitan patrician, and the reputed nephew 
 of Pope Boniface IX., was a Cistercian monk, renowed from his youth 
 for learning and devotion to the Eomish Church. He filled many- 
 offices of trust under Popes Urban V. and Boniface IX., and died at 
 Bome A.D. 1405. (Cardella, Memorie del Cardinally ii. 297.) The 
 tomb of Cardinal Minutolo is in the Minutolo chapel above the 
 altar. The baldacchino is ascribed by de' Dominici to Masuccio II., but 
 we believe it to be by Bamboccio, as its sculj^tures are in the same ^tyle 
 as the altar-tomb. The simple sarcophagi on either side of the altar, 
 with recumbent effigies, reliefs of saints in roundels and mosaics, are 
 probably by Masuccio IL
 
 1 72 Historical Handbook of Italian Sctilptiire. 
 
 "ttliich he was bred, were the fruit of Tuscan influence, but while 
 Tino, Sancius, and Johannes, who visited Naples during tho 
 fourteenth century, exercised a favourable influence upon art, 
 their Tuscan successors in the fifteenth, though infinitely 
 superior to them in ability, left it much as they found it. It 
 was but a few years after Bamboccio's death that Donatello and 
 Michelozzo erected the noble tomb of Cardinal Brancacci in tho 
 church of Sant Angelo a Nilo (1427), while later in the century 
 both Antonio Eossellino and Benedetto da Majano worked at 
 Monte Oliveto, Giuliano da Majano built the portal of Santa 
 .Barbara, and other foreign sculptors aided in decorating the 
 superb triumphal arch over the entrance to Castelnuovo, which 
 commemorated the accession of Alfonso of Aragon, and the 
 defeat of his rival Bene d'Anjou whom Queen Joanna had 
 designated as her heir to the throne of Naples. 
 
 The erection of a triumphal arch in Alfonso's honour had 
 teen decreed by the municipal authorities the year after he had 
 seized upon Naples (1443), but it cannot have been commenced 
 until eight years later, when the great round towers between 
 which it stands were completed. It has four storeys, the three 
 lower pierced with arches, and the upper decorated with niches 
 containing statuettes of the Virtues. While every part of its 
 surface is covered with masks, lions' heads, "putti," " amorini,'* 
 festoons and leaf-ornament, its most important sculptures are 
 the alto-reliefs of Alfonso and his armed knights, which though 
 somewhat formally composed, are highly effective, and of great 
 historical value. The King is represented thrice : standing bare- 
 headed with a dog lying at his feet, fully armed with a helmet on 
 his head, and borne in triumph upon a car like a Roman general. 
 Other more strictly decorative reliefs, such as those of the genii 
 Vi'hich support the royal arms, were evidently sculptured by an 
 artist bred in the school of Donatello, and as his pupil Andrra 
 dair Aquila is mentioned as one of the many sculptors who 
 worked upon tlie arch, we may attribute them to him with somo 
 plausibility. A mortuary inscription (1470) at Santa Maria 
 Nuova* names as the architect who built the arch and was there- 
 fore knighted by the King,Pietro di Martino of Milan, who is else- 
 where mentioned as one of the sculptors who decorated it with 
 
 * Commentary to the Life 0/ Giuliano da Majano. Vasari, ed. 
 Milanesi. vol. ii. p. 483.
 
 Naples. 173 
 
 bas-reliefs and statues between 1456 and 1471.* His associates 
 were Antonio and Isaia da Pisa,f Domenico di Montemignano, 
 Dcmenico Lombardo, and Francesco Azzara. To these, other 
 authorities add Salvestro and Andrea dall' Aquila, Desiderio 
 da Settignano and Benedetto da Majano. The river gods, 
 masks and statuettes upon the attic, in the late Renaissance 
 style, are by Giovanni Merliano da Nola, a Neapolitan sculptor 
 of whom we shall speak in another chapter. 
 
 ROME. 
 
 The example set by Arnolfo di Cambio in the ciborium at 
 St. Paul's I was followed by Giovanni Cosmati, who giving up 
 the classical traditions of his family § while he preserved their 
 decorative system, erected the two fine Gothic tombs, of Car- 
 dinal Gonsalvi at Sta. Maria Maggiore and of Bishop Durante 
 at Sta. Maria sopra Minerva, between 129G and 1303. Their 
 main features are the canopied recess with mosaic background 
 in which lies the sepulchral effigy, watched over by curtain- 
 drawing angels, upon a sarcophagus decorated with coats of 
 arms and ornaments in geometrical patterns. Other works of 
 the same class by Giovanni and Adeodatus Cosmati, or the Pas- 
 quale who made the pulpit and paschal candlestick at Sta. 
 Maria in Cosmedin, are the tombs of Don S. Surdi at Sta. 
 Balbina, of Cardinal Anchora at Sta. Prassede, of Boni- 
 face VIII. in the crypt of St. Peter's, of the Cardinal d'Ac- 
 quasparta at Ara Coeli, and the tomb of the Gaetani in theii 
 chapel in the Cathedral at Anagni where the paschal candle- 
 
 * Gli artisii ed artcfici che lavoravano in Castehiuova a tempo di 
 Alfonso I. e Ferrante I. Napoli, 1876, by Camillo Minucio Riccio. 
 
 f Isaia di Pippo da Pisa ou whom Porcello of Padua wrote a poem, in 
 which he enumerates five of his works— viz., the tomb of Eugenius IV. 
 afc S. Salvatore in Lauro, Eome; the arch of Triumi^h at ISTaples; the 
 tomb of Sta. Monica, formerly in S. Agostino, Rome; equestrian statues 
 of Nero and Poppea; and a group of the A^irgiu and Child with angels. 
 Isaia was commissioned with Mine da Fiesole, Paolo Romano and Pagno 
 to sculpture the balcony of the benediction at St. Peter's; and with 
 Paolo Romano to make a tabernacle for S. Andrea. The last papal 
 record of his name is August 29, UQi. Eugene Muntz, op. cit. p, 257. 
 
 + See ch. ii. p. 23. 
 
 § Bee Introduction, pp. Ivi. and IviL
 
 1 74 Histoi'ical Handbook of Italian Sculphtre, 
 
 Btick is inscribed with the name of Vassaletto. But two native 
 Roman artists of the fifteenth century are known to us, Paolo 
 Romano or Mariano* and Gian Cristoforo Eomano who worked 
 at the Certosa of Pavia in 1473. f 
 
 Paolo Romano is mentioned by Antonio Filarete in his MS. 
 Treatise on Architecture,! as the goldsmith who designed and 
 cast twelve silver statuettes of the Apostles fcr the altar of the 
 papal chapel at St. Peter's, which were destroyed during the 
 Back of Rome in 1527. The works attributed to him at Rome 
 are a statue of St. Paul§ on the Ponte St. Angelo, Avhich 
 though somewhat dry in style is pure in line and well draped, 
 the tomb of Fra Bartolomeo Caraffa, chamberlain to Innocent 
 VII., in the church of the Knights of Malta on the Aventine, 
 and the monument of Cardinal Stefaneschi at Santa Maria in 
 Trastevere. | As both the occupants of these Gothic tombs 
 died before 1420, and Paolo Romano is not heard of at Rome 
 before 1451, they cannot be liis work, and we are forced to 
 suppose that the Magister Paulus whose name is inscribed 
 upon the first tomb, was another sculptor of the same name.^ 
 The knight, grasping the handle of his sword, lies dressed in 
 armour on the top of a sarcophagus, whose front is divided by 
 twisted columns into panels containing the arms of the deceased 
 and a mortuary inscription in Gothic letters. Cardinal Stefan- 
 eschi also lies upon a sarcophagus adorned with an inscription 
 
 * Papal archives mention him from 1451 to 1463. Eugene Miintz, 
 O'p. cit. p. 245. 
 
 + Lomazzo, Le Ch'ottesche, book iii., speaks of Gian Cristoforo as a 
 painter, and Cicogna, Isc. Ven. iii. 640, quotes his epitaph, which states 
 that he died at Loreto in 1525. At the Certosa he worked upon the 
 tomb of Gian Galeazzo Yisconti, designed by G. Pellegrino, of Milan. 
 
 ;!; See chapter vi. p. 114. 
 
 § Made for Pius 11. and originally placed at St. Peter's before the 
 cbapel of Sixtus IV. 
 
 II Petrus Stefaneschi de Annibaldis was nominated acolyte of the 
 Papal chapel and apostolic protouotary by Pope Boniface IX. at an early 
 age; Innnocent Vll. raised him to the dignity of cardinal-deacon of 
 Sant' Angelo; and Pope John XXIIL, when he was obliged to appear 
 before the Council at Constance, left him in charge of the Papal dominions 
 as Temporal Vicar of Pome. Memorie Storiche dei Cardinali, Cardella, 
 ii. 230, 330. See also Ciacconius, ii. 723. 
 
 ^ Eugene Miintz, op. cit. p. 249. This author mentions a statue of 
 St. Andrew by Paolo Eomano (1463) iu a church outside the Porta del 
 Popolo.
 
 Paolo Romano. 175 
 
 and with two cardinal's bats in relief, under a marble canojiy 
 decorated witb a frieze of coloured mosaic. Tbc bas-relief 
 upon tbe monument of the French cardinal Philippe d'Alen- 
 9on,* in the same church, which resembles the Stefaneschi 
 tomb in general arrangement and is possibly by the same artist, 
 represents the dying prelate surrounded by angels bearing 
 tapers, and by priests, one of whom, an apostolic-looking figure, 
 holds a child in swaddling clothes in his arms, typical of tho 
 dj'ing man's soul. 
 
 Vasari speaks of a highly-praised statue by Paolo Komano 
 at St. Peter's of an armed man on horseback, and the epitaph 
 placed upon his tomb mentions his statue of Cupid. He 
 retired from the world shortly before his death, which occurred 
 in the latter part of the fifteenth century, and spent his 
 remaining days in solitude and peace. 
 
 Among the best anonymous works of the fifteenth century at 
 Rome is a marble " dossale," or altar-piece, in the Cappella 
 Salviati at San Gregorio, which was sculptured in 14G9 for a 
 Roman abbot of the monastery, who is represented in the 
 principal relief kneeling before the Madonna to receive the 
 blessing of the Infant Christ, who sits between t.vo adoring 
 angels, while two flying angels above her bear a pyx. Tho 
 archivolt is adorned with a glory of cherubs, the entablature 
 with three small bas-reliefs representing priests and people 
 entering a temple, and the lunette with a bas-relief of God the 
 Father surrounded by angels. Four statuettes of saints are 
 placed above the side columns, between which stand SS. 
 Gregory and John in niches. The two roundels below the 
 entablature contain reliefs of the Madonna and the Angel of 
 the Annunciation, and angels are also introduced in the span- 
 drils of the central arch, while below the altar-piece on either 
 side of the marble base are statuettes in niches of a bishop and 
 a female saint. This interesting work, which was evidently 
 sculptured under Tuscan influence, has been much injured by 
 restoration. Other works of its class are a stiacciato relief of 
 the Entombment in the style of Donatello, over the altar of 
 the Madonna delle Febbre in the sacristy of the Beneficiati at 
 
 * Cardinal Philippe, who belonged to the Royal house of Valois, waa 
 made Bishop of Beauvais and Archbishop of Rouen at a very early age, 
 1359.
 
 176 Histo7dcal Handbook of Italiaji SailptiLve, 
 
 St. Peter's, a bas-relief of the Crucifixion in the oratory of 
 S. Venanzio, belonging to the end of the fifteenth century, the 
 monument of Pietro Piiario, raised to his memory by Pope 
 Sixtus V. (1465) at the SS. Apostoli, a bas-relief of St. Peter 
 and the angel at S. Pietro in Vincoli, and another, supposed 
 to represent Leo the Great, at the Lateran, which was probably 
 executed during the reign of Sixtus IV. (1404-1471). 
 
 LOMBARD Y. 
 
 MILAN, PAVIA, CREMOI^A, &C, 
 
 An account has been already given in our Introductory Chapter 
 of the condition of sculpture throughout Lombardy during the 
 thirteenth and the greater part of the fourteenth centuries, 
 when the scholars of Balduccio of Pisa sustained the reputa- 
 tion of Tuscany in the north of Italy. In the latter part of 
 the fourteenth century Gian Galeazzo Visconti'* gave an 
 immense impulse to architecture and sculpture by founding the 
 Cathedral at Milan and the Certosa at Pavia, in whose con- 
 struction and adornment nearly all the most capable Italian 
 architects of the time were called upon to take part, and by 
 opening schools connected with the great building, where many 
 young architects and sculptors were trained to assist them. 
 
 In 1375 Galeazzo had made a vow that he would build a 
 splendid cathedral in honour of the Virgin if he succeeded in 
 making himself master of Milan, and when he began the work 
 the very year after the accomplishment of his ambitious schemes 
 (1386), he gave to the "Fabbrica" the marble quarries of 
 Gaudolia,f a mountain near the Lago Maggiore, with a revenue 
 to be spent in working them. 
 
 There appears to be no doubt that its first architect was 
 Marco Frisone da Campionel one of the five Campiones origin- 
 
 * Gian Galeazzo son of Galeazzo II., first married Isabella, daughter 
 of the French king Charles VI., and at her death Caterina Viscouti 
 daughter of Bernabo (Cantu, op. cit. ii. 8i3). He derived his title of 
 Comte di Vertii from a French " feud " brought to him in dower by his 
 first wife (Verri, i. 387 1. 
 
 f Named also " Candolin," pei'haps from the whiteness of the marbia 
 extracted from it (Ginlini, v. 691). 
 
 X An inscription upon the duom.o states that it was begun in 1386 
 (Calvi, op. cit. Vita di Marco da Campione, p. 76). Torre, Bitmtij dl
 
 The Certosa and the Cathedral. 177 
 
 uUy attached to the " Veneranda Fabbrica " (a body of architects 
 and sculptors constituted and presided over by the duke),* though 
 his claims to this honour have been long disputed by a German 
 architect named Heinrich von Gmunden, one of Marco's asso- 
 ciates, who shortly after his death expressed grave doubts as to 
 the solidity of the edifice, and being unable to sustain his 
 point, returned to Germany. 
 
 As the duke had begun the Cathedral at Milan the vear 
 after he had seized upon the throne, he marked the legalisation 
 of that act by founding the Certosa at Pavia, as a new and 
 splendid thank-offering to heaven. Bernardo da Venezia, its 
 head architect, is mentioned in a lately discovered document as 
 having superintended the digging of its foundations, and accumu- 
 lated materials for its construction about a month before the cor- 
 ner-stone was laid with great pomp by the duke (August 27th, 
 1396), in presence of the Bishops of Pavia, Novara, Feltre, 
 and Vicenza, and many other illustrious persons. f Three years 
 later the edifice was so far completed that mass was celebrated 
 within the walls. | 
 
 Milano, says the 7th of May, 1387. In 1388 it was decided to cover the 
 walls with marble (vide Calvi, p. 77 ; Ricci, ii. 382 ; and Giulini, v. 690, 
 693-4). That the building was roofed in and ready for divine service in 
 1395 is proved by a record of payment to an organist for his services 
 during tlie mass (Mem. de.lV Arch. Civ.), July 10, 1395. 
 
 * Sig. Calvi, Note sidle Vite (pt. i. p. 65, Life of Marco da Campione), 
 shows that though the duke protected the arts by opening an academy 
 of design in his own palace, and knew enough about architecture to be 
 able to speak intelligently upon it with the best professors, there is no 
 foundation for the assertion of Borsieri that he was capable of designing 
 such a building. Ricci, op. cit. ii. 385, does not consider Marco's claim as 
 fully substantiated; but he rejects that of Heinrich von Gmunden, and 
 concludes in favour of one of the Italian architects. 
 
 t Codex discovered in the archivio of San Fedele at Milan by Sig, 
 Girolamo Calvi (viJe La Fondazione delta Certosa, by Sig. Calvi, a 
 pamphlet printed at Milan in 1862) ; see also the life of Bernardo da 
 Venezia (probably so called from a long residence in Venice), in pt. i. 
 p. 103 of Sig. Calvi's Kotizie, &c. Milan, 1859. 
 
 J Gian Gaieazzo largely endowed the Certosa in his lifetime, and in 
 his will left a certain sum, the income from which was to be exjiended on 
 the church and convent until their completion, and after that to be 
 given to the poor. Ricci, ii. 401. The Certosa was built in a part of 
 the park of Mirobello, the remainder of which was Icept as a ducal pre- 
 serve. The circuit of the high walls which surrounded it was twenty 
 miles. Ricci, op. cit. ii. 399. 
 
 N
 
 173 Historical Handbook of Italian Sculpture. 
 
 In artistic interest it far surpasses the Cathedral, for while it 
 IS a perfect miTseum of sculpture by the best artists of the Lom- 
 bard school, there is hardly one good work of art among the 
 myriad statues that cover the roof, crown the pinnacles, and fill 
 the niches of its rival at Milan. Few Italian churches indeed 
 can compare in effect with the Certosa, whose stillness is broken 
 only by the hushed tread of some white-robed monk, who pass- 
 ing on leaves the visitor to scan every detail of the fagade and 
 its richly sculptured portals, the interior with its paintings 
 and marbles, tombs, and exquisite doorAvays, and the vast 
 cloisters with their bas-reliefs and terra-cottas, carved capitals 
 and cornices.* 
 
 These were for the most part executed under the successors 
 of Gian Galeazzo, but the Cathedra] at Milan contains some 
 works of his time, such as the richly-sculi)tured Gothic doors 
 of the sacristies, designed (1395) by a sculptor from Fribourg 
 named Annex di Fernach, and completed by the Milanese 
 sculptors Giovanni and Perrino de' Grassi. The first of these 
 artists, known as Giovanni da Milano,f a painter of con- 
 siderable reputation and merit, went from Milan with Giotto, 
 whose influence is plainly visible in the heads upon the flat 
 spaces and architraves of both these doors, to Florence, and 
 there entered the studio of his scholar Taddeo Gaddi, under 
 whom he afterwards worked in various parts of Italy. The 
 two bas-reliefs upon the northern door represent Christ between 
 
 * The groimd plan of the Certosa, lite that of the duomo at Milan, 
 is in the shape of a Latin cross. The central portion of the building, 
 that first erected, is Gothic ; the apse shows signs of the transition 
 period from Gothic to Renaissance, the facade, which belongs to the 
 fifteenth century, is completely Renaissance or Bramantesque. Bramante 
 Lazzari, or Bramantino " 1' antico," is neither to be confounded with his 
 continuator Bramante d' Urbino, nor with Bartolomeo Suardi. He was 
 like Brunellcschi in Tuscany the propagator of the classical revival in 
 Lombardy, which took place there much later on account of the unsettled 
 state of the country after the death of Gian Galeazzo. Vasari in his 
 life of Pietro della Francesca and Girolamo da Carpi, xi. 268, confounds 
 the two Bramantes, as Calvi plainly shows in his life of Bramantino 
 Lazzari, Notizie, &c. pt. ii. 
 
 t Calvi says Giovanni's family name was Grassi, op. cit. pt. i. p. 96. 
 A document published in the ArcMvio Storico Italiani, 1858, ii. 65, men- 
 tiopp, him as Johannes Jacobi Mediolano, and Cavalcaselle, Hist, of 
 Italian Painting, vol. i. pp. 402-8, note 2, adopts this statement and 
 calls him Giovanni Jacobi.
 
 The Cathedral at Milan. 179 
 
 the Virgin and St. John and the Assumption of the Madonna, 
 and those upon the southern, the Madonna della Miseri- 
 cordia, the Virgin seated between two kneeHng saints, and the 
 Deposition. Tlie broad archivoUs are adorned with rehefs of 
 the Annunciation, the Visitation, tbe Adoration, the Presenta- 
 tion, the Flight into Egypt, and the Massacre of the Inno- 
 cents ; the side posts are covered by elaborately - adorned 
 pinnacles, and the central arches are surmounted by heavy 
 crockets and finials.* Another interesting work of this time in 
 the Cathedral, is the tomb of Marco Carelli, a wealthy Milanese, 
 who gave thirty-five thousand ducats to the Fabbrica on condi- 
 tion that he should enjoy the interest derived from it during 
 his life, and that a monument should be raised to his memory 
 in a chapel built for the purpose in the Campo-Santo.f After 
 his death at Venice, the directors sent a special envoy to bring 
 his body to Milan, and emploj'ed Filippino degli Organi, son 
 of Andrea da Modena, to build the chapel and design the monu- 
 ment.! The statuettes in Gothic niches upon its sides were 
 probably sculptured by Niccolo di Piero de' Lamberti from 
 Arezzo, who came to Milan after he had unsucessfully competed 
 for the gates of the baptistry at Florence 1401, and executed 
 several much admired works. § Gian Galeazzo died (1402) in the 
 
 * See plate xvi. p. 80 ia Franchetti's work on the duomo di Milano. 
 Calvi, 2). 96, note 1, says that Giovanni de' Grassi made the sculptures 
 set into the wall over the left portal of the Duomo in 1395, and that those 
 in Verona marble are by one of the Campionesi. 
 
 t In 1393, the year before Carelli's death, the deputies asked and 
 obtained his consent to raise funds for the continuation of the works at 
 the Cathedral by the sale of part of his property on condition that they 
 should pay him a reasonable income derived from other sources. After- 
 wards with commendable liberality they permitted him to dispose of a 
 mill which had formerly belonged to him, in order to raise a dowry for 
 his daughter. In the seventeenth centur}' his monument was removed to 
 the Cathedral. 
 
 X Calvi, op. cit. p. 152, states his belief that Filippino did not design 
 the whole work. Franchetti, o-p. cit. pp. 102-103, says that he found a 
 record in the archives to the effect that Filippino designed the monument, 
 and an unknown sculptor executed it. Cicognara, vol. ii. pi. x. gives two 
 statuettes from the tomb. It is mentioned by the Conte Nava, p. 37, 
 and by Giulini, v. 789. 
 
 § Vasari, vol. iii. p. 39, note 2, says there is no doubt about Lamberti's 
 visit to Milan, and it is probable that he assisted at the council held in 
 1D87 to discuss the stability of the works. But it is doubtful if he was 
 
 N 2
 
 i8o Histoi'ical Handbook of Italian Sciilptn^'e. 
 
 midst of his great schemes, when the Cathedral and the Certosa 
 were daily growing under his eyes, when master of the greater 
 part of Lomhardy, the Romagna, and Tuscany, he only awaited 
 the surrender of Florence to put on the royal mantle and dia- 
 dem already prepared for the ceremony of his coronation as 
 King of Italy, and so closely did the complete dismemberment 
 of his well-nigh constituted kingdom follow upon his death, 
 that within two years his sons, Giovanni and Filippo-Maria, 
 were obliged to shut themselves up for safety in the castles of 
 Milan and Pavia. As both were under age at their father's 
 death, the State was first administered by their mother the 
 Duchess Caterina, who being utterly unable to make head 
 against foreign and internal enemies, at last retreated to a 
 convent at Monza, where she died. Giovanni, who succeeded 
 to a mere remnant of power, w^as a monster in human shape 
 whose life was fitly terminated by the poniards of his outraged 
 subjects after a reign of ten years, during which the greater 
 part of the native artists whom his father had collected around 
 him at Milan had gone to seek emj)lo3'ment elsewhere, leaving 
 their places about the Cathedral to be filled by inferior German 
 workmen. His successor, Filippo-Maria, was weak, cruel, and 
 ungrateful, and rather tolerated than loved the men of note who 
 flourished at Milan during the thirty-five years of his reign ; * 
 still he did something for art, by building the great cloister of 
 the Certosa which bears his name, by commissioning Pisanello 
 to make that admirable portrait medal which has rendered his 
 features so familiar to us,f and by patronising the only sculptor 
 
 permanently attached to the Fabbrica. There was a Niccolo Selli 
 d' Arezzo in the service of Giau Galeazzo in 1397, with whom he is per- 
 haps to be identified (see Cicognara, i. 400 et seq.). 
 
 * So says his biographer Pietro Candido Decembrio, a distinguished 
 savant and president of the republic after the death of Filippo Maria. 
 When it was overthrown by Francesco Sforza, he retired to Rome and 
 Naples where he was protected by Pope Nicliolas V. and Alfonso of 
 Aragon, but he finally returned to Milan and died there". Pisanello made 
 an admirable medal of him (eng. in Trcsors de Numismatigue, ]>]. vi. no. 2). 
 Verri, Storia cli Milano, i. 442, concludes that Filippo-Maria was a 
 *' principe da nulla." Giulini, vi. 228, says that facts and the assertions 
 of Decembrio do not show him to have been a great protector of letters 
 iilthongh Sassi and Argellati declare him to have been another 
 Augustus. 
 
 t This medal ia engraved in the Tresors de Numismatique, pi. i. no. 3,
 
 yacopino da Tradate, iSi 
 
 of note at Milan during the first half of the century, Jacopino 
 da Tradate, who ^YOIked at the Cathedral as early as 1410, 
 but was not regularly attached to the " Fabbrica " until 1415. 
 Three years later, the then newly elected Pope Martin V., 
 arrived at Milan on the 18th of October, " en route " from 
 Constance to Rome, and after being escorted into the city by 
 the duke and a vast concourse of citizens of high and low 
 degree, consecrated the High Altar of the Cathedral in the 
 presence of an immense number of spectators. After his 
 departure, Jacopino was appointed to represent him in bronze 
 and of colossal dimensions for the Cathedral, and modelled a 
 statue of the Pope robed in full pontificals sitting in a dig- 
 nified and natural pose upon a throne with the keys in one 
 hand, and with the other raised in benediction. The inscription 
 on the base lauds the sculptor as " not inferior but superior to 
 Praxiteles," whose merits, it is needless to say, were matters of 
 pure speculation to the writer. The statue, in sober truth, like 
 the half figure of God the Father in the roof of the apse, shows 
 little else than that Jacopino was a good bronze caster, but the 
 tomb of Pietro Torello at S. Eustorgio, one of the best works 
 of its class at Milan, if it be his work as supposed, proves his 
 merit as a monumental sculptor.* He spent the latter part of 
 his life in the service of the Duke Francesco Gonzaga, at 
 Mantua, where he died about 1440. Among his pupils were 
 his son Samuel, f Isacco da Imbonate, Antonio da Pandino, 
 and Gasparo da Carona. 
 
 In the latter part of Filippo-Maria's reign a new school of 
 sculpture developed itself at Milan, whose peculiarities seem to 
 denote a Flemish influence, not by any means improbable. Like 
 the painters of the Van Eyck school, + Omodeo, the Mante- 
 
 andin Alois Heiss, op. cit. p. 13; tlie duke is represented on the reverse as 
 armed, and climbing a rocky path on horseback, followed by a mounted page. 
 
 * Libro di Memorie e Documenti, Calvi, op. cit. pt. i. p. 139. 
 
 f Who set up a mortuary tablet to his lather in the cloisters of St, 
 Agnese. 
 
 J The works of these painters were not unknown in Italy at the time. 
 Pope Martin V. in 1-130 gave an altar-piece by Rogier Van der Weydea 
 to the King of Spain ; and Folco Portinari, envoy of the Jledici at 
 Bruges, caused Hugo Van der Goes to paint an altar-piece for tho 
 hospital of Sta. Maria Nuova at Florence (see Manuel de VHistoire de 
 la Peinture, by Dr. Waagen, i. 127, 137, Ecoles allemandes. Traduction
 
 1 82 Historical Handbook of Italian Sculpture. 
 
 gazza, and other Milanese sculptors indulged in violent action, 
 exaggerated facial expression sometimes to the verge of grimace, 
 and gave inordinate length of limb to their figures, which they 
 clothed in closely clinging draperies, properly called cartaceous 
 from their resemblance to wet paper. These were perhaps first 
 employed at Milan by Agostino da Bramante, called Bramante 
 the younger,* who according to Lomazzo was accustomed to 
 paint from paper and linen models, artificially shaped into sharp 
 cornered angular folds by means of paste and glue.f 
 
 The works of the new school are distinguished from those 
 of the old by these novelties in treatment, and also by superior 
 drawing, greater refinement, and a tendency to flatness of sur- 
 face, improvements which may fairly be traced to the influence 
 of the Tuscan artists who visited Milan in the course of the 
 fifteenth century. 
 
 The most important among these were Brunelleschi, who 
 designed a fortress for Filippo-Maria, and on his second visit 
 made many designs for him and for the artists employed about 
 the Cathedral ; Michelozzo, who, as we have already said, sculp- 
 tured the very beautiful portal of the Palazzo Vismara now at 
 the Brera ; and Lionardo da Vinci, who painted the fresco of 
 our Lord's Supper in the convent of Santa Maria delle Grazie, 
 and modelled the equestrian statue of Francesco Sforza. 
 
 A bas-relief, by an unknown sculptor, of the Adoration of the 
 Magi in the Sala Capitolare dei Padri at the Certosa, in which 
 Filippo-Maria and his father Gian Galeazzo are introduced 
 
 Fran^aise). Rogier Van der Weyden visited Urbino, and Antonello da 
 Messina brought back Flemish methods and traditions from Bruges to 
 Italy. 
 
 * To distinguish him from his father Bramantino I'antico. Vasan 
 says that Bi'amantino was the first introducer of good drawing into Milan 
 (see xi. 268), and Sig. Calvi si:)eaks of Bramante I'antico, whom he also 
 calls Bramante da Milano and Bramantino, as the artist who introduced 
 Renaissance architecture, then called Bramantesque, into Lombardy, and 
 who made the book of drawings which Vasari saw in the hands of 
 Valerio Vicentino; but we are more inclined to adopt the statement 
 made by the annotators of Vasari (vide Comvientm'io alia Vita di Garo- 
 falo, xi. 277-83) that these drawings were by Agostino di Bramante, son 
 of Bramantino I'antico, himself the master of Bramante d' Urbicu iUo 
 architect of St. Peter's. 
 
 t Trattato della Pittura^ lib. vi, oh. Ivi.
 
 The Maiitegazza. 183 
 
 among the spectators, may be taken as an example of the 
 transition period between the old and the new schools, since 
 with the rounder forms of the first it has the profuse gilding of 
 the last. It has been suggested that it is an early work by the 
 brothers Mantegazza, not only from certain characteristics of 
 style but also because the sculptors mentioned in the records 
 of the Certosa before their time, were mere carvers of capitals, 
 cornices, &c., called " piccatores lapidum vi varum," such as 
 Giovanni da Garbagnate, Lodovico da Regio, Giovanni da Como, 
 and Fusina da Campioue.* 
 
 Cristoforo and Antonio Mantegazza, who were educated as 
 goldsmiths in the workshop of their father Antonio at Milan, 
 are first heard of at the Certosa in 1473, but they must have 
 been attached to the Fabbrica some time before this, since the 
 Prior then owed them 800 lire for marble work previously com- 
 pleted. Their reputation was evidently considerable, as they 
 were soon after commissioned to model the equestrian statue of 
 Francesco Sforza, but we may surmise that they hardly felt 
 themselves equal to a task afterwards entrusted to Lionardo 
 da Vinci, as they abandoned it after calculating the amount of 
 bronze which would be required to cast it.f 
 
 They were then appointed head sculptors at the Certosa, and 
 entrusted with divers commissions, with the proviso that the 
 price for each completed work should be fixed by appraisers. The 
 first submitted (October 12, 1478) were the marble " sacrarii " ."j: 
 adorned with bas-reliefs, delicately sculptured ornament and 
 pilasters, in the chapels near the entrance to the right and 
 left. Among the more important works subsequently entrusted 
 to them were the " dossale " or altar-piece in the Sala Capi- 
 tolare dei Fratelli, representing the Virgin with the dead body 
 
 * The portrait of Filippo-Marla was probably introduced either because 
 lie was the donor of the relief, or in sign of gratitude for the money he 
 had given towards building the great cloister of the Certosa. The 
 arabesques, leaves, busts and little figures in relief about the cornice, 
 base and pilasters which enframe the bas-relief are evidently by the 
 brothers Mantegazza, whose hand is especially recognizable in the very 
 pleasing groups of angels. 
 
 t 6,000 lbs. of bronze. Lionardo calculated that 100,000 lbs. would be 
 required for his equestrian group. 
 
 X " Sacrario," a receptacle for utensils used by the priest during the 
 celebration of mass
 
 184 Historical Handbook of Italian Sadpture. 
 
 of our Lord, surrounded by the Marys and the disciples ; a 
 bas-relief of the same subject now at South Kensington ; some 
 praying angels upon the side posts of a door in the great 
 cloister ; and a Pieta over a door leading out of its right tran- 
 sept. The gestures and facial expression of the figures in these 
 marbles are extremely exaggerated, their cartaceous draperies 
 cling to the limbs in square patches sharply outlined, and 
 their proportions are abnormal, and yet, like the pictures 
 of Hugo van der Goes and Rogier van der Weyden which 
 they recall, they move ua through their eai-nestness and 
 intensity of feeling to accept and even admire what would 
 otherwise be painfal and repulsive. 
 
 Cristoforo Mantegazza, who died 
 in 1482, about a j'ear after Guini- 
 forte Solari had commenced the 
 facade of the Certosa, can have 
 had no hand in the sculptures 
 about it, but his brother Antonio, 
 who was attached to the " Fab- 
 brica" until 1491 and from time 
 to time received payment for work 
 done, undoubtedly had. He died at 
 Milan, October 7th, 1495, much 
 lamented by the duke, who on 
 the recommendation of Beatrice 
 Visconti gave permanent employ- 
 ment at the Certosa to his son 
 Antonio. Other sculptors worked 
 there simultaneously with the 
 brothers Mantegazza, and among 
 them an artist far greater than 
 they, the celebrated Giovanni 
 Antonio Omodeo, or Amadeo,""'' who was born nearPavia in 1447 
 on a farm belonging to his father Aloisius.f Some one of the 
 
 * Iq a letter written by the Cancelliere Bartolomeo Calco, and in 
 various old papers, he is called degli Amadei; his name probably came 
 from the town of ]\Iadeo or Malleo, as it is often written de' Madeo or 
 a Madeo (Bossi, M8. Bib. Mchl at Milan, carteUo ix.). 
 
 f Omodeo is sometimes called a citizen of Pavia and sometimes of 
 Milan. In a document dated October 10, 14.95, he is called citizen of 
 Pavia, resident at Milan ; and in another, dated January 29, 1499, he is 
 
 /- siMcm. sa
 
 Omodeo. 185 
 
 artists employed at the Certosa probably taught him how to 
 use the chisel, but we clo not know under whose influence 
 or at what period he formed the habit of cutting deeply into 
 marble, arranging draperies in cartaceous folds, and treating 
 surfaces flatly even when he sculptured figures in high relief.* 
 Excepting in these technical points, he dilfered from his asso- 
 ciates completely, and so far surpassed them that he may be 
 ranked with the great Tuscan artists of his time, which can be 
 said of no other North-Italian sculptor. At the age of nine- 
 teen he worked at the Certosa with his brother Protasius, and 
 in the following year received a considerable sum of money and 
 two bushels of wheat in payment for sculptures whose subjects 
 are not specified, though we have no doubt that they were the 
 bas-relief in the lunette, and the fruits, leaves, and delicate 
 little figures of angels upon the pilasters of the doorway lead- 
 ing from the small cloister into the church. These we 
 should hardly believe to be from Omodeo's hand Avere they not 
 signed, but it is unmistakeable in the bas-reliefs upon the 
 tomb of the Beato Lanfranco in the church dedicated to that 
 Saint near Pavia, which were executed about 1469. Raised 
 upon six slender columns, the sarcophagus serves as base to a 
 little temple whose sides are covered with reliefs relating to the 
 history of our Lord, while those upon the sarcophagus set forth 
 various events in the life of the Saint (b. 1015), who beginning 
 as a dialectician, jurisconsult, and monk, became the confiden- 
 tial adviser of William the Conqueror, and eventually archbishop 
 of Canterbury (1071-10S7).t 
 
 After completing his work at Pavia, Omodeo went to Bergamo 
 to sculpture the tomb of Medea, daughter of the famous cou- 
 
 called citizen of both places, which does not necessarily indicate that he 
 was born in either (Calvi, L'^jg of Omodeo, pt. ii. p. 143). 
 
 * Among the artists who j^receded Omodeo at the Certosa were the 
 Fratelli Zaratteri and Pietro da Ripa in 1453, Vinccnzo Foppa in 1465, 
 and Gughelmo da Como in 1452, Angelino da Lecco who sculptured a 
 Nativity, Antonio da Lecco and Giovanni da Cairate in 14G4, Eaimondo 
 da Cremona who made terra-cotta figures for the cloister, Giovanni 
 Solari 1464, and his son Guiniforte,who remained there up to his death in 
 1481. 
 
 t See Life of S. Lanfranco by Milano Crispino, cited by Cantu, St. 
 decjll Italiani, vol. ii. ch. xc. pp. 461-2, and Histoire do la Conqucte dea 
 Normandes, par Augustin Thierry, second ed. vol. p. 253-4.
 
 1 86 IIisto7Hcal Handbook of Italian Sctdpture, 
 
 dottiore Bartolomeo Coleoui, for a cliapel which he had built 
 and endowed at Basella, whence it was removed in the 
 last century to Bergamo, to become one of the chief orna- 
 ments of that monument of Omodeo's architectural taste and 
 skill, the family chapel adjoining the Cathedral. Draped in 
 the folds of a richly embroidered robe, the simply disposed 
 recumbent effigy, a model of virginal purity* and a master- 
 piece of its kind, lies upon a sarcophagus adorned with an 
 Ecce Homo and two mourning angels in relief, and with statu- 
 ettes of the Madonna, the Magdalen, and St. Catherine. 
 Medea's face is turned upwards, her eyes are serenely closed, 
 and her arms peacefully folded upon her bosom. A delicate 
 string of jewels encircles her head, which reposes on an orna- 
 mented pillow, and a necklace is clasped about her slender 
 neck. With the possible exception of certain monuments by 
 Desiderio and Rossellino at Florence, no tomb in Italy equals 
 this in design and treatment. 
 
 AYhile Omodeo was at work upon it, Coleoni decided to build 
 the family chapel where it now stands, and to raise a splendid 
 memorial to himself within it. With this intent, after vainly 
 requesting the authorities of Santa Maria Maggiore to allow him 
 to pull down one of its sacristies, he took advantage of his almost 
 royal power and carried out his project, despite the judicial 
 proceedings instituted against him. The chapel, designed by 
 Omodeo, and nearly completed before the death of its founder, 
 is quadrangular in form and surmounted by an octagonal cupola. 
 Its extremely ornate facade is decorated with marble colonettes, 
 statuettes, bas-reliefs, busts, medallions and arabesques, and 
 its flat spaces are covered with diamond-shaped slabs of white, 
 black, and red marble. The rich Renaissance portal is flanked 
 by pilasters covered with exquisite arabesques, and surmounted 
 by a rose window on either side of which are busts of Caesar 
 and Augustus, in roundels, set between Corinthian pilasters. 
 A row of open arches supported upon little columns decorate 
 the upper part of the facade, and the double pilasters at its 
 angles are filled in with circular and diamond-shaped medal- 
 lions, vases of flowers, and arabesques. The cornices, pilasters 
 and architraves of the side-windows are enriched with angels' 
 
 * "Un chef-d'a5uvre de grace et de purete toute virginale." — JS-io, 
 Ha VjLrt chretienj iii. 269,
 
 Ofuodeo. 187 
 
 heads, medallions and statuettes, and the two panels of the 
 pedestals of the truncated columns placed at the head of the 
 flight of steps leading up to the portal, are adorned with has- 
 reliefs of children grouped together with great freedom, 
 executed in a style free from mannerism, and very true to 
 nature. In one of these compositions a little fellow is playing 
 upon a lute, another upon a pijie, while between them a third 
 holds up a knight's helmet, whose ample plumes form the 
 apex of the group. The silent music of these marble musi- 
 cians harmonizes well with the fa9ade, which with its multiple 
 colonettes and pilasters resembles a gigantic organ. 
 
 Omodeo's monument to its founder within the chapel is 
 crowned by a gilded equestrian statue, made by two unknown 
 German sculptors in 1509,* which stands upon a sarcophagus 
 decorated with statuettes and bas-reliefs of the Annunciation, 
 the Nativity, and the Adoration. f Its base, which is of the 
 same shape and like it supported on columns, is decorated with 
 statuettes of Hercules, Mars, and three seated warriors, | and 
 its sides are profusely ornamented with arabesques, medal- 
 lions, and "putti," and with bas-reliefs of the Flagellation, 
 the Crucifixion, the Deposition, and the Entombment, separated 
 from each other by statuettes of the Virtues. The bas-reliefs 
 are sculptured with astonishing facility and skill in a pictur- 
 esque, energetic and expressive style, the statuettes are original 
 and effective, and the accessories are models of elegance, but 
 with all these merits of detail, the structure wants unity of 
 effect, as it is divided into two disconnected and superposed 
 masses, supported upon columns apparently too slender for the 
 weight laid upon them.§ 
 
 Omodeo returned to Pavia in October, 1478, and submitted 
 
 * These artists are called Sisto and Leonardo by some writers. Calvi 
 says the statue was made by an unknown sculptor from Nuremberg 
 (op. cit. pt. ii. p. 149). 
 
 t These statuettes are said to represent the sons and daughters of 
 Coleoni. 
 
 X Portraits of Coleoni's sons-in-law, Gasparo, Gherardo, and Mar- 
 tinei; go. 
 
 § The chapel and the monuments together cost more than 50,000 gold 
 ducats, not including the sum left by Coleoni in his will, to complete them 
 (Calvi, op. cit pt. ii. p. 151). See also Ricci, ii. 645, 648 ; Bottari, Lett. 
 Pitt, cd- Eom. V. 277 ; and Marc Ant. Micarelli, Agri ef Urhis Bergomatis 
 Descriptio, 1511.
 
 1 88 Historical Handbook of Italian ScnlptiLve. 
 
 to the approval of the prior and head architect of the Cer- 
 tosa four " sacrarii," a " morena," or parapet for a well in the 
 "Lavatoio dei Monaci," and the marbles of the portal leading 
 from the left transept of the church into the old sacristy, 
 which consist of a bas-relief of the Resurrection in the lunette, 
 medallions upon the architrave, and many charming groups 
 of singing angels upon the doorposts. To this time we should 
 also assign an admirable little relief of the Deposition in a 
 medallion upon the front of the high altar, in which the dead 
 body of our Lord is supported by the Virgin, St. John, and 
 two angels, while two mourning angels float in the air above 
 His head. The central group is in parts almost in the round, 
 and thus happily contrasts with the very flat relief of the 
 remainder. The composition is excellent, the drapery skilfully 
 arranged, the figures are carefully modelled, and the heads full 
 of expression. 
 
 On the death of Guiniforte Solari (1481), Omodeo had been 
 temporarily appointed to succeed him as head architect of the 
 Certosa, and commissioned to make a fresh design for the 
 fa9ade with the aid of Benedetto Briosco, Antonio della Porta, 
 and Stefano da Sesto, but it was not until 1490, when he was 
 confirmed in his office, that he made the design which was 
 accepted, and subsequently carried out by him and his suc- 
 cessors. He had, in the meantime, been working at Cremona 
 upon the shrine of the Egyptian martyrs Mario, Marta, 
 Audifaccio, and Abaccuco,who suffered death at Rome (a.d. 271) 
 under the Emperor Claudius. Of this work nothing remains 
 but the sculptured panels set into the Cathedral pulpit, as 
 the shrine was broken up when the church of San Lorenzo, 
 where it originally stood, was pulled down.* These reliefs 
 
 * Zaist, Titt. Sc. ed Arch. Cremonesi, i. 32, describes the shrine as a 
 sarcophagus supported upon six columns and adorned with bas-reliefs. 
 Yasarii xi. 261, nota 2, and Cicognai'a, iv. 388, erroneously ascribe it to 
 Geremia da Cremona, but their error arose from their having mistaken 
 the date contained in the inscription upon the sarcophagus in the crypt 
 which reads properly, " A. Amadeo F.H.O. 1482 die vi. Octobris," and 
 not 1432 (Morelli, p. 159, nota 64, notes to 1' Anonimo, p. 36). Vasari 
 mentions Geremia da Cremona, at xi. 261, as author of a great work in 
 marble at San Lorenzo, and at iii. 241, speaks of him (as does Filarete in 
 his MS. treatise oa architecture) as an excellent bronze-caster. Zaist 
 (i. 31) says that he knows of no other work by him than this shrine. 
 Cicognara says he long lived in Venice and executed many works theie.
 
 077iodeo. 189 
 
 represent the Emperor giving orders to his satellites, and the 
 death of the martyrs by divers kinds of torture. ■ Their sharp- 
 edged and flat-surfaced limbs, and the cartaceous draperies of 
 the numberless little groups of figures, form a series of delicate 
 lines, which cross and recross each other like the meshes of a 
 spider's web. The bas-reliefs upon the sides of the sarcophagus 
 in the cr3'pt of this Cathedral, which contains the bodies of 
 SS. Pietro and Marcellino, the patrons of Cremona, are so 
 much in Omodeo's style that we were led to attribute them 
 to him in a former work,* but this was an error, as the archives 
 of the Cathedral prove that they were sculptured by Benedetto 
 BrioscOjf who, on the 6th of May, 150S, agreed as per entry 
 to m&ke the said reliefs and ornaments " of the same excel- 
 lence as those upcn the facade of the Certosa at Pavia, for the 
 price of 600 ducats." | Giovanni Battista Malojo of Cremona, 
 whose name is inscribed upon the tomb, was an architect of the 
 seventeenth century, who when employed (1609) to remove the 
 monument from the upper church, was obliged to cut it down 
 in order to place it under the low roof of the crypt. Of eight 
 bas-reliefs there are now but five, treated like the panels of 
 the pulpits described above, but in an even more pictorial 
 style. In one, as in the baptistry-reliefs of Ghiberti, a triple 
 action is carried on ; a saint expels a demon from the body 
 of a woman, looks through the base of a grated window, and 
 is put to death. In another, several martyrs are led away 
 to prison under the eyes of the Emperor and of a crowd of 
 eager spectators who fill the window of a j^alace overlooking a 
 garden ; and in another they are put to death, and their souls 
 are borne to heaven by angels, who rise with them above the 
 trees in the background. 
 
 '\^'e have no knowledge of the time when Omodeo made the 
 Borromei monuments, formerly in the church of S. Pietro 
 
 * See Italian Sculptors, p. 132. 
 
 f Benedetto Briosco was employed upon the portal of the Certosa in 
 1501. Ill the Creraonese archives he is mentioned as "filius quondam 
 domini Medigoli Natitntor in civitatc Mediolani." His name is inscribed 
 upon the pedestal of the statue of the Madonna upon the monument to 
 Gian Galeazzo A^'isconti in the Certosn, executed between 11.90-1562, by 
 Gio. Crostoforo Romano and other sculptors, 
 
 X For this extract we are indebted to M. Courrajod, Curator of the 
 Renaissance Museum at the Louvre.
 
 190 Historical Handbook of Italian Sculpture. 
 
 in Gessate at Milan, and now in the Borromeo chapel at 
 Isola Bella in the Lago Maggiore, but we may conjecture that 
 it was after he left Cremona to return to the Certosa. One of 
 them, the tomb of an unknown member of the family, con- 
 sists of a sarcophagus decorated with military bas-reliefs, and 
 crowned by a little temple, under which the Madonna sits with 
 kneeling suj)pliants. The other, that of Giovanni Borromeo, 
 is far more elaborate and effective. The sarcophagus, whose 
 sides are filled with eight bas-reliefs from the early life of our 
 Lord, is supported upon pilasters masked by six statues of 
 armed shield-bearers standing on pedestals adorned with 
 amorini and female figures in relief, and the sepulchral effigy 
 lies below a small temple with statuettes at its coi'ners, from 
 each of which hang curtains supported by little genii. Recum- 
 bent figures fill the spandrils of the arches thrown over the 
 inter-columnar spaces, and a highly ornate frieze is carved 
 round the monument directly under the sarcophagus. 
 
 About 1490, after an absence of eight or nine years, Omodeo 
 returned to his post at the Certosa, and after constructing a 
 clay model* of the facade, built it without interruption up to 
 the first corridor. f Its great round arched portal, designed 
 and erected by Benedetto Briosco,j rests upon four columns 
 with rich Corinthian capitals, and is flanked by eight pilasters 
 covered with bas-reliefs, the larger of which, relating to the 
 history of the building, appear to be by Agostino Busti,§ while 
 the smaller are by Omodeo, and in his best manner. The sub- 
 basement is covered with a series of medallions containing heads 
 of the Roman emperors, **putti," coats of arms, &c., &c. ; and 
 the basement with bas-reliefs of very unequal merit, represent- 
 ing Adam and Eve, the Annunciation, the Nativity, the resur- 
 rection of Lazarus, the mocking of Christ by the Jews, the 
 
 * For this model he was paid 200 lire imperiali (Calvi, op.ci7.pt.ii.p.l63). 
 
 f The Mantegazza, Omodeo, Benedetto Briosco, Ettore d' Alha, 
 Antonio da Locati, Battista and Stefano da Sesto, Francesco ]Jiondello, 
 Giacomo Nava, Marco d' Agrate, Angelo Marino Siciliano, Agostino 
 Busti, Battista Gattoni, Antonio Tamagnini, Gio. Giac. della Porta, 
 Giov. Or. Romano, and Cristoforo Solari detto il Gobbo, all worked on 
 the facade. 
 
 X Briosco was to receive 8,000 lire iraperiali= 160,000 francs, for thia 
 door. 
 
 § Bee p. 346.
 
 Omodeo. i g i 
 
 Crucifixion, and the Eesurrectiou. Many of these marbles 
 have been too much mutilated to allow of identification, but 
 in some of those which are tolerably well preserved we recog- 
 nize the hand of Omodeo, or that of an artist trained in his 
 school. The admirable bas-reliefs of kneeling bishops with 
 attendant monks and flying angels, which decorate the slabs of 
 marble placed vertically against the walls directly next the 
 portal, and the beautiful square-headed windows on either side 
 of it, which are divided by slender columns in the form of 
 candelabra and surrounded by broad bands of marble covered 
 with elaborate ornament, seem to be by the master himself. 
 
 Omodeo was joint architect of the Certosa and of the Cathe- 
 drals of Pavia and Milan, until he undertook to crown the 
 latter with a cupola, when he resigned his other offices and took 
 up his residence at Milan, where, assisted by his colleague 
 Dolcebuono, he commenced his work in 1497 according to the 
 accepted model, and carried it up to the octagon. As its 
 solidity was then questioned by Cristoforo Solari and Andrea 
 Fusina, the directors stopped the works (1503). This and 
 other annoyances and delays which followed, find a parallel in 
 the history of Brunclleschi's cupola at Florence, and that of 
 Michelangelo's monument to Pope Julius at Piorne, and as 
 the history of the latter has been entitled " La Tragedia del 
 Sepolcro," so may that of Omodeo be called "La Tragedia della 
 Cupola."* The overthrow of Ludovico ilMoro (1499) had deprived 
 him of an efficient protector, and the death of Dolcebuono not 
 only left him without a friend and aid, but gave the directors an 
 opportunity of annoying him, by naming Andrea Fusina as his 
 new associate, after he had generously refused to exercise his 
 right to select a more congenial companion. He was then 
 summoned before the council to defend his work, and thougb 
 he appears to have answered all their objections triumphantly, 
 he was not allowed to pursue it, on account of the violent 
 opposition manifested by many of the artists connected with 
 the " Fabbrica."f Bernardino Zenale, the painter, who had 
 
 * It is not known who made the medallion portrait of Omodeo, which 
 is set into the wall of a spiral staircase leading to the roof of the Cathe- 
 dral through a Gothic turret which he built. 
 
 t This unkind treatment of a tried and faithful servant was the more 
 inexcusable as the Fabbrica had several j'cars before accepted his gift
 
 192 Histoi'ical Handbook of Italian Sculpture. 
 
 begun the study of architecture very late in life, was then 
 chosen to prepare a new model, and this act of hostility was 
 followed (1519) by the appointment of Omodeo's chief enemy, 
 Cristoforo Solari, to the post of architect. All these vexations 
 weighed heavily upon the old artist, who died about 1520, 
 *' ex decrepitate," says the record, worn out not less by adverse 
 fortune than by a life of unremitting labour. First among 
 North-Italian sculptors in technic, in facility, and refinement, 
 he would know no rival even among his Tuscan contemporaries, 
 were his style free from mannerism, and his standard of beauty 
 more elevated. 
 
 "VVe know little more than the names of many of the 
 sculptors who clustered like bees about the Cathedral at Milan 
 during the last half of the fifteenth century, and made it the 
 storehouse of their handiwork.* All found solid advantages in 
 their connection with the " Fabbrica." Before being admitted 
 to full privileges, the young worked for a time without remu- 
 neration, in order to learn their art,f while the old and infirm 
 
 of a farm at Giovenzano, and a yearly sum of 200 lire destined to 
 furnish dowries for the daughters of its sculptors. Struck to the heart 
 by this and many other signs of hostility, Omodeo made a second will, by 
 which he devised the remainder of his property to his relative Giovanni- 
 Maria Amadeo, counsellor of the Fabbrica. 
 
 * Such are Matteo Castaldi, styled in the records of the Fabbrica, 
 " Magister expertus in signis et foliaminibus," who in 1465 received ten 
 gold florins for a roundel to be set in the first story of the campanile at 
 Ferrara (Cittadella, 02). cit. p. 100); Matteo de' Eevetti or Eevertis, who 
 made the now destroyed monument to the Count of Yaltero and Arquato 
 (a.d. 1422) in the church of St. Elena at Venice, which is described by 
 Sansavino (lib. v. p. 210) as adorned with many admirable little figuies, 
 rich leaf- work and varied ornament ; Maffeo da Milano, stone-cutter, who 
 after several years' absence from the duomo at Llilan on account of illness 
 was readmitted with full pay a.d. 1491; and Pantaleone de' Marchi 
 (1492), who made twelve wooden statues for the Certosa at Pavia, and 
 the choir stalls which were sold at Milan after the suppression of the 
 convent by the French. Ambrogio di Porris (1497), Bartolomeo di Ber- 
 nardino de' Nova, Girolamo de' Nova (1495), and Giuliano de' Parisiis or 
 Parisio, an assistant of Cristoforo Solari, were all enrolled among the 
 cathedral sculptors; as was Galeazzo Pellegrini, who also woi-kcd at the 
 Certosa, where he was commissioned to design the monument of Gian 
 Galeazzo, which was sculptured by Gian Cristoforo Romano. Pietro di 
 Martino (ft. 1450) is mentioned in the Neapolitan chapter of this volume 
 as the designer of King Alfonso's triumphal arch. 
 
 t Such as Eattista da Eipa (1491) who afterwards worked under 
 Omodeo, 1496.
 
 Amhrogino da Milano, Y93 
 
 retired on pensions.* Expulsion was the penalty incurred by 
 those Avho went to work elsewhere without special permission, 
 but in certain cases, where adequate excuses could be oflered, 
 the offenders Avere readmitted.! Finding ample and remu- 
 nerative employment at home but few Milanese sculptors went 
 abroad, I and among those who did so we find the name of 
 but one remarkable artist, Ambrogio Barocci, called Ambrof^ino 
 da Milano,§ whose sculptures are not to be found at Milan, but 
 about the doors, windows, and chimney-pieces of the Ducal Palace 
 at Urbino, where his skilful hand was employed in carving tro- 
 phies, military emblems, flowers, birds, and children, which show 
 the utmost elegance and purity of taste. The architrave of 
 one of the chimney-pieces is adorned with a row of dancing 
 Cupids, and its jambs with reliefs of winged boys holding vases 
 fJled with growing roses and carnations, whose structure and 
 wayward growth show the closest and most loving study of 
 nature. {Sec woodcut.) The leaves, flowers, and birds, where 
 
 * Like Antonio de' Eesgiovis who was attached to the duomo from 
 1415 to 14G5. 
 
 t This was the case with Aloisio Lomazzo, Ambrogio di Arluno (1500), 
 and Ambrogio Ghisolfi. His brother Giovanni Pietro sculptured thp 
 ftrms of Lodovico Sforza over the portal of tbe castle of Milan which 
 were thrown down by the soldiers of Louis XII. 
 
 X Maestro Pietro Briosco was commissioned in 1442 to terminate the 
 work about the doors of St. Petronius at Bologna. A Maestro Scilla 
 worked at Naples under Andrea Ciccione upon the tombs of King 
 Ladislaus and Ser Gian Caracciolo. (/See Neapolitan chapter.) Other 
 sculjitors of ornament (lapicide) attached to the duomo in 1490-1496 are 
 Gio. Ambrogio de' Locate or de' Donati, Gio. Ant. de' Besozzo, Gio. Ant. 
 Taverna, Gio. Ant. de' Mapolinis, Girolamo da Novara, Luigi da Sesto, 
 elected jjrior of the Sculptors' Guild in 1494, Cristoforo de' Stucchis and 
 Gio. Fregella 1491-1494-1497 ; Stefano Battista and Paolo da Sesto, dis- 
 missed for some unknown reason in 1496. The latter artist worked at 
 the Certosa in 1513. 
 
 § "Magi.ster Ambracius, lapicida et sculi:)tor egregius," was one of the 
 witnesses to Giovanni Santi's will ; (Pungileoni, Elogio Storico di 0. 
 Santl, p. 136; Passavant, Fr. tr. i. 42.) From him descended the Barocci 
 d' Urbino, a family which gave both painters and mathematicians to Italy. 
 Federigo Baroccio the famous painter was the grandson of Ambrogio da 
 Milano, and son of Ambrogio the jurisconsult {vide Bossi and Cattaneo, 
 MS.I>(6. Melzi, vol. ii.). Passavant, Fr. tr. p. 380, says there were several 
 families of this name at Urbino, 
 
 O
 
 194 Historical Handbook of Italian Sculpture. 
 
 colour alone seems wanting to give life, are well eulogized 
 by Giovanni Santi as — 
 
 " Mostrando quanto che natura 
 Possa in tal arte." 
 
 Such ornamental sculpture is (like all the best Eenaissanco 
 
 work of its kind) no arid imita' 
 tion of the antique, but a new 
 growth from that parent stem, 
 nor do we know any other work 
 of the sort comparable to Ambro- 
 gio's, save perhaps that at Venice 
 by his contemporary Pietro Lom- 
 bardo.* Ambrogio showed him- 
 self equally excellent as a monu- 
 mental sculptor in the tomb 
 of Lorenzo Pioverella, physician 
 to Pope Julius II. and after- 
 wards Bishop of Ferrara, in the 
 church of San Giorgio, outside 
 the walls of Ferrara. f Its style 
 is pure Quattro-cento, and its 
 general arrangement that adopt 
 ed by the Tuscan masters. The 
 recumbent effigy lies upon a 
 sarcophagus within an arched re- 
 cess adorned with cherub heads, 
 having two "putti " outside the 
 arch, upon the top a group of 
 
 * Passavant, cf. cit. p. 378, attributes the chimney-pieces to Fc*. di 
 Giorgio from Siena. Baldinnucci says he designed them and Amhrogio 
 sculptured them. A glance however at the military bas-reliefs by the 
 Sienese artist in the palace at Urbino is sufficient to convince one, that 
 he cannot be the sculptor of the ornamental Avork of which we have been 
 speaking. The most important work upon the Ducal Palace at Urbino is 
 that by Fr. Arnold entitled Der herzogliche Palast von Urbino, Leipzig, 
 1857. The first architect of the palace vv'as Mo. Luciano da Lausana in 
 Dalmatia, who received his aiDpointment through a letter written by the 
 Duke Federigo from Castel Papia, June 10, 1468. It was finished by 
 Baccio Pintelli. Ambrogio da Milano and Gondolo Tedesco are spoken 
 of as employed to ornament it. The beautiful stone ornaments are 
 attributed to the first, and the intarsia work to the second. 
 
 t Bossi, MS. cit., quotes Zani in favour of the identity of the
 
 Venice. 195 
 
 St. George and the Dragon, within the hmette a roundel con- 
 taining a group of the Madonna and Child with adoring angels, 
 and on either side of the recess five excellent statuettes of 
 saints. As the technical handling is admirahle throughout, wo 
 do not know of any monument so beautiful in design or so 
 free from mannerism as this, with the exception of the master- 
 pieces of the Florentine sculptors at Florence and Lucca. We 
 have no knowledge of where Ambrogio studied, or how long he 
 lived, and any conjecture as to the length of his career would 
 be hazardous, as his works at Urbino and Ferrara were very 
 nearly contemporaneous. He married a lady of good position 
 at Urbino, and from their union sprang the Barocci d' Urbino, 
 a family fich in mathematicians and painters. 
 
 Venice. 
 With the introduction of the Gothic style of architecture at 
 Venice at the very beginning of the fourteenth century, we 
 should naturally look for a great improvement in decorative 
 sculpture which is an essential part of it. And yet, unless 
 we accept the capitals of the columns and the groups at the 
 angles of the facades of the Ducal Palace as works of this 
 century, we shall find it difficult to show that any such im- 
 provement took place. Bertuccius (1300), who cast the 
 external bronze gates of St. Mark's ;* Marcus Venetus (1310), 
 
 Ambrogio at Urbino and him at Ferrara. The tomb is signed and dated 
 Ambrosii Mecliolanensis, op. 1475. Cittadella, in his Kotizie di Ferrara, 
 p. 47, under the date 1500, quotes a document of payments made to 
 M° Pietro Martino and Barto. di Cavalli da Verona for work done in the 
 duomo at Ferrara; adding that for the latter artist some chronicles sub- 
 stitute M° Ambrogio da Milano, who in 1475 worked at the " Officio delle 
 Biade" with the Mantuan sculptors Albertino and Luigi Eusconi. Tho 
 same writer at p. 95 cites a document dated March 20, 1473, in which 
 M° Ambrogio da Milano is said to have been paid seventy ducats of 
 Venetian gold, probably for the construction of the loggia " degli Straz- 
 zaroli " (cloth and silk merchants) with the help of the Rusconi. Ambrogio 
 had a son named Cristoforo who is recorded as a sculptor in 1511. This 
 artist is probably identical with that Cristoforo da Milano who with other 
 sculptors was employed in 1540 to adorn the Palazzo della Kagione at 
 Ferrara (Ricci, St. delV ArcMtettura, iii. 174). 
 
 * Selvatico, op. cit. ix 85, states his opinion that Bertuccius sculptured 
 a bas-relief of San Leonardo, which exists upon the wall of St. Mark's 
 towards the Piazzetta dei Leoni, 
 
 o 2
 
 196 Historical Handbook of Italian Sculpture. 
 
 wlio carved several rude figures of saints upon tlie caj)ital of a 
 column Avliicli supports an angle of the cloisters of San MaLteo 
 at Genoa ; the anonymous sculptor and painter whom the 
 Podesta of Murano, Messcr Donato Memo, employed (1310) to 
 make an *' ancona " of wood for the altar of the Cathedral at 
 Murano, as a votive offering at the shrine of his patron San 
 Donato;* and the anonymous sculptor who carved a Madonna 
 della Misericordia for the Ponte del Paradiso at Venice, wero 
 but clumsy workmen of the mediaeval stamp, while their succes- 
 sors in the second half of the century were hardly superior. It 
 seems impossible that the Madonna and Child near the entrance 
 to the cloister of the Carmine, by Arduinus Tajapiera (1340), f 
 the Madonna and Child with angels and suppliants, | and 
 figures in relief of SS. Leonard and Christopher (1345) § near 
 the entrance to the Academia, and the Madonna della Miseri- 
 cordia at Sta. Maria dell' Orto (1344), are works posterior to 
 those of Andrea Pisauo, and contemporary with those of 
 Orgagna in Tuscany. If they really represent Venetian 
 sculpture during the fourteenth century it is hardly worth 
 examination, but if, as we believe, the Ducal Palace sculptures 
 
 * The extreme difference in size between the saint and his worshippers in 
 this ancona, seen also in bas-reliefs of the " Madonna della Misericordia," 
 is met with in Greek votive bas-reliefs, between gods and men. Dr. 
 Friederichs {Bausteine zur Gescliichte der gr. rom. Plastik, p. 213) says, 
 in the absence of an inscription, it is the snrest mark of a votive relief. 
 Mo. Donato, Sc. Veneziano. " Hoc opus fecit Donatus Magister S. 
 Marci de Venetiis a.d. 1276." " Donatns Magister S. Marci de Veneciri 
 A.D. MCCLXXVii. Hoc. opus fac " or fee. Zani, Enc. Met. vii. 401, quotes 
 these i criptions without mentioning to what works they refer. 
 
 •f " jicccxL. mensis Octubris Arduin Tajapiera fecit." It seems hardly 
 probable that this Arduinus is identical with the architect of the same 
 name who built the basilica of San Petronio at Bologna a.I). 1390. 
 Temanza, op. cit. p. 363, nota A, says he has no j roofs to offer of the fact. 
 Cicognara, i. 242 (ed. in-folio), says that Antonio Vincenzi or di Vincenzo 
 (who is mentioned by Gualandi, Guida dl Bologna, p. xi. as the architect 
 of San Petronio) was a Bologuese magistrate, ambassador to Venice in 
 1396, and that he probably sujoerintended Arduinus Venetus in his 
 architectural labours. He cites a notice to this effect found in the papers 
 of Palladio by Algarotti. 
 
 J " In lo tempo di M. Marcho Zulia fu fato questo lavorier." 
 
 § " Fu fato questo lavorier al onor di Dio e de la Yergine Maria e de] 
 glorioso Chonfessor M. San Leonardo e in memoria de tutti che in lo 
 eanto di fo chomensada e creada." — St. Santa Fraternitate e Schuola.
 
 Calcndario. 197 
 
 were uliolly planned and partially executed by Filippo 
 Calendario, the most eminent architect and sculptor of his 
 time, and not, as some eminent critics have laboured to prove, 
 by Bartolomeo and Giovanni Bon nearly a hundred years later, 
 then no period of its history is so interesting, for these marbles 
 form the most perfect scheme of decoration adapted to any 
 modern building. But who was Calendario ? The answer to 
 this question contains in itself proof of his great natural abili- 
 ties. He was a sailor or shipbuilder at the fortress of Murano, 
 who became head-master of the Ducal Palace, and superinten- 
 dent of public woi'ks, and who was consulted by the senate in 
 all matters connected with the restoration and decoration of 
 city edifices.* How he fitted himself to fill such important 
 posts is a mystery, but certain affinities of style between the 
 compositions sculptured upon the capitals of the Ducal Palace 
 and those which fill the panels of the gate of the baptistry at 
 Florence, lead us to believe that he was brought into contact 
 with Andrea Pisano at Venice (1305), and received lessons 
 from him which bore fruit in works far superior to all others 
 of the pre-Renaissance Venetian school. f 
 
 Every child knows that the doge Marino Faliero, being 
 irritated against the nobles by some real or fancied insult, 
 organized a conspiracy against the Republic within a year of 
 bis accession to the ducal throne ;j that the suspicions of the 
 Council of Ten were roused against him by the warning given 
 by one of the conspirators, named Beltrame, to the patrician 
 Nicolo Lioni ; that the plot was discovered on the very eve of 
 its execution (1355), and that the doge was degraded and 
 decapitated on the steps of his palace, but it may be new to 
 
 * Cadorin, Pareri di XV Archiietti, at p. 122 quotes a document to 
 prove this from Egnazio, Be Excmp. III. Vir. Venetce, lib. viii. p. 275 ; 
 Venezia, 1554 ; Sabellico says " che era scultore ed architotto in que* 
 tempi nobile," &c. {vide Ricci, np. dt. ii. 333). At p. 161, note x. Cadorin, 
 mention is made of a MS. codicil in the Mnseo Correr at Venice entitled 
 Conrjiura Falier, inv. 175, in which the following passage occurs: — • 
 " Filippo Scalandico (vuol dir Calendario) e suo fil, si dice che costoro 
 erano scultori eccellenti.ssimi, e che questi ebbono fatte tutte le figure 
 antiche del Palazzo Ducale che sopra delle merli si vedono." 
 
 f See chapter iii. p. 35. 
 
 J The immediate cause of the doge's action is given in the apocryphal 
 story of the public insult offered to his young wife Donna Ludovica 
 Gradenigo. (Romanin, Storia Doc. di Venezia, iii. 182.)
 
 198 Historical Handbook of Italian Sculpture. 
 
 Rome of our readers, that his relative and friend Filippo Calen- 
 dario shared his fate. Seized in his house at San Severo, and 
 brought before the Council with his son Niccoletto, his father- 
 in-law Bertuccio Israello,* and others, he was sentenced to 
 death, gagged, and then hung from the red columns of the 
 balcony of the Ducal Palace. f We do not know Calendario's 
 age when he underwent this shameful death, but we may 
 suppose that he was older than the century, if it be true that 
 in 1327 he had already attained such reputation as an archi- 
 tect, that the senate considered him worthy to complete the 
 arsenal, designed by Andrea Pisauo some twenty years earlier. 
 It was deemed necessary about the same time to reconstruct 
 the old palace of the Doges, and designs for the purpose were 
 furnished by Pietro Basseggio the " Protomastro," who was 
 the friend and associate of Calendario, his predecessor in office, 
 and the father of his son Nicolo's wife.j As it is nowhere 
 mentioned that Basseggio was anything but an architect, we 
 may fairly suppose that he left the planning and execution of 
 its decorations to Calendario, who was also a sculptor, and if 
 the date in Arabic characters, sculptured upon the twentieth 
 capital, counting from the corner of the Palace near the " Ponte 
 della Paglia," be correctly read, may believe that the series of 
 sup23orting columns was thus far finished eleven years before 
 his death. ^ Sixty-seven years later (1422) the doge Tomaso 
 Mocenigo braved the penalty of a thousand ducats, imposed 
 upon any person who should advise the reconstruction of the 
 Palace, and induced the Siguory to order that this should be 
 
 * Calendario's wife was Maria, daughter of Bertuccio Israello, one of 
 the chief conspirators. 
 
 t The " Colonne Kosse delle balconate del Palazzo " from which, 
 according to Sanudo, Calendario and his accomplices were hung, were 
 probably situated in the ancient wing of the old palace facing the 
 piazzetta, which was rebuilt after \V1\. The present "red columns" 
 may perhaps be the same, transported from their original site and made 
 uniform with the new series which were continued along the same 
 piazzetta after 1424 (Storia dei Bogi di Venezia). 
 
 X Cadorin says that Calendario was either the predecessor or associate 
 of Basseggio. 
 
 § Iconograplde des Chapiteaicx, par W. Barges, p. 20. The date, says 
 M. Burges, is on the twentieth column counting from the Eio end of tho 
 palace. M. Didron in his note to this passage expresses a doubt as to 
 whether the reading of the date is correct.
 
 The Ducal Palace. 199 
 
 3onc, and the I'ac^ades rebuilt in accordance (says the edict) 
 with the original designs of Pietro Basseggio. The unbelievers 
 in the claims of Calendario say that the measure was carried 
 out by Giovanni and Bartolomeo Bon under successive doges 
 (1424—1461). It is well known that very important works 
 were undertaken about the Palace while Bartolomeo was its 
 head architect, but the complete dissimilarity of style between 
 the sculptures of the Porta della Carta and those about the 
 Ducal Palace leads to the belief that, moved by a creditable 
 desire not to disturb the harmony of the building by the intro- 
 duction of elements in a different style, be copied the old 
 capitals in those of the new columns. This explains why 
 several of those on the Piazzetta are repetitions of those on 
 the liio, for one can hardly accept the theory, that the rich 
 powers of invention shown in the latter had so far failed the 
 artist in the midst of his work, that he was obliged to repeat 
 himself. The unity of idea which binds these sculptures 
 together as relatively important parts of a great whole, their 
 completeness as a series, and their fitness for the plase which 
 they occupy, all convince us that they were planned by one 
 mind.^'' It was not simply with the intent of beautifying the 
 exterior of the edifice that the sculptor carved its groups, and 
 capitals, and ornaments. He had as definite a purpose as the 
 
 * The diversity of opinions upon the date of these sculptures is curious, 
 Selvatico, op. cit. p. 109, concludes that the two facades are posterior to 
 1424'. Cadorin says that when Calendario died is not known (p. 124, 
 o-p. cit). Surges and Ruskin both believe, that with the exception of the 
 seven copied capitals, all belong to the first half of the fourteenth cen- 
 tury. Didron thinks they are rather of the thirteenth than of the 
 fifteenth. Francesco Zanotti in his work on the Ducal Palace (ch. xii. 
 note 18) speaks of an inscription said to have been discovered on the 
 capital of the Column of Justice to this effect: — "Duo soti (socii) 
 Florentini incisi." Upon this inscription he founds a theory that these 
 two Florentine associates were the Pietro di Niccolo da Firenze and 
 Giovanni Martino da Fiesole, who made the tomb of the doge Tomaso 
 Mocenigo (died 1423) at S. Giovanni e Paolo, during whose reign this 
 portion of the palace was Cvimpleted. But as no one else mentions this 
 inscription, and as the noble style of the capital is very different from the 
 mediocre character of the woi'k about the tomb, we are not inclined to 
 accept Zanotti's hypothesis, especially as this capital is the finest of the 
 whole series. Ricci, Sloria delV Arcldlettura in Italia, ii. 341, exiiresscs 
 as his opinion that the designs for the decoration of the facades of ihe 
 Ducal Palace were given by Calendario.
 
 200 Historical Handbook of Italian Sculpture. 
 
 architect when he divided its interior into spacious halls and 
 chambers, proper for the reception of the great bodies of tho 
 state and for the residence of its chief magistrate, and this 
 purpose was to make it an image of the political state, faith, 
 and occupations of the Venetians, and thus to give it a physi- 
 ognomy so national, that it would appear to have been born of 
 the place. The task was difficult, let us see how far he accom- 
 plished it. 
 
 At each corner of the two facades, whose junction forms the 
 apex of a triangle, stands the statue of an archangel, to show 
 the trust of the Venetians in divine protection, whether they 
 were upon the sea or upon the land, at war or at peace. 
 Raphael the patron of travellers with his staff in his hand, at 
 the end looking towards the sea : Michael the warrior and 
 avenger holding his sword, at the angle above the Piazzetta ; 
 and Gabriel the peacemaker bearing the lily, at the corner next 
 St. Mark's. Under each of the archangels is a group of 
 figures in alto-relief. The drunkenness of Noah, below the 
 statue of Raphael, an admonition against that vice and a 
 warning against filial impiety, is happily contrasted with tho 
 filial piety of the young Tobias, who sits at the feet of Raphael 
 holding in his hand the fish whose liver is to cure his father's 
 blindness. The group of Adam and Eve in the act of plucking 
 the forbidden fruit, under the statue of Michael who was sent 
 to drive them out of their forfeited Paradise, warns all men 
 against disobedience, while the Judgment of Solomon, below 
 the statue of Gabriel, admonishes the magistrates of their 
 duty towards the people. 
 
 The carved capitals of the thirty-six columns upon which 
 the edifice rests have for the most part a separate as well as a 
 connected meaning, though the sculptor apparently allowed 
 himself here and there a certain freedom of invention. They 
 represent the conditions of man, the animals and plants needful 
 for his existence and comfort, the planets which preside over 
 his destiny from the cradle to the grave, and the winds which 
 purify the air and propel his ships across the sea. The capitals 
 beginning at the Raphael-end of the fagade are decorated 
 with figures of children, heads of young knights and warriors, 
 birds, emperors such as Titus and Trajan, women's heads, 
 virtues and vices symbolically represented, wise men, such as
 
 The D Ileal Palaee, 201 
 
 Solomon, Aristotle, and Pythagoras, the planets Saturn, 
 Jupiter, Mars, and Venus, the patron saints of sculptors, 
 each working upon a capital, a cornice, or a figure, the 
 trades, such as that of the lapidary, the carpenter, the husband- 
 man, the blacksmith, the seasons with their varying occupa- 
 tions, the ages of man, represented by the infant, the school- 
 boy, the warrior, the student, and the old man leaning upon 
 his crutch, and dead upon his bed, the courtship and marriage 
 of a young man and woman, who are again represented with 
 their child, first an infant and then a youth, beside whose 
 deathbed they weep and pray. Last of all we come to the 
 column of Justice, below the Judgment of Solomon and the 
 statue of Gabriel. Its capital, the finest of the series, is 
 covered with the richest leaf-work, growing upwards from its 
 base and drooping in graceful volutes, between which aro 
 inserted figures of Justice seated upon two lions; the law^-givers 
 Aristotle, Solon, Numa, and Moses ; and an admirable group of 
 the Emperor Trajan reining in his horse to listen to the widow's 
 prayer for vengeance upon the murderer of her son.~ The 
 beautiful description of this subject in the " Purgatorio " may 
 have suggested to the sculptor the happy thought of making a 
 reality of that visionary sculpture which Dante saw carved with 
 a more than mortal skill when he reached the circle in which 
 the sin of Pride is purged away.f The figures by which the 
 Venetian sculptor has rendered this fine subject are defective 
 in their relative proportions ; but their technical defects are 
 lost sight of in our admiration for the life which animates, and 
 the sentiment which pervades them. The capital, and the 
 group above it, appear to be later in date than the other capitals 
 and groups, for although we may believe that one person 
 planned all the sculptures as parts of a scheme of decoration, 
 it is not to be supposed that its execution was confined to the 
 first half of the fourteenth century. The Adam and Eve, the 
 
 * In note 73 to Longfellow's admiriible translation of the PurgatoriOf 
 he mentions that the history of Trajan and the widow is told in nearly 
 the same words in the Flore de' Fllosoji, a work attributed to Brunette 
 liatini (vide Nannncci, Manuale della Letteratara dal prima secolo, 
 iii. 291). It may also be found in the Legenda Aurea, in the Cento 
 Novelle Antiche, no. 67, and in the life of St. Gregory by Paulas 
 Diaconus. 
 
 t X. 73-93.
 
 202 Historical Handbook of Italian Sculpture, 
 
 figures emblematic of the planets, and those carved upon the 
 marriage capital, may be the work of one artist, but it 
 would be absurd to suppose that the group of the Judgment of 
 Solomon, which is evidently in a later style, was sculptured by 
 the same hand. 
 
 The decided superiority of the Ducal Palace sculptures over 
 all other pre-Kenaissance Venetian marbles is so remarkable, 
 that we have been forced to seek for an explanation of it in 
 some extraordinary cause, such as the influence of a foreign 
 artist upon a native sculptor of great natural ability, but how 
 it happened that this influence was not brought to bear upon 
 other artists of the time is a mystery that we cannot penetrate. 
 
 If Vasari is to be believed, Calendario was not the only 
 sculptor of the fourteenth century who was educated by a 
 Tuscan master, for he tells us that Jacopo Lanfrani, one of 
 Calendario's contemporaries, as well as Jacobello and Pietro 
 Paolo delle Massegne, were pupils of Agostino and Agnolo 
 Sanesi.* Unfortunately the Church of Sant' Antonio at 
 Venice f and that of San Francesco at Imola, both of which 
 were built by Lanfrani (who sculptured many bas-reliefs about 
 the portal of the latter edifice), have been destroyed, so that 
 we have only the monument of Taddeo Pepoli (1337) in the 
 church of San Domenico at Bologna, as an example of his 
 manner, and here it is not unlike that of his alleged Sieneso 
 masters. The bas-relief upon the sarcophagus, which stands in 
 an arched recess above a blank space filled in with diamond- 
 shaped slabs of white and black marble, represents Taddeo, who 
 was a magistrate, seated, and holding in his hand a book, which 
 he appears to be explaining to the persons standing by his side. 
 A second panel, divided from the first by a statuette of an 
 apostle, contains the figures of an angel and a kneeling donor, 
 who oflers him the model of a church. The figures are well- 
 
 'o^ 
 
 * (See chapter iv. 
 
 t Sansavino, p. 29. This cluirch no longer exists. The Venetian 
 ambassador II Magnifico Piero Pasqualigo in writing from London, 
 April 15, 1515, mentions that on his journey through France he visited 
 St. Denys, and there saw "the tomb of Charles VIII. with his graven 
 image the size of life, wrought by the same artificer that did the statues 
 of St. Anthony's chiirch at Venice. (See Foxir Years at the Court of 
 Henry VIII., Despatches of the Venetian Ambassador Seb. Giustiniani, 
 L 83-4, edited by liawdon Brown, Esq.).
 
 Tombs at Venice. 203 
 
 proportioned, quiet in action, and draped with much simplicity, 
 but tlie general design of the monument has no such points of 
 resemblance with that adopted by the Sienese school as would 
 lead us to connect Lanfrani with it. 
 
 The early Gothic tomb common at Venice, which of all types 
 is one of the most beautiful to the eye, and most satisfactory to 
 the mind through its solemn sentiment and fitness, consists of 
 a sarcophagus, generally set high up against the wall of a chapel 
 under an arched canopy, whose gable is adorned with crockets 
 and surmounted by a finial.* The front of the sarcophagus is 
 divided into two panels, containing Scriptural or Historical bas- 
 reliefs, with a statuette of Christ, or a group of the Madonna 
 and Child under a little baldacchino, placed between them, and 
 figures of the Angel of the Annunciation and the Virgin carved 
 at either end, in sign of that hope of a joyful Eesurrection 
 which was given to mankind through the promise made to her 
 by the heavenly messenger. The recumbent effigy was origi- 
 nally intended to represent the corpse when laid out in the 
 church before burial, and this realistic thought was spiritual- 
 ized by placing angels near it, either holding back the curtain 
 which hung from the canopy above it, or standing motionless 
 with censers in their hands beside it, or supporting the 
 cushion upon which the head rested. Such curtain-drawing 
 angelsf w'ere introduced at Venice towards the middle of the 
 century upon the monument of Andrea Dandolo, and the 
 sepulchral effigy is first seen upon that of Duccio degli Alibertit 
 (d. 1336) also remarkable as the first upon which figures 
 of the Virtues appear. That this type of tomb was not 
 universally followed at the time is proved by that of the 
 doge Francesco Dandolo, a sarcophagus under a simple arched 
 
 * These ornaments, as well as the elaborate leaf-work about friezes and 
 cornices, are for the niost part treated too pictorially bj' Venetian artists, 
 who having passed directly from Oriental to Northern influences, without 
 that intermediate study of the antique which chastened the manner of 
 the early Gothic masters in Tuscany, were from the beginning wanting 
 in purity of style. 
 
 t First used in Italy by Arnolfo di Cambio in the tomb of Cardinal 
 de Braye (1285) at Orvieto, and adopted by Giovanni Pisano in that 
 of Pope Benedict XT at Perugia (1305); see ch. ii. and iii. 
 
 X Ambassador to Florence when Venice was allied with that city 
 against Mastino Cane, lord of Verona.
 
 204 Historical Handbook of Italian Scnlptnre. 
 
 canopy,* adorned with a bas-relief of the Death of the Virgin, 
 and by that of Bartolomeo Gradenigo, his successor, who was 
 buried within the atrium of St. Mark's in a sarcophagus with- 
 out an effigy, adorned with poorly-sculptured statuettes of the 
 Virgin and the Angel of Annunciation at the angles, and with 
 a central bas-relief of the doge kneeling before the Madonna, j- 
 In the monument erected to S. Isidoro in his chapel at St. 
 Mark's by Andrea Dandolo, we find two of the distinctive 
 features of the perfected Gothic tomb, namely the effigy, which 
 is remarkably fine, and the canopy, while in that of Andrea 
 Dandolo in the baptistry of St. Mark's the type is completed 
 by the curtain-drawing angels. 
 
 A simple sarcophagus placed high up against the wall in the 
 church of San Giovanni e Paolo, with a St. Paul and two 
 praying angels sculptured upon its front and a recumbent 
 figure so resting on an inclined plane upon its lid that it may 
 be seen from below, contains the remains of Paolo Loredano 
 (1354), a brave and able soldier of his time, captain-general 
 of the republic when Venice was menaced by the Genoese, her 
 ambassador at Milan when the Emperor Charles IV. was 
 crowned, and her chief instrument in quelling the revolt of the 
 Candiotes under Giovanni Calerm. Certain tombs bv unknown 
 sculptors, which are variously regarded as works of the Milanese 
 Campionesi, or of the Venetian ]\Iassegne,| show how closely 
 the two schools, both of which had a common Pisan root, 
 resemble each other. From this cause it is often very difficult to 
 distinguish between them, as the figures in both are extremely 
 unstudied in pose and sober in gesture. This is the case in 
 the simple monument of the doge Marco Cornaro at San 
 
 * The canopy still exists in its original position in the chapter-house of 
 the Frari. The sarcophagus is in a desecrated cloii^ter at the Salute. 
 The statue of this doge kneeling before the lion of St. Mark with a 
 banner in his hand was sculptured by a certain Maestro Martino, and set 
 up over the portal of the Ducal Palace which he built. " "We, Andrea 
 Dandolo and Marco Loredano, procurators of St. Mark's, have paid 
 Atartino Tajapiera and his associates for a stone of which the lion is made, 
 which is put over the gate of the palace. — 1344, Nov. 4 : We have paid 
 thirty-five golden ducats for gold-leaf to gild the said lion." 
 
 f This is the doge to whom the fisherman brought the ring of St. 
 Mark — a scene represented in the splendid picture by Paria Bordonc at 
 the Academy. 
 
 J Calvi, op. cit. p. 59; Selvatico, op. cit. p. 143.
 
 Venetian ]\Ionunient'i. 
 
 205 
 
 Giovanni e Paolo, above whose plain sarcophagus are five 
 statuettes in niches of the Virgin, with S3. Peter and Paul 
 and two patron saints, carefully sculptured in a quiet style ; 
 and with that of the Senator Simon Dandolo (13 GO) at the 
 Frari, whose sarcoj)hagus is decorated with the usual figures 
 of the angel and the Madonna, and a group of the Madonna 
 enthroned, and overshadowed by a curtain held up by four 
 diminutive angels ; and with that of the doge Giovanni Dolfin 
 (13G1), one of the most noted Gothic monuments in the church 
 of San Giovanni e Paolo. Here the sarcophagus, which is 
 enriched with statuettes, and with bas-reliefs of the doge and 
 the dogaressa kneeling at the feet of the enthroned Christ, the 
 Death of the Virgin, and the Epiphany, has an elaborate cor- 
 nice and plinth, decorated with leaf- work. The details of these 
 Venetian monuments, though effective and well calculated to 
 add to the general picturesqueness of their appearance, are 
 seldom of much value, though the recumbent figures are often 
 excellent in sentiment, and impressive by reason of their rigid 
 quietness. The bas-reliefs, however, which serve chiefly to 
 break the monotony of plain surfaces, cannot for a moment be 
 compared with those uj)on Tuscan monuments of the time. 
 Generally speaking the statuettes of saints and angels are 
 diminutive and of little importance, and they suffer by the 
 ever-increasing prominence given to leaf-ornaments, crockets, 
 and finials. 
 
 We have already referred to Jacobello and Pietro Paolo, sons 
 of Antonio delle Massegne or de' Massegni, as the supposed 
 scholars of Agostino and Agnolo Sanesi, but we are rather 
 inclined to connect them less directly with Tuscany through 
 Bonino da Campione (the scholar of Balduccio da Pisa) to whom 
 several anonymous Gothic tombs in Venice are attributed.'''" 
 The altar-piece by the Massegne (1388) in the church of San 
 Francesco at Bologna, f which consists of bas-reliefs of the 
 Coronation of the Virgin, and other subjects, and of simple 
 and unpretending statuettes of saints, carefully draped, but 
 
 * Calvi, Of. cU. p. 69. 
 
 f The contract for this work (made between the Frati Minori and 
 the Massegne in 1388), given by the Marchese Davia, overthrows the 
 statement of A^'asari that it was made in 1320 by Agnsliiio and Agnolo 
 Sanesi (see Vasari, vol. ii. p. 7, note 1; and Gualandi, Gaida di Bulogna^ 
 p. 03). The price agreed upon was 2,150 gold ducats.
 
 2o6 Historical Handbook of Italian Scitlptni^e. 
 
 somewhat heavy in their proportions, as well as the statuettes 
 of the Virgin, with SS. Mark, Peter and Clement (1394), the 
 Madonna with SS. Christina, Clara, and Catherine at St. 
 Mark's (1397), and the monument to the doge Antonio Venier 
 (1400), over the door of" the Cappella del Rosario at San Gio- 
 vanni e Paolo, and under the tomb of the doge Micheli 
 Morosini (1382), one of the richest examples of the florid 
 Gothic style, are further examples of their style. 
 
 As we approach the Pienaissance, we are more and more 
 struck with the want of proper balance between decoration and 
 the thing decorated, and of fit subordination of detail to general 
 effect. Thus, for instance, in the portal of the church of S. 
 Stefano, which is attributed to the Massegne, the rank stone 
 vegetation about the Gothic arch is quite out of proportion with 
 the dimensions of the arch itself.* Paolo, the son of Jacobello, 
 who was a more original artist than either his father or his 
 uncle, made the tomb of the Veronese condottiere Jacopo 
 Cavalli (1384), at San Giovanni e Paolo, which, though robbed 
 of its statuettes and no longer brilliant with colour, is one of 
 the most picturesque at Venice. f The effigy of the brave knight 
 clad in armour, with his hands crossed upon his breast, his 
 head resting upon a lion, and his feet upon a dog, fit emblems 
 of his honour and fidelity, lies upon the sarcophagus which 
 is richly but heavily adorned with leaf-mouldings, and with 
 roundels containing the symbols of the Evangelists in alto- 
 relief. The sarcophagus by Paolo of the famous general 
 Prendiparte Pico in the church of San Francesco at Mirandola, 
 is decorated with bas-reliefs, arms, and medallion portraits of 
 Prendiparte and his wife Catarina Cornari. Its compositions 
 are simple and clear, but the figures ai-e heavy, and the work- 
 manship is not over-careful. It is in the variety of design and 
 the distinct character of Paolo's monuments that he proved 
 
 * Selvatico, of^. ci7."p. 123, says that a Jacopo Celega and his son 
 Paolo, who built the campanile of the Frari between 1361 and 1396, are 
 perhaps identical with the ]\Iasse^ne. The Pietro Paolo who was called 
 to Udine to build the duomo in 1366 is perhaps one of the same family, and 
 he may have sculptured some of the statuettes about the great window 
 of the Sala del Maggior Consiglio at the ducal palace, finished in 1405. 
 
 t The engraving in Zanotti's work, 11 Valazzo Ducale, shows that 
 there were originally statuettes of Faith, Hojoe and Charity on projecting 
 "brackets in front of this tomb (see Puskin. op. cit. iil 82).
 
 Venice. 207 
 
 Ilia originality and fertility of invention, and showed Lis superi- 
 ority to his contemporaries. Among them were the Maestro 
 Andi'iolo or Andreoli (1372),* who built the chapel of San 
 Felice in S. Antonio at Padua, for Bonifazio di Lupi Marchese 
 di Soragna,f and sculptured the rather lifeless but not ill- 
 draped statuettes of the marquis and his wife, v»'ith those of 
 SS. James, Peter, and Paul above its entrance, as well as the 
 two sarcophagi ornamented with discs of porphyry and Oriental 
 granite, which stand within it ; J Piaynaldinus (1375) who made 
 the thickset, stiffly-posed statuettes of the Virgin and Child, 
 and those of SS. Peter, Paul, and James, which stand upon the 
 altar in the same chapel ;§ Giovanni de' Sanctis (1390), who lies 
 with his father Filippo the sculptor j| at Sta. Maria dell' OrtOj^^lf 
 and is known through his epitaph to have sculptured a group of 
 the JNIadonna and Child which he gave to the church ; Bernardo 
 da Venezia (13'J6), the first head-architect^* of the Certosa at 
 
 * He has been confounded with an Andreolo di Ferrari Francescano, 
 the scholar of Giovamii da Giussano, who worked for the duomo at Milan 
 towards the^ end of the fourteenth century, but who had no reputation 
 as a sculptor CGonzati, i. 173).- 
 
 t The contract for the building of the chajiel of San Felice is dated 
 February 12, 1372 (see Gonzati, vol i. p. 107, doc. 102). 
 
 X The marquis lies buried in one of the sarcophagi, and a de' Eossi of 
 Parma in the other. 
 
 § The head of Saint Paul is a restoration by Giovanni Bonazza. 
 Raynaldinus received 196 ducats for these statuettes (see Gonzati, vol. i. 
 pp. 113, 174, doc. 102; and Gualandi, series vi. p. 135, no. 193, and 
 p. 145). 
 
 II Cicogna, Isc. Ven. ii. 278, says that Filippo sculptured the sarco- 
 phagus of the Eeato Oderici, a Minorite monk, who died in 1331. 
 
 ^ Sta. Maria dell' Orto, originally called San Cristoforo, changed its 
 name in honour of a rude image of the Virgin found by the monks in an 
 adjoining garden a.d. 1377 (Ricci, op. cit. ii. 377). The huge colossal 
 wooden statue of St. Christopher with painted face, hair and robes, upon 
 an altar in this church, was sculptured by Gaspai'o Moranzone, one of a 
 family which produced several artists. The same Gasparo ornamented 
 two altar fronts in S. Stefano and S. Giobbe (Sansavino, lib. ii. p. 60, and 
 lib. iii. p. 57; Cicogna, vol. i. p. 83, no. 176) Francesco Moranzone, a 
 wood carver, carved a frame for a picture by Donato Veneziano iu 1460. 
 In 1500 his son Jacopo went to Udine to do the like for a picture by 
 Pellegrinoda San Daniele (]\raniago, pp. 42, 293, ed. 1823). This Jacopo 
 di Francesco was also a painter. 
 
 ** Calvi, op. cit. pt. i. p. 103, and a pamphlet entitled La Fondazione 
 del Tempio clella Certosa by the same author.
 
 2o8 Historical Haiidbooh of Italian Sctdptiire, 
 
 Pa via, who was employed by the Duke Gian Galeazzo to LuiKl 
 the castle of Pavia (1391), and by the directors of the Cathedral 
 at Milan to sculpture a group of the Madonna and Child in 
 wood, which stood for many years above the high altar ; and 
 lastly. Maestro Bonasuto or Bonafuto, of Venice (1394), who 
 sculptured the half-figures of prophets and saints upon the base 
 of the facade of St. Petronius at Bologna in a bold effective 
 style.* Together with the works of these sculptors we may 
 mention one of the best examples of a common form of 
 memorial used at this time at Venice, the sepulchral slab of 
 Boiiincontro di Boaterii, a celebrated Bolognese jurisconsult, 
 abbot of San Giorgio, set into the wall of a corridor leading 
 from the church of San Giorgio Maggiore to the Cappella dei 
 Morti. The effigy of the deceased in flat relief, which is 
 enclosed in a sort of niche, represents him clad in the long 
 mantle of a novice, holding a copy of the decretals in his hand, 
 which he is expounding to his disciples who are sculptured "in 
 little " at his feet. 
 
 The period of a hundred and fifty years (1300-1450), during 
 which the Gothic style of architecture prevailed at Venice, is 
 represented by three schools of sculpture, namely, those of 
 Calendario and of the Massegne, of which we have been speak- 
 ing, and that of the Bons, Giovanni and his sons Eartolomeo 
 and Pantaleone, which we have yet to examine. These artists, 
 who were probably born Venetians, lived in the Contrada a San 
 Marziale, near the church of Santa Maria dell' Orto. On 
 November 10th, 1438, Giovanni and Bartolomeo contracted to 
 build the great gate of the palace contiguous to the church of 
 *' Misier San Marcho," which was at first called the Porta 
 Dorata, and afterwards the Porta della Carta because public 
 edicts were affixed to it.f This elaborate structure in the florid 
 Gothic style has a pointed window filled in with rich tracery, 
 surmounted by a roundel supported by flying angels, containing 
 a half figure of St. Mark. Its square-headed portal is flanked 
 
 * Cicognara, Storia della Scultura, pp. 321, 429, and Selvatico, p. 124. 
 
 t The Porta della Carta was built between 1139 and 141-3, under the 
 doge Francesco Foscari. In 1412 the Bons, father and son, promised to 
 complete the figures about it within a year (doc. pub. by Gualandi, 
 eeries vi. p. 105). The price agreed upon for the whole work was 1,700 
 gold ducats (Selvatico, p. loG).
 
 Giovanni and Bartolomeo Don. 
 
 209 
 
 with three-sided pilasters divided into four portions by string 
 courses, two of which are adorned with canopied niches contain- 
 ing heavily-draped statues of the Virtues {see woodcut), which 
 are cold in feeling and without individuality. As the gate is 
 inscribed with the words '' Opus Bartolomei," we may suppose 
 that Giovanni's assistance was almost nominal, but he and his 
 sons certainly worked together 
 upon the statuettes and other de- 
 corations of the internal fa9ades 
 of the Palace, and built the cor- 
 ridor leading from the Porta della 
 Carta to the Giant's Staircase.* 
 It is to payment for these works 
 (1463), as we believe, that reference 
 is made in an order of the Council 
 by which Maestro Bartolomeo Bon 
 is commissioned to finish the 
 palace-decorations. t 
 
 It is not a little singular that 
 Calendario and Bartolomeo Bon, the 
 two most eminent sculptors of their 
 day, should have been employed 
 by the two most unfortunate of 
 doges, the one to commence, the 
 otherto terminate the Ducal Palace. 
 Just two years more than a cen- 
 tury after the decapitation of Marino Faliero upon its steps, 
 Francesco Foscari, old and worn-out with grief, fell deadl 
 in the same place, when he heard the sound of the bell 
 which announced the election of his successor (1457). He 
 was buried at the Frari in a tomb which although it has some 
 Gothic elements, such as the trefoil arches which support the 
 
 * Selvatico, op. cit. p. 135. , 
 
 t " Azio che tanta degna opera per piccola cosa non restasse essere 
 complida" (Gualandi, series vi. p. 108). In 1797 the group of the doge 
 Francesco Foscari kneeling before tlie winged lion, which stood above the 
 doorway of the Porta della Carta, was thrown down. The mask alone 
 escaped destruction, and now forms one ot the objects of interest in the 
 museum of the Ducal Palace, but as it was very coarsely sculptured, that 
 it might produce an eflect when seen Irom a distance, it is no fair example 
 of Bartolomeo's skill.
 
 2IO Historical Handbook of Italian Sculpture, 
 
 sarcophagus, the crockets upon the pediment, and the pinnacle 
 surmounted by a statuette of our Lord, is the first important 
 example of monumental Renaissance work at Venice, The same 
 doge employed Bartolomeo Bon to build the Cappella dei Mascoli 
 at St. Mark's, and to make statues of the Madonna, SS. Mark 
 and John for the three Gothic niches over its altar. These 
 heavily-draped lifeless figures are in the same style as those of 
 the Virtues upon the Porta della Carta, but the angels bearing 
 censers on its front are in a much purer manner, not unlike that 
 of some of the earlier capitals of the Ducal Palace, and that of 
 the Madonna and angels in the lunette over a side door of the 
 Frari,* or of the emblem of St. Matthew upon the facade of a 
 house near the Ponte del Piavano, all of which are works of the 
 fourteenth century. We may not, therefore, be wrong in the 
 conjecture that Bartolomeo used old material for the adornment 
 of this altar, in accordance with a practice at one time common 
 at Venice. Other works attributed to him are the Madonna 
 della Misericordia, with statuettes of SS. Cristina, Calista and 
 Dorotea, in the church of the Abazia ; the statuettes above 
 the door of the Scuola di San Marco ; the archivolts of the 
 lower and of the second story of the facade of St. Mark's, 
 adorned with leaves and figures of saints ; the facade of the 
 church of Sta. Maria dell' Orto with its row of niches decorated 
 with statuettes, and a very ornate well in a cortile near San 
 Giovanni e Paolo. There is also at Udine, on the angle of 
 Palazzo Publico, a Gothic tabernacle containing a mediocre 
 figure of the Madonna holding in her hand the model of a 
 church, which may be his work, as it is said to have been made 
 by the same sculptor who made the portal of the Ducal Palace 
 at Venice. f It is possible also that he is the "Maestro Bar- 
 tolomeo" who went to Constantinople (1472) with Gentile Bel- 
 lini, when the Sultan requested the Signory to send him a por- 
 trait-painter and a sculptor. + This supposition seems plausible, 
 as he was in the habit of signing his works with his Christian 
 name only, and we know of but one other contemporary artist 
 
 * Cicognara strangely enongK attributes this work to Pyrgoteles, a 
 second-rate sculptor of the middle of the fifteenth century. 
 
 f Llaniago, Guida nel Friuli, p. 59. 
 
 X Doc. ined. trouves par M. de Mas Latrie, Gazette des Beaux-Arte, 
 liv. du le-- mars 18GC, p. 286 et seq.
 
 Venice. 2 1 1 
 
 named Bartolomeo, who thouf^h eminent as an architect had too 
 little reputation as a sculptor to have been sent to a foreign 
 country.* 
 
 We come now to the time when the Renaissance style was 
 introduced at Venice, in all pr'^bability by Michelozzo, when he 
 accompanied Cosmo de' Medici during the year of exile which 
 he passed in the convent of San Giorgio Maggiore (1430-1), and 
 set an example of the revived use of classical forms in the 
 library which he built adjoining the convent. f His initiative 
 was followed by Pietro Lombardo, and Antonio di Giovanni 
 Bregno (commonly called Kizzo or Eiccio),| both of whom 
 have been called the pioneers of the Renaissance movement at 
 Venice. The honour may be fairly divided between them, as 
 though Rizzo was the elder of the two, the works of Pietro 
 Lombardo had much the greater influence. Rizzo was born 
 at Verona about 1410, and formed his classical taste upon the 
 noble Roman ruins which are still her pride, but he is called 
 a Venetian in documents of the time,§ because he spent the 
 greater part of his life at Venice, where he was superintendent 
 of the " Bottega di Tajapiera," or workshop of the sculptors and 
 stone-cutters connected with the palace. || In 1474, when he went 
 to Scutari, with Antonio Loredano and Count Aloise Quirini, to 
 defend that town against the Turks, his knowledge of the 
 
 * Bartolomeo Buono, architect of the Procuratie veccMe. 
 
 f See Michelozzo, book ii. cli. ii. 
 
 J Scardeone, A^asari and Sansavino have all fallen into the blunder of 
 identifying him with the renowned bronze-caster Andrea Eiccio of Padua. 
 He has also been confounded with Lorenzo Bregno (perhaps a relative), a 
 mediocre sculptor who flourished about 1510. 
 
 § As for instance, in the decree of 14-83, by which his salary was raised, 
 he is called Antonius Riccius Yenetus — because, as Morelli (notes to 
 I'Anonimo, p. 97) remarks, he had long held the office of ingregnere or 
 architect to the Illustrissima Signoria di Venezia. Colucio speaks of 
 him as a Veronese, as does Zovenzorno in a sonnet to '" Crispo Veronensi 
 marmorario clarissimo," and his biographer Dott. 0. Bernasconi in a 
 pamphlet entitled La Vita eleopere di Antonio Rizzo, arcliitetto e scnltore 
 Veronese, Verona, 1859. 
 
 II Bernasconi, pt. i. p. 13, and Cadorin, p. 14. The stone-cutters 
 (scarpellini) and the sculptors (scultorl) of that time both belonged to the 
 guild of the Tajapiere and both worked as architects. In 1723 they were 
 se[)arated into distinct guilds through the agency of the sculptor Ant. 
 Conadino. 
 
 p 2
 
 212 Historical Handbook of Italian Sculpture. 
 
 art of defence proved so valuable, and bis brave conduct during 
 the siege attracted so much notice, that on his return to Venice 
 the Senate gave him a twenty yeai's' pension. A few years 
 later (1483), when a portion of the Ducal Palace was destroyed 
 by fire, he was appointed its head architect, with a salary of 
 125 ducats a year, and this was soon after increased to 200, in 
 consideration of his having closed his workshop, which brought 
 him in three times the amount of this salary, that he might 
 the better attend to the duties of his office. Unfortunately his 
 conduct did not justify the confidence of the Signory, for in the 
 course of the next thirteen years he appropriated much of the 
 public money to his own uses, and when suspicions were 
 awakened and investigations were about to be commenced, fled 
 from Venice to Foligno, where he died on the 14th of March, 
 1498.* " Excellent architect, illustrious geometrician, most 
 skilful sculptor, and most gifted superintendent of the work- 
 men attached to the Ducal Palace," as he is called in the decree 
 by which he was appointed to be chief adviser in the restoration 
 of the Cathedral of Vicenza ;f he was also a skilful mechanician 
 and an able military engineer. As sculptor he is known to us 
 only by his statues of Adam and Eve,]: in niches opposite the 
 Giant's Staircase, of which he was the architect. § Each holds 
 
 * Sanuto, vol. i. pt. p. 27, says that Kizzo expended 19,000 ducats 
 •while in office, the greater part for his own private uses. Malipiero, 
 Illustrazioni delle due /Statue di Adamo ed Eva, p. 1, tells the story and 
 adds, " Emigro a Foligno e poco dopo mori." One would be glad to 
 doubt the truth of this story, and some grounds for doing so may be 
 found in the decree appointing his successor which simply speaks of Rizzo 
 as absent ; but it is circumstantially told by several Venetian writers of 
 authority, and accepted as true by his enthusiastic panegyrist and fellow- 
 countryman Bernasconi, who would certainly have proved its falsity had 
 he been able to do so. He attributes the silence of the senate to honour- 
 able motives of delicacy towards an aged artist of genius who had ren- 
 dered them long and useful service {op. cit. p. 22). 
 
 t Morelli, notes to 1' Anonimo. 
 
 t These statues were not set up in their niches till about 1471, but 
 Morelli thinks they were made about 14G2. A group of the doge Cristo- 
 foro Moro kneeling before the winged lion, perhaps by Eizzo, which stood 
 above the upper arch of the facade, was thrown down in 1797. 
 
 § Giovanni da Spalatro, Aloise di Pantaleone, M. Domenico and 
 Stefano Tagliapiera assisted Rizzo in this staircase. The delicate 
 ornaments upon it were sculptured by Domenico and Bernardino da 
 Mantova scholars of Eizzo.
 
 Pietro Loinbardo. 213 
 
 an apple, but while Eve casts down her eyes as if convicted of 
 sin, Adam places one hand upon his breast, and raises his eyes 
 to heaven as if seeking to justify himself. In flow of line and 
 contrasted action of limb and muscle, this figure is superior to 
 the common run of architectural statues. The overcrowded, 
 ugly, and disjointed monument of the doge Nicolo Tron at the 
 Frari is attributed to Rizzo, but it seems unworthy of his 
 reputation. 
 
 Pietro di Martino Lombardo, the son of a marble-worker at 
 Venice, had three sons — Tullio, Antonio, and Giulio — architects 
 and sculptors, who, like their father, were attached to the Ducal 
 Palace, and worked under Eizzo's direction. They have been 
 called his scholars,* but it is hardly credible that Pietro, who 
 was of about the same age as Piizzo, and rivalled him in 
 reputation, did not instruct his own sons.f Pietro evidently 
 stood high in his profession in 1480, as he then successfully 
 competed with several eminent architects for the commission 
 to build the church of S. Maria da' Miracoli. Four years 
 elapsed before he commenced to do so, as he was called to 
 Ravenna by Bernardo Bembo, then its Venetian governor, to 
 make the tomb of Dante, t The manner in which he acquitted 
 
 * Tide Temanza, pp. 79,80; Cadorin, p. 140; and Selvatico, p. 185; 
 and the commentary to the Life of Vittore Scarpaccia, Vasari, vi. 128^ 
 Other Lombard! wei-e : Ser Giovanni de Ser Tullio, mentioned as a witness 
 to a deed, dated November 20, 1515, preserved at the Museo Correr, 
 Vincenzo was the son of Antonio, and Sante the son of Giulio. Tullio II. 
 and Girolamo were sons of Sante. Martino II. and his son Moro are not 
 certainly known to have belonged to the same family. 
 
 f Pompouius Gauricus De Sculphira, a work published in Pietro's 
 lifetime, says that they were rivals. 
 
 J After Dante's death his remains were buried at Ravenna, in a stono 
 sarcophagus, by his friend Guido Novello, whose exile and death prevented 
 him from carrying out his intention of giving them a more fitting resting- 
 place. In 1692 the monument made by Pietro Lombardo was restored 
 at the expense of the city, and in 1780 the chapel in which it stands was 
 erected by the Cardinal Luigi Valenti Gonzaga. The bones of Dante 
 were supposed to have been removed from their original resting-place by 
 the Franciscan friars in 1519, when they feared that Pope Leo X. would 
 order them to be taken to Florence, but in June 1865 a wooden chest was 
 discovered in the wall adjoining the chapel of Braccioforte, within which 
 they were found complete, together with a paper stating that Fra Antonio 
 Santi, chancellor of the convent of San Francisco, had placed them there 
 for safe keeping in the year 1677. This discovery having been made at
 
 214 Historical Handbook of Italian Sculpture. 
 
 himself of the task was so unworthy of the greatness of the 
 opportunity offered, that we cannot suppose he was led to accept 
 it by any strong feeling of enthusiasm for the great poet, for 
 instead of representing him as seated before a reading-desk with 
 books lying upon it, in a cold and lifeless alto-relief which har- 
 monizes but too well with 
 
 " The little cupola more neat than solemn '* 
 
 under which it is placed, he would have exhausted his skill in 
 carving even richer arabesques and ornaments than those by 
 which he afterwards made his reputation at Venice.* After 
 his return there in 1484, Pietro completed the plan accepted 
 for Sta. Maria de' Miracoli by adding to it the chapel of the 
 Sanctuary, and signed a new contract with the directors, by 
 which they agreed to furnish him with building materials, and 
 to pay him an annual salary of GO ducats. f Eight years later 
 he had built and ornamented the church, which is one of the 
 most beautiful and elaborate examples of Renaissance architec- 
 ture, conscientiously worked out with infinite skill in every 
 detail. Without and within, its walls, doorways and pilasters 
 are covered with leaves, flowers, birds, and strange creatures 
 born of a fancy wayward but ever logical in its deductions from 
 
 the very time when the Florentines were pi-eparing to inaugurate a statue 
 of the poet on the Piazza di Sta. Croce, with the ceremony befitting an 
 occasion looked upon as the consecration of the newly-achieved indepen- 
 dence of Italy, created a great sensation, and was received by many as a 
 token of Dante's share in the consummation of the work to which he had 
 60 powerfully contributed by his life and writings. 
 
 * While at Ravenna, Pietro made a S. Apollinare and a winged lion to 
 be placed as signs of Venetian sovereignty on the top of two columns in 
 the public square. Temanza, p. 81, says that the S. Apollinare was 
 sculptured by Pietro Lombardo, and not by a hypothetical artist named 
 Pietro da Ferrara. Sec BarutFaldi, o-p. cit. vol. i. p. 215, note 1. 
 
 t Selvatioo, op. cit. p. 186, says that this chapel is undoubtedly by 
 Pietro Lombardo. Bernasconi who denies it, see Oj7. cit. p. 42, says that 
 it is incredible that this chapel should not have been comprised in the 
 original plan, as it was for the sanctuary that the Venetians wished to 
 build the church. When it was proposed to build it in honour of a 
 wonder-working image of the Virgin, 80,000 ducats were collected for the 
 purpose in a few months, and a board of management comjiosed of six 
 i:)atricians was appointed to superintend all affairs connected with it 
 (Temanza, op. cit. p. 82).
 
 Pietro Lorn bar do. 215 
 
 nature. The ricTi balustrades of the staircase leading to the 
 chapel of the Sanctuary are adorned with small half-figures of 
 the Vircrin, the Ansel of the Annunciation, St. Francis and 
 Sta. Chiara, and the pilasters and panels about it are filled 
 with ornaments inspired by, but not copied from, the antique. 
 The Palazzo Vendramin Calergi,* the now demolished church 
 of S. Cristoforo at Murano, the church of S. Andrea on the 
 island of the Certosa, that of Sta. Maria Mater Domini, and 
 the magnificent chapel of the doge Cristoforo Moro at San 
 Giobbe, with the exquisitely-adorned portal of that church 
 (1471), are all attributed to Pietro. The last has been seri- 
 ously questioned, but if we accept him as the sculptor of the 
 ornamental work at Sta. Maria de' Miracoli we find no difficulty 
 in believing him to have previously sculptured that of San 
 Giobbe,t which is equally excellent Ptenaissance work, though 
 in this case we must suppose that some other artist sculptured 
 the figure-work, as it is greatly superior to anything of 
 the kind in his authentic works. The round arched portal of 
 San Giobbe is flanked by two Corinthian pilasters covered with 
 the most delicately-sculptured convolvulus plants, upon whose 
 winding stems sit all but living birds. Their capitals are 
 composed of acanthus leaves and ox-skulls, from whose horns 
 hang festoons which are twined about the flower-filled volutes. 
 The cornice and archivolt are enriched with architectural details 
 borrowed from the antique, statuettes of SS. Francis, Bernar- 
 dino of Siena, and a bishop are placed above the arch and at 
 the ends of the entablature, and the lunette is filled with a 
 bas-relief representing SS. "Francesco" and "Giobbe" kneeling 
 in prayer on either side of a little mount, upon which rays of 
 light descend from heaven. The more we regard these sculp- 
 tures the moi-e we are convinced that they are the work of 
 several hands. Thus if the arabesques and the statuettes of 
 the portal are by Pietro the bas-relief can hardly be, and if 
 the ornaments in the Cappella Maggiore and the grave-slab of 
 
 * Temanza affirms that he began it, and that it was completed by 
 Jacopo Sansovino. Selvatioo thinks it much more modern. 
 
 t The Cappella Maggiore at San Giobbe must have been built betbro 
 1471, as in that year the doge Cristoforo Moro died, and not earlier than 
 1462 as the ducal bonnet is introduced with his coatof-arras (Solvatico, 
 p. 234).
 
 2 1 6 Historical Handbook of Italian Sadptiire. 
 
 the doge, which is enframed in a border of exquisitely-sculptured 
 arabesques and bears the ducal arms in its four corners, are his 
 work, some other artist must have sculptured the Evangelists in 
 the spandrils of the internal arches, and the charming angels 
 which support them. Their unmistakably Tuscan air lends 
 strength to the tradition that a Florentine artist worked in this 
 church, traces of whose hand are visible in certain ornaments 
 and mouldings about the Grimani chapel, and in the terra- 
 cotta Evangelists upon its roof. 
 
 About 1483, Pietro went to Treviso to reconstruct the great 
 chapel in the Cathedral, and to erect a monument to Monsignor 
 Zanotti, who had left a large bequest for these purposes. The 
 ornamental marble -work about the latter would be alone suffi- 
 cient to establish his reputation as unrivalled in his peculiar 
 branch of art. The sarcophagus, adorned with statuettes, and 
 resting on a projecting base supported upon consoles, is deco- 
 rated with sirens holding vases in their hands, rich leaf-work, 
 and an eagle with spread wings, but its most remarkable feature 
 is its exquisitely-sculptured frieze, which looks as if it had been 
 worked out with a needle rather than with a chisel. Scarcely 
 less ornate is the tomb of the senator Onigo by Pietro in the 
 church of S. Nicolo at Treviso, in which the life-size statue of 
 the deceased, between two pages with shields, stands upon the 
 upper of two sarcophagi, the lower one of which rests upon 
 consoles, and is sculptured with profile heads of Roman 
 Emperors in flat-relief and with " putti " holding cornu- 
 copia.* In 1499 our sculptor left Treviso for Venice, where 
 he had been appointed to succeed Eizzo as architect of the 
 Ducal Palace, but although he held this ofiice for the- remainder 
 of his life, he found time to build the Cathedral at Cividale in 
 the Friuliau district, and the fortifications of the city of Treviso. 
 He was elected chief officer of the guild of the Scarpellini in 
 that city, and died at Venice about 1511. The bronze 
 monument to Cardinal Zeno at St. Mark's is said to have 
 
 • A sculptured altar near the great door of the church, inscribed 
 "Franciscus Bettignolo ded. mortuus est 1491," is probably by the Lom- 
 bard!, as well as the tomb of the apostolic legate, Nicolas Franco 
 (elected a.d. 1501), in the chajiel of the Sacrament at the Duomo. The 
 statuettes of SS. Peter and Paul upon the altar, and the bas-reliefs of 
 the four Evangelists in roundels uj^on the roof may also be their work.
 
 Pietro Lovihai'do. 217 
 
 been made nncler his superintendence, but wo know by docu- 
 mentary evidence that the artists who constructed it were 
 Paolo Savii and Pier Zuano delle Campane (a scholar of 
 Alessandro Leopardi), who in 1515 cast the heavy and unin- 
 teresting statues of the Madonna and Child, SS. John and 
 Peter, for the altar,* The monument of Cardinal Zeno which 
 occupies the centre of the chapel, consists of a mortuary couch 
 supported upon a quadrilateral base with six large statues at its 
 corners and sides. Between them are panels adorned with 
 female figures in relief, holding branches in their hands. The 
 bronze sepulchral effigy, which is robed in a vestment carefully 
 worked out in raised patterns, is conscientiously Avrought, but 
 it wants that tender sentiment found in so many mortuary 
 figures of the previous century, which never fails to awaken 
 our sympathy. Pietro is said to have assisted his sons in 
 making the monument of the doge Pietro Mocenigo at San 
 Giovanni e Paolo, but we suspect that he did little more than 
 furnish its general design, as neither in style nor conception 
 does it resemble his other tombs, which are richly ornamented 
 and never allegorical like this with its statuettes of Roman 
 warriors and its bas-reliefs of the Labours of Hercules, in 
 allusion to the military prowess of this gallant doge, who was 
 famed for his victories over the Turks. Furthermore, the 
 arabesque-work upon its side-pilasters and archivolt is not 
 comparable to that upon Pietro's Trevisan monuments. In 
 figure-work he was out of his element, and he rarely at- 
 tempted it. The only statuettes at Venice attributed to him 
 are those upon the balustrade of Sta. Maria dei Miracoli, and 
 those of SS. Anthony, John, and Jerome, at San Stefano. 
 Where his design demanded their introduction, as in the 
 monuments at Treviso, he entrusted them to his sons Tullio 
 and Antonio, of whom we shall speak in another chapter. 
 
 * The commission for this work was first given to Leopardi and 
 Antonio Lombardo, who soon quarrelled. Leopardi was then dis- 
 missed, and Zuane di Alberghetto, with Pier Zuane delle Campane, were 
 appointed to assist Antonio. As matters still went ill, the superintend- 
 ence of the work was given to Pietro Lombardo, who agreed to design 
 the figures which Zuane delle Campane was commissioned to cast in 
 bronze (Selvatico, op- ci^ p. 190).
 
 2i8 Historical Handbook of Italian Sctilptiire. 
 
 Verona. 
 
 Althongli no other Italian city can boast sn.oh a number 
 of pre-Revival sculptors as Verona, they developed no school 
 from their rude beginnings. Not one Veronese sculptor of the 
 thirteenth century is known to us,* and when in the fourteenth 
 the lords of Verona wished to adorn their family burial-place 
 with those superb Gothic tombs which make it one of the most 
 striking and interesting cemeteries in Italy, they were obliged 
 to send to Milan for Perrino and Bonino da Campione, who 
 perhaps designed the tombs of Sant' Agata in the Cathedral 
 (1380), of a knight and of a member of the Pellegrini family 
 at Sant' Anastasia, and of Giovanni Scaliger at San Fermo. — 
 The one native sculptor of the fourteenth century of whom we 
 have cognizance is Giovanni di Bigino (fl. 1392), who made a 
 statue of St. Proculus for a monument at San Fermo. In the 
 fifteenth Verona produced a great plastic artist — the painter and 
 medallist Victor Pisano, called II Pisanello (1380-1447), but 
 although the profile heads and groups of mounted cavaliers 
 upon his medals are miracles of sculpture in little, we can 
 scarcely class him as a sculptor ;f and it is certain that no trace 
 of his plastic inlluence is perceptible in such monuments of his 
 
 * There is a little seated Virgin with an apple in her hand, rude in style, 
 and apparently sculptured towards the close of the thirteenth century, 
 in a court behind the church of S. Giovanni in Fonte. It has an inscrip- 
 tion in Gothic letters to this effect : 
 
 " Magister Pulia me fecit. Orate pro eo." 
 
 f Tommasini, Yita di L. Pigneria, Amsterdam, 1669, says: "Eminent 
 Pisani pictoris et statuarli maxima toreumata quoB vocamus Italice 
 meuaglioni; " and Mons. Giovio, Letter to Duke Cosimo, November 12, 
 1551, published in Bottari, Lett. Pitt. v. 82 (ed. Milano, 1822), says that 
 Pisanello was " prestantissimo nell' opera cle' hassirilievi ; " but in the 
 context his meaning is clear: — " E percio si veggono di sua mano molte 
 lodate medaglie di gran principi," &c. &c. So also Facio, De Viris Illus- 
 trihus, says: "Picturos adjecit fingendi artem. Ejus opera in plumbo 
 atque asre sunt Alphonsus," Sec, &c. Tito Strozzi in his Elegia (Maffei 
 vol. iv. ch. vi. p. 208) says he surpassed Lysippius and Phidias, but this 
 is a " fa9on de parler " common at the time. Pernasconi, Studii, &c. 
 (Verona, 1859), at pp. 5, 6, shows that he must have died before 1455, 
 and was probably born about 1380. Vasari does not give the date of his 
 death, but he says he was " assai ben vecchio." About the bas-reliefs at 
 Himini see p. 126.
 
 Viceiiza and Padua. 219 
 
 native city as the tomb of the Cavalier Cortesia Sarcgo (d. 1432) 
 in the choir of Sant' Aiiastasia, evidently designed under 
 Venetian influence, or the terra-cotta bas-reliefs from the life 
 of Our Lord upon the walls of the Pellegrini chapel (whose 
 inordinately long figures and clinging draperies are born of 
 the schools of the Manlegazza and Omodeo) or the simply 
 draped, Campionesi-like saints in niches upon the pilasters of a 
 chapel in the left aisle of the same church. 
 
 ViCENZA. 
 
 This city of Palladio never had a school of sculpture, and 
 her only sculptor, Girolamo Pironi, who flourished in the first 
 half of the fifteenth century, is not represented at home. The 
 vines, birds, snakes, snails, leaves, and bunches of grapes very 
 beautifully carved upon a pilaster in the Cappella del Santo at 
 San Antonio* at Padua by this able artist, prove his great skill in 
 dealing with ornament. The little quattro-cento sculpture at 
 Vicenza is either Venetian or Milanese. To the first school 
 belongs a well-draped Virgin and Child with saints under a 
 canopy over an altar to the left in the church of San Lorenzo, 
 signed '' Magister Antonianus de Veneciis," and to the second 
 an energetic and Mantegnesque half figure of the dead Christ 
 supported by angels crying aloud with open mouths, over an 
 altar to the right in the same church. 
 
 Padua. 
 
 Paduan sculpture of the fourteenth century is represented 
 by a number of sarcophagi and Gothic tombs at San Antonio, 
 which diff"er from those of the same time at Venice in the 
 absence of curtain-drawing angels and statuettes of the Virtues. 
 
 The oldest sarcophagus is that of Piolando da Piazzola 
 (d. 1310), through whose influence Padua was for a time saved 
 from falling into the hands of the Veronese, and Jacopo da 
 
 * Signed Hie. P. faciebat; date uncertain. Gonzati, op. cit. voL i 
 p. 16'J, note 3.
 
 2 20 Historical Handbook of Italian Sculpture, 
 
 Carvara elevated to power as Lord of the city. The next oldest 
 in date is that behind the altar of the chapel of S. Felice, which 
 contains the remains of Bartolomea degli Scrovegui, who was 
 poisoned by her husband Masilio da Carrara (1333), shortly 
 after their marriage. The relief upon the front of the sarco- 
 phagus represents the Madonna and Child seated on a throne- 
 chair, which is borne up bs^ two awkwardly posed angels. The 
 sarcophagus of the Rogati, an ancient Paduan family, in the 
 chapel of the Madonna Mora which was sculptured about 1340, 
 is decorated with reliefs of a man on horseback dressed in a 
 long robe, with a cap on his head, and with a group of Christ 
 enthroned and supported by angels. In the cloister of the 
 Capitolo there are several tombs worthy of notice, puch as that 
 of Rainerio degli Assendi (d. 1358), a sarcophagus with a 
 heavy foliated cornice, spiral columns, corner niches surmounted 
 by projecting canopies, and a rude relief of the Madonna and 
 Child ; also the sepulchral effigy of the learned Bettina di San 
 Georgio (d. 1355), who professed ecclesiastical jurisprudence 
 in the Paduan University. The passage way leading from this 
 cloister to that of the Noviziati contains the tomb of Manno 
 Donato, whose effigy, clad in armour, lies under a Gothic gable. 
 He was a Florentine Guelph who fought under Francesco 
 da Carrara, and died at Padua in 1375. Lastly, we may men- 
 tion a tomb in the portico of the southern door of San Antonio, 
 erected to the memory of the Brescian condottiore Federigo 
 di Lavalongo (d. 1374) who fought for Padua under Manno 
 Donato and is represented with the various costumes belong- 
 ing to the offices which he filled in his lifetime, in the six 
 compartments upon the front of the sarcophagus, as also in a 
 fresco at the back of the canopied recess which shelters it. In 
 the fifteenth century Padua produced but one eminent sculptor 
 and bronze caster, Bartolomeo Bellano, of whom, as the pupil 
 of Donatello, we have spoken in a former chapter. The career 
 of his illustrious pupil, Andrea Riccio, belongs to the sixteenth 
 century, and will be narrated in its proper place.
 
 Mantua. 221 
 
 Mantua, 
 
 About tlie middle of the fourteentli century the church of 
 Sant' Antonio was rebuilt by the merchants of Mantua, and 
 Guido Gonzaga, Imperial vicar and captain of the people,* per- 
 petuated the remembrance of their generosity by a bas-relief 
 which represents him in the act of presenting the " Massaro " or 
 chief of their guild to the Madonna and the Infant Saviour, who, 
 standing upon her knee, gives them his benediction. The 
 outlines of the figures are hard, their faces are without expres- 
 sion, and their gradation in size according to rank, from the 
 Madonna down to the pigmy " Massaro" kneeling at her feet, 
 is singular in its effect. The contemporary sarcophagus of 
 Bishop RufFmi dei Landi in the Museo Patrio is second-rate 
 both in style and execution, as is the statue of the Archangel 
 Michael above the entrance to a chapel in the Cathedral belong- 
 ing to the same time, which has quite lost its character through 
 injudicious restoration. Towards the middle of the fifteenth 
 century the Milanese sculptor Jacopino da Tradate was invited 
 to Mantua by the duke Giovanni Francesco Gonzaga, as were 
 the eminent architects Leon Battista Alberti, Luca Fancellif 
 and Andrea Mantegna, by his son Lodovico, who gave the latter 
 a salary' of seventy-five lire a month, and a piece of land 
 near the church of San Sebastiano upon w^hich he built him- 
 self a house. Though Mantua disputes with Padua the honour 
 of having given Mantegna birth, | she undoubtedly gave him 
 burial, in a chapel dedicated to San Giovanni, which he had 
 himself built and endowed in the church of Sant' Andrea. 
 The bronze bust of the great painter, which is set above the grave 
 slab in a richly-adorned roundel, is a masterpiece of portraiture. 
 The face is grave, earnest and searching, the modelling bold, 
 vigorous and true to nature, and the treatment of the hair, 
 
 * In 1348 Luigi Gonzaga having killed Bonacolsi under pretence of 
 saving the country from a tyrant, was elected captain of the people, and 
 m 1349 obtained from the Emperor Charles IT. the title of Imperial 
 Vicar. Guido who succeeded him became a sovereign " de faclo." 
 
 t Sec Appendix, letter P. 
 
 J Vide Testimonianza int. alia -patria di Andrea Mantegna, by P. 
 Brandolesi, Podova, 1805; and Notizie, by the Abbate Gennasi; Vasari, 
 vol. V. p. 158, says, " nacque nel contado di Mantova." In ncto 1 to this 
 passage his commentators give their reasons for believing that although 
 he wrote Mantua, he intended to write Padua.
 
 2 2 2 Histo7'ical Handbook of Italian SciUptnre. 
 
 which falls in long curling locks on either side of the laurel- 
 wreathed head, most masterly. This bust has been attributed 
 to Mantegna himself, who is mentioned by several authors as 
 being not only painter and engraver, but also sculptor and 
 bronze-caster,* but as he did not mention it in his will,-]- in 
 which directions are given about his tomb, it is more than 
 probable that it was cast after his death by order of the Duke 
 Lodovico, and that it was modelled by the famous medallist 
 Sperandio Maglioli.j 
 
 Whether Mantegna the painter, Alberti the architect,§ oi 
 Sperandio the medallist ever worked as sculptors is uncertain, 
 but their influence is manifest in several anonymous marbles at 
 Mantua, sculptured during the best period of the quattro-cento. 
 Among them is a marble slab in the Museo Patrio, adorned 
 with the Gonzaga arms surrounded by a wreath of oak and 
 olive leaves supported by flying genii, and with profile heads of 
 the Marquis Lodovico and his wife Barbara of Brandenburg, 
 and of his son Federigo with his wife Margaret of Bavaria. 
 The word " Amumoc " (supposed to stand for the Greek a/iw/ioy, 
 immaculate) inscribed upon a portion of her head-dress, and 
 sculptured with the dog and the mountain crest upon the door- 
 posts and richly-adorned chimney-piece of the Palazzo Mar- 
 chionale di Revere, where Federigo and Margaret resided in 
 14G4 when the pest broke out at Mantua, was adopted as a 
 device by Federigo after his marriage, to testify his disbelief in 
 the reports circulated against the Princess after her arrival in 
 Mantua in hopes of preventing his union with a foreigner. The 
 
 * " Oltre la pittura e 1' incisione trattava la plastica e fondava in 
 bronzo " (Selvatico, p. 180, tiota 1 ; G. B. Spagnuoli, lib. i. Be Syhis, fol. 
 clxvi. Parlsils, 1513). 
 
 f Mantegna's will dated Marcli 1, 1504, published by Moschini, 
 Vicende, &c. p. 50 (Gaye, Garteggio, iii. 365; see also Conte Carlo 
 d' Arco, op. cit. vol. ii. p. 50, no. 63). 
 
 X According to the Mantuan chronicler Amadei, the marquis caused a 
 bronze bust, with the head encircled by a laurel wreath and with two 
 diamonds set in the pupils of the eye?,, to be set up at Sant' Andrea in 
 honour of Mantegna (Conte d'Arco, of. cit. i. 73). 
 
 § M. Dreyfus of Paris has among his Renaissance bronzes and marbles 
 a bronze plaque of large size, from the Timbal collection, with a profile 
 head upon it, modelled in the masterly style of the period. It is signed 
 L. B. A. P., and is probably a portrait of Alberti by himself. A dupli- 
 cate at the Louvre has neither inscription nor emblem.
 
 Mantua. 223 
 
 winged genii sustaining a wreathed coat-of-avms upon the outer 
 loggia of San Sehastiano have been attributed to Leon Battista 
 Alberti who built the church. 
 
 Other excellent works of the time are the terra-cotta busts of 
 Francesco Gonzaga and the poet Teofilo Folengo in the Public 
 Library, and those of A^irgil, Battista Spagnuoli, and Francesco 
 Gonzaga in the Museo Patrto, but as none of them arc signed, 
 and we know the Mantuan sculptors of the fifteenth century 
 only by name, it is impossible to identify them. Among them 
 wei'e Guido Gonzaga di Aloisio, a priest, who modelled and 
 cast a very ornate bell for the church of Sant' Andrea (1444),* 
 Gabriele dei Frisonif who worked principally at Ferrara with 
 the Mantuan goldsmiths and sculptors Albertino and Giacomo 
 Ruscoui, sons of a certain Giovanni, a citizen of Ferrara ;t and 
 Cristoforus and Lysippus, uncle and nephew, who made medal- 
 lion portraits of Popes Paul II. and Sixtus IV. § Antonio and 
 Paolo Mola, of Mantua, sons of a sculptor named Yincenzo, 
 were noted for their skill in ornamental sculpture and intarsia 
 at Venice, where they executed some highly-praised intarsia work 
 for the sacristy of St. Mark's (1485), and at Mantua, where 
 they decorated the doors of the Carmine Church, St. Andrea, 
 and San Lorenzo (1492). || Their contemj)orary, the sculptor 
 Piero Giacomo Illario, is only known to us by a letter signed 
 " I'Antiquo" (1497), which he addressed to the Marquis Fran- 
 cesco Gonzaga from Piorne, to thank him for an introduction 
 to Monsignor Lodovico Agnelli " gloria e splendore del nome 
 latino."^ The few Mantuan sculptors known after his day 
 were ornamentalists in marble or stucco. 
 
 * It was pierced with eiglit apertures large enough to allow a man to 
 pass through them; adorned with various well-understood ornaments 
 and figures of Atlas, Hercules, Pallas and Adam. 
 
 ■f- Perhaps a descendant of Marco da Campione whose family name 
 was Frixonus or dei Frisoni. 
 
 J They assisted Meo di Checco at Ferrara and Bologna. Cicognara, 
 i. 247; Conte d' Arco, p. 37: and Cittadella, op. cit. pp. 49, 95, 98-100, 
 who gives various records of payments to the brothers for work at 
 Ferrara, 
 
 § The women of this family were also skilled in the plastic arts 
 (vide H Volterrano Comm. Urb. p. 1506, ed. Rom.). 
 
 II Doc. no. 151, order for payment, February 2'2. 1532 ; no, 178, and 
 vol. ii. p. 27-t, Conte d'Arco. 
 
 ^ He was governor of Perugia, papal vice-legate, made Archbishop of
 
 224 Historical Handbook of Italian Scjtlpttire, 
 
 Bkescia. 
 
 No Brescian sculptors are known to us before the middle of 
 the fifteenth century when we meet with two, namely, Giacomo 
 FilliiJpo Conforti, who made the tomb of Giovanni Buccelano, 
 Bishop of Groppoli (14G8), and Anzolino, author of a terra- 
 cotta " ancona " formerly in the church of the Eremitani at 
 Milan,* who is probably identical with the Antonio " taja- 
 preda," who assisted Antonio da Mortegno in sculpturing the 
 monuments of Francesco Rangoni for the church of San 
 Agostino at Parma, and that of his wife Lucia Rusca for the 
 church of San Francesco at Mantua. | 
 
 Bologna. 
 
 Giovanni Bindo, detto delle Massegne (1305), Bittino, who 
 made a monument at Imola (1348), and Sibilius Guarnieri da 
 Capravia (1352), all flourished at Bologna during the first half 
 of the fourteenth century. The latter artist sculptured the sar- 
 cophagus of Manfredo Pio in the Oratorio della Sagra at Carpi, 
 with reliefs which represent him kneeling between St. John the 
 Baptist and St. Catherine, the Madonna and Child with angels, 
 St. George, with St. Margaret, who holds the dragon in leash, 
 Christ and the two Marys, and a knight leaping his horse 
 over a river. The style of these sculptures is dryer than that of 
 the Pisan school, and the outlines are clearer and more sharply 
 cut out. Jacopo detto Ptosetto, Parto da Bologna, Fra Michele 
 Carmelitano (1390), Giovanni d' Enricuccio, and Jacopino d' 
 Antonio, who assisted Ghiberti in casting the gates of the bap- 
 tistry at Florence, lived at Bologna during the end of the four- 
 teenth and beginning of the fifteenth centuries, while Bologna il 
 Vecchio, Bartolomeo, Giovanni degli Accnrri (1450), Anchise, 
 Giovanni Francesco (1485) and the two Baroni (1490), who are 
 
 Cosenza by Alexander II. a.d. 1497, and papal nnncio by Sixtus V. 
 (Conte d'Arco, o^. cit. ii, 40), died of the pest or poisoned by Cassar 
 Borgia at Viterbo in 1499. Vide Gaye, Cartcggio, vol. i p. 338, no. 166 ; 
 also d'Arco, vol. ii. p. 40, letter no. 50. 
 
 * Ricci, op. cit. ii. 405. 
 
 f Campori, op. cit. p. 325.
 
 Ferrara. 225 
 
 praised by a contemporary poet as " clc' rari al mondo," 
 flourislied there in the second half of the fifteenth century, and 
 were probably little better than stone cutters. 
 
 Ferraka. 
 
 In the latter part of the fourteenth century we find mention 
 of an Antonio da Ferrara, who is supposed to have sculptured a 
 crucifix in the Cathedral over an altar near the chapel of St. 
 George, and of Giovanni, and Camino or Comino, both of whom 
 were put to death for their share in the conspiracy organised 
 by the citizens (1385) against their podesta, Tommaso da Tor- 
 tona, who had rendered himself extremely obnoxious by induc- 
 ing the Marquis Nicolo (detto lo Zoppo) to impose new and 
 unjust taxes upon them. 
 
 An interesting statue of the Marquis Alberto d' Este, who 
 succeeded the Marquis Nicolo, fills a niche of the fagade of 
 the Cathedral to the right of the great portal. The stiff 
 ungainly figure is dressed in the habit of a pilgrim, in com- 
 memoration of the marquis's journey to Eome in the jubilee year 
 of 1391, when Pope Boniface IX. conceded plenary indulgences 
 to all who should then visit the shrines of the apostles. His 
 suite consisted of four hundred persons, all like himself in peni- 
 tential habits, and a guard of soldiers bearing black lances, 
 banners, and pennons. Having been presented by the pope with 
 the golden rose, and authorised to open a university of arts and 
 sciences in his capital, he returned home amid great rejoicings, 
 and was honoured by the statue above referred to." 
 
 More than half a century later great preparations were 
 made at Ferrara for the fitting reception of the Princess 
 Eleonora of Aragon, daughter of King Ferdinand of Naples, and 
 bride of Duke Hercules I. An innumerable crowd of people, 
 singing, playing, and dancing, went out to meet her on her 
 approach, and escorted her into Ferrara, where the pavements 
 were covered with rich carpets, and the houses decorated with 
 superb tapestries and green boughs. Dressed in a suit of cloth 
 
 * Memorie pei- la Storia cli Ferrara, raccolte da Antonio Frizzi, Ferrara, 
 1791, ii. 344 See also Gio. Battista Pigua, Historia de Principi d' Este 
 (Ferrara, 1580), lib. v. pp. 324-7 ; and the work entitled Delle Antichita 
 Estensi ed Italiane, pt. ii. ch. vi. p. 158; and Ciltadella, op. cit. p. 415. 
 
 Q
 
 2 26 Historical Handbook of Italian Scnlptu7^e. 
 
 of gold cut after the Neapolitan fashion, wearing a crown of gold 
 adorned with pearls upon her head, and many jewels upon her 
 person, the fair bride rode to meet her future lord upon a noble 
 steed, and then dismounting, proceeded to the palace under a 
 baldacchino made of cloth of gold, and on the following day the 
 marriage ceremony took place in the Cathedral, when the event 
 was celebrated by tournaments, games and splendid banquets.* 
 Lodovico Castellani who decorated the royal carriages with 
 ornaments is identified with the sculptor and worker in terra- 
 cotta who made (1458) a " mortorio " or group of the dead 
 Christ, with Joseph of Arimathea, the Marys and St. John, for 
 the Cathedral at Ferrara, whence it was removed to the choir of 
 the church of S. Antonio Abbate in Polesine. The figures, of 
 life-size, painted and robed in coloured draperies are conceived 
 in the exaggerated style of the many groups of the same subject 
 by Guido Mazzoni of Modena.f 
 
 MODENA. 
 
 Giovanni Guerra da Modena, j who assisted in carving orna- 
 ments about the pilasters of the choir parapet in the Cathedral at 
 Milan, about 1400, is the first Modenese sculptor of repute, and 
 the next is Guido Mazzoni, called II Modanino from his birth- 
 place, and II Paganino after his grandfather. ^ This artist, who 
 flourished in the latter part of the fifteenth century, should 
 rather be called a " plasticatore " than a sculptor, as he worked 
 altogether in clay. His works are vulgar in type, intensely 
 realistic, exaggerated in expression, and monotonous through 
 their unvarying repetition of the same subject, but they are full 
 of earnest feeling and true to nature of a homely type. When 
 we have seen one of his groups we have seen them all, and 
 
 * Frizzi, op. cit. iv. 84. 
 
 t This group is in the Clausura delle Monache and cannot be seen 
 without special licence from the archbishop. 
 
 X Ricci, ii. 386. 
 
 § His great-grandfather Guido il Vecchio came from a castle in the 
 mountains of Modena called Montecuccolo. His father's name was 
 Antotiio (vide Le Opere di G. Mazzoni e di Antonio BcgarelU, dis. ed 
 incise da Gnlzzardi e Tomba Bolognesi, Modena, 1823; Tiraboschi. 
 Bib. Mod. vol. vi. pt. ii. p. 4S7 ; and Vedriani, Eaccolle de' Pittori e Scul' 
 tori Modonesi, p. 26 ; also Vasari, iv. 6).
 
 Gtiido ATazzoni. 227 
 
 know his capabilities and limitations. In the " mortorio " of 
 the church of San Giovanni Decollato at Modena, the dead 
 body of our Lord lies upon the ground, while the Madonna, 
 a weeping old woman kneeling on one knee at the foot of the 
 cross behind the body of her son, is supported by the beloved 
 disciple and by the Magdalen, who leaning forward with 
 dishevelled hair and distorted features screams in an agony 
 of grief. St. Joseph sits at the head of the body stretching 
 out his hands towards it, and several of the disciples aro 
 grouped around.* The startling effect of these coloured life- 
 size figures, robed in heavy but carefully-arranged draperies, 
 and modelle!^ with no small skill, can hardly be imagined. This 
 "mortorio " diife?s very little from those by the same artist at 
 Santa Maria della Rosa at Ferraraf and at Monte Oliveto at 
 Naples, made for King Alphonso II. of Aragon-in 1490. | 
 Mazzoni's group of the Nativity in the crypt of the Cathedral 
 at Modena is of little interest,^ as the subject allowed him no 
 0|)portunity for dramatic display, but some of the heads are 
 extremely living in their expression. || We have no other record 
 of the now-destroyed " mortorio " which he made (1487) for the 
 monastery of Sant' Antonio Abbate at Venice than that furnished 
 by the contract, which is curious for the stipulation made by 
 the artist, that in consideration of his having relinquished to 
 
 * This mortorio was originally in the Cappella della Confraternita of 
 the hospital of San Giovanni della Morte, then in the public prison. It 
 was repaired and repainted by M. Francesco di Bianco Frare. 
 
 f This group is often attributed to Alfonso Cittadella II Ferrarese, but 
 to our eyes it is unmistakably by Guido Mazzoni. 
 
 X It loses much of its effect by being coloured to resemble bronze. It 
 is however interesting historically if some of the figures are portraits — 
 the St. John of King Alfonso; the St. Joseph of Sannazzaro the poet; 
 the Nicodemus of Gioviano Pontano ; and one of the other figures of the 
 king's son Ferrandino {Giiida degli Sciemiati, i. 387-390 ; Celano, 
 Notizie di Napoli, ii. 30). 
 
 § Belonged to thePorrini family at Modena. According to the Cronaca 
 Malegazzi they refused to part with it for 500 golden scudi. It was long 
 in the Palazzo Livezzani (see Yedriani, op. cit. pp. 31-2). The second 
 shepherd to the right and the head of the first to the left are by an 
 unknown sculptor. A sculptor named Righi made the sheep and 
 shepherd in the background about 1527. 
 
 II Estratto dal Catastico di Costello in Venezia (Cicogna, Isc. Van. 
 i, 360; and Sansovino, Venezia JDescritta, p. 32). The monastery and 
 the group have both been destroyed. 
 
 Q 2
 
 228 Historical Handbook of Italian Sculpture. 
 
 the monastery a part of the money promised him in payment, 
 his name and his coat-of-arms should he placed upon it, and 
 mention of his gift made in the inscription. King Charles VIII., 
 whom he accompanied to France after the conquest of Naples 
 (1495), made him a knight and allowed him to enrich his coat- 
 of-arms with the royal fleur-de-lys. The royal tomb at St. 
 Denis which he designed in 1498, was of black marble, with 
 ornaments and figures in gilded bronze.* Its four sides were 
 adorned with niches containing statuettes of the Virtues, divided 
 from each other by flat spaces decorated with swords wreathed 
 with laurel in memory of the royal conquests, and upon the 
 top the effigy of the king was placed kneeling before a prie-dieu, 
 with four angels bearing shields engraved with the arms of 
 France and Jerusalem. f Whether Mazzoni modified his style 
 in dealing with a subject so foreign to his habits, and also in the 
 many other works which he is said to have executed during a 
 residence of more than twenty years in France, we cannot 
 judge, but it is certain that he was well paid for his work there, 
 as he returned to Modena, in 1516, a rich man, and purchased 
 many houses and much land before his death, which took 
 place two 3'ears later, j His first wife Pellegrina Discalzi,^ 
 and his daughter both accompanied him to France, and 
 assisted him in his labours, proving by their skill in sculpture 
 the truth of Ariosto's lines ; 
 
 Le donne son venule in eccellenza 
 Di ciascun' arte ov' hanno posto cura. 
 
 Parma. 
 
 During the fourteenth century there seems to have been a 
 dearth of sculptors at Parma, for Aldighiero della Senazza was 
 
 * Histoire de VAhhaye Royale de St. JDenis, par Felibien, p. 559. A 
 email outline of the tomb is given at p. 550 of this work. 
 
 f The brass-gilt plate on the pillar nearest to the monument was 
 inscribed with two epitaphs and the words "Vixit annos 28. Obiit 
 anno a Natali Domini 1498. Opus Paganiui Mantoviensis." 
 
 X The Cronaca Belleardi MS. says he returned to Modena June 19, 
 1516 (see Tiraboschi, Bih. Mod. i. 192). He died Sept. 12, 1518. 
 
 § Vasavi, vol. iv. p. 6. nota 1. Yedriani, ojj. cit. p. 33, says that 
 Isabella Discalzi, Mazzoni's second wife, was the sculptress, and not 
 Pellegrina.
 
 Parma» 229 
 
 obliged to call an artist named Jacopo from Pistoja to work 
 for him, and shortly after, a certain Francesco Frigeri who 
 wished to decorate the sepulchre of his family in the Cathedral, 
 sent to Cremona to purchase a poorly-sculptured " mortorio " 
 of wood. No authentic works of this period exist, save the rude 
 and much injured monument erected to Guido Pallavicino 
 (d. 1301) in the Abbey of Fontevivo, the tomb of Ugolotti 
 Lupi (d. 1351) in the oratory of Casa Melilupi at Saragna, 
 which was sculptured by a second-rate artist with coats-of-arms 
 and figures, and a sarcophagus under the porch of the church of 
 San Vitale e Agricola at Bologna, which was made by Maestro 
 Eosa da Parma, and used as the burial-place of Mondino de' 
 Liucci (d. 1318), a celebrated anatomist. It is adorned with a 
 bas-relief representing the Professor expounding a book which 
 lies before him, to six disciples dressed in long gowns, and 
 with round caps upon their heads, who seated at low reading- 
 desks, listen or follow the text in the books which they hold in 
 their hands. Their attitudes are agreeably varied, and the 
 expression of attention in their faces is well rendered. 
 
 Civil discords and the tyrannical rule of the Visconti 
 paralysed the arts at Parma during the fourteenth century, 
 and the same political conditions weighed upon them during 
 much of the fifteenth, which produced some few architects but 
 no sculptors of repute. The only existing monuments of this 
 latter period are the rude bas-reliefs upon the sarcophagus of 
 Biagio Palacani on the facade of the Cathedral (1416), the sepul- 
 chral slabs of Giovanni Lalatta and his wife (1-121), and those of 
 Giovanni degli Ardemani (1422), Antonello Arcimboldo (1439), 
 and Antonio Bernieri bishop of Lodi (1456) ; the bas-reliefs of 
 the Beato Simone della Canna (1476), and those upon the sarco- 
 phagus of Girolamo Bernieri (1484) in the Cathedral. Giacomo, 
 Filippo and Damiano, sons of Filippo de Gonzati of Parma, who 
 were distinguished as bronze-casters in the fifteenth century, 
 made the statues of the four Evangelists in bronze upon the 
 balustrade around the ciborium in the Cathedral, which are cre- 
 ditable examples of their skill.* A celebrated wood-carver and 
 " intarsiatore " named Luchino Bianchini (b. 1434), the sup- 
 posed scholar of Cristoforo da Lendinara, who with his son 
 
 * The ciborium wag made by Alberto da Carrara 1488 (see Lopez, 
 op. cil. p. 46).
 
 230 Historical Handbook of Italian Sculpture. 
 
 Bernardino worked at Parma for a period of twenty years 
 (1469-1482), helped tliem to carve the presses for the sacristy 
 of the Cathedral (1494) and himself made the woodwork about its 
 great portal, as well as the " intaglios" and "intarsiature" of the 
 choir at San Lodovico. His son Gian Francesco, who followed 
 the paternal profession with success, married the daughter of 
 Marcautonio Zucchi, the clever " intagliatore " of the choir stalls 
 in the charch of S. Giovanni Evangelista. This same church 
 contains some excellently-sculptured capitals (1510) signed by a 
 Maestro Antonio, who was employed by the Conte di Cajazzo 
 in 1488, to adorn -the portal of his palace with ornaments and 
 figures.* Two workers in terra-cotta of this time are mentioned 
 with praise, namely. Maestro Francesco, who also worked at the 
 Cajazzo Palace, and M° Giovanni who made a frieze for the 
 hospital in 1488, 
 
 Genoa. 
 
 No one of the great Italian cities has been so artistically sterile 
 as Genoa, and this seems due to a want of capacity tor art in 
 the nature of her people rather than to accidental circumstances, 
 since Pisa and Venice, whose site, form of government and com- 
 mercial relations were identical with hers, rivalled the inland 
 cities in the number and excellence of their artists. 
 
 In vain do we search among the many Genoese sculptors 
 who flourished in the fifteenth and sixteenth centuries for one 
 eminent name, although the absence of any such cannot be 
 ascribed to the want of good foreign examples, as the Cathe- 
 dral contains many fine works by Civitali.f and S. Matteo the 
 marbles of Montorsoli. j 
 
 The monuments to Cardinals Luca (d. 1336) and Georgio 
 Fieschi (d. 1469) in the Cathedral, although divided by the 
 interval of more than a century, show no progressive develop- 
 ment in style, and the two bas-reliefs of the Crucifixion, in the 
 chapel of the Holy Crucifix and in the sacristy, which belong 
 to the same period as the tomb of Cardinal Giorgio, are in no 
 wise remarkable. 
 
 * "Anno salutis MDX. Antonius Parmensis faciebat." — Lopez, op. clt, 
 p. 46. 
 
 t /See p. 152. % See p. 322.
 
 Genoa and Carrara. 231 
 
 To find any sculpture at Genoa which can be classed with fair 
 quattro-cento work, the church of S. Teodoro must be visited in 
 order to see the two marble tabernacles, by an anonymous, and 
 probably foreign sculptor, who had been bred in a good school. 
 The central portion of the one on the left contains a bas-relief 
 of the Infant Christ supported by an angel and adored by the 
 Madonna, St. Joseph, and a monk. Four Virtues are sculptured 
 upon the pilasters, as many prophets in flat-relief in roundels 
 below them, and groups of angels in the base upon which they 
 rest. 
 
 Having open and easy communication with 
 
 Caeraea, 
 
 either by land or sea, Genoa cannot plead want of material for 
 sculpture as Ihe cause of her sterility in this art, but Carrara 
 herself shows even more markedly how little its abundance has 
 to do with the result, for though she has trafficked in marble 
 ever since the Romans first worked the quarries of Luni in the 
 days of Julius Caesar, and has always had her streets lined with 
 studios, she has never produced a sculptor of real eminence. 
 Her best sculptors are Alberto MaSioli who flourished during 
 the second half of the fourteenth century and worked princi- 
 pally at the Certosa of Pavia, and Danese Cattaneo, the scholar- 
 of Jacopo Tatti (Sansovino), who lived in the sixteenth.* 
 Alberto Mafiioli, whose bas-relief in the "Lavatoio dei Monaci" 
 at the Certosa shows by its cartaceous draperies and the 
 exaggerated action of its long-limbed figures that he was bred 
 in the school of the Mantegazza, occupied the studio which 
 they vacated after the death of Cristoforo, and probably had 
 a hand in the bas-reliefs of the fagade.f In 1190 he sculp- 
 tured the medallion portrait of Gian Galeazzo Yisconti over the 
 door of the old sacristy, and in the next year was made head 
 master of the Cathedral at Cremona, for whose fayada he pre« 
 pared a design which was accepted, but never carried out. In 
 1488 he worked at Parma upon the marble parapet of th'S 
 organ loft in the Cathedral, which he adorned with roundels cap- 
 taining heads of the Virgin, St. John and Hilarius, sopai-alod 
 by garlands and angels' heads. 
 
 • /See p. 371. + See p. 190.
 
 232 Historical Handbook of Italian Smlptttre, 
 
 Cremona. 
 
 Among the few Cremonese sculptors wlio attained repute at 
 home and abroad before the latter half of the fifteenth cen- 
 tury was Cristoforo di Geremia called "da Cremona," though 
 it is doubtful whether he was not born at Mantua.* This artist, 
 who was sculptor, bronze-caster, and medallist, restored the 
 equestrian statue of Marcus Aurelius at Rome, for Paul II. in 
 1468 ; and made the medals of King Alfonso of Naples and of 
 the Emperor Augustus (after 1458), f but he did not, as has 
 been erroneously said, sculpture the sarcophagus of SS. Pietro 
 and Marcellino in the crypt of the Cathedral at Cremona, which 
 is certainly the work of Benedetto Briosco.l Another Cremonese 
 sculptor, Giovanni Gasparo Pedoni (1450—1504), sculptured the 
 very elegant chimney-piece in the ante-chamber of the Municipal 
 Palace at Cremona (1502), formerly in the Eaimondi Palace, 
 where some of his sculptures still exist. His name, inscribed 
 upon one of the varied and beautiful capitals (1499) as " da 
 Lugano," probably indicates that his family came from that 
 town. If, as seems probable, he sculptured the marble decora- 
 tions of the doorway of the great hall in the Municipal 
 Palace, it is evident that his "forte" lay in ornament 
 rather than in the sculpture of figures, as the statuettes of 
 Justice and Temperance, and the small reliefs of the labours 
 of Hercules upon the side posts of this door are far less 
 meritorious than the trophies, arms, helmets, and other 
 Renaissance ornamental details. The labours of Hercules, 
 introduced in allusion to the tradition that Cremona was 
 founded by that demi-god, appear upon the doorway of the 
 Palazzo Stanga (1499), of which we have already spoken as 
 one of the lately acquired treasures at the Louvre, § and upon 
 other portals of the same type erected during the dominion of 
 the Sforzas in various parts of their territory. Tommaso Amici 
 and Francesco Mabila de' Maze, who made the " dossale " of 
 the altar of St. Nicholas (1495) in the Cathedral at Cremona 
 
 * Yasari, ed. Milanesi, vol. vi. p. 502 ; and Eug. Miintz, op. cit. vol. ii. 
 p. 93. 
 
 t Friedldnder, Jahrbuch, 2nd vol. 3rd book, pp. 178-9. 
 + See p. 189. 
 § See p. 111.
 
 Cre7no7ia and Como. 233 
 
 which has simply-designed and well-draped figures of Saints 
 in its three niches, were probably Cremonese, as were Tommaso 
 Malvito, who sculptured the heavily-draped and coarsely-exe- 
 cuted statue of Cardinal Olivero Caraffa in the crypt of the 
 Cathedral at Naples (1504), and Cristoforo Pedoni son of Giovan 
 Gaspare who made the Area di San Arcaldo in the crypt of the 
 Cathedral at Cremona (1533-38) and died after 1552. 
 
 Of the several artists belonging to the Sacha or Sacchi family 
 of Cremona, we have but little information. The eldest, Paolo, 
 an " intarsiatore," or wooden mosaic worker, who died in 1537, 
 had two sons, Giuseppe and Bramante. The latter made four 
 saints in niches for the facade of the Cathedral, but, as we have 
 already shown, he did not sculpture the Area di SS. Piero and 
 Marcellino, or the Porta Stanga, both of which have been 
 attributed to him. He was probably one of the sculptors who 
 worked at the Certosa of Pavia. 
 
 Como. 
 
 Like the Cathedral at Milan, and the Certosa at Pavia, though 
 in a much less degree, the Cathedral at Como was a gathering 
 point of artistic work in the latter part of the fifteenth century. 
 Its fa9ade Mas designed and decorated by Lucchino of Milan, 
 1457-1485, and his successor Tommaso di Giovanni Piodari da 
 Marogia, a town near Lugano, who continued in office until his 
 death on the 9th of June, 1526, and was assisted by his brothers 
 Donatus, Bernardino and Jacopo. The MS. books of the 
 Cathedral contain many records of payments made to Tommaso 
 for work done, as, e.g. 1484, 40 lire for thirteen figures ; 
 November ] 3, 40 lire for a Magdalen ; xxv Sept., for a 
 St. Ambrose, &c. ; 1485, June xxiii, payment made for eight 
 statuettes of Saints and one of the Virgin, &c.* 
 . The works of the brothers upon the facade are the bas-reliefs 
 of the Annunciation and, perhaps, that of the Adoration of 
 the Magi over the great portal, which is remarkable in that the 
 figures in the foreground are completely worked out in the 
 
 * Extracts from the MS. Journaux des Comptes made for M. Courrajod, 
 Conservatenr adjoint of the Louvre, who has taken much pains to clear 
 up the uncertain dates about the brothers Eodari, and their work at 
 Como.
 
 234 Historical Handbook of Italian SailpttLve. 
 
 round, while those in the background are in low relief, giving 
 the effect of a scene upon the stage. The statuettes of the 
 Madonna and Saints in round-headed niches uuder Gothic 
 canopies over the great portal, and the two very ornate recesses 
 on either side of it which contain statues of the two Plinys, 
 are all by the brothers Rodari. Of these statues, that to the left 
 is signed by Thomas and Jacobus " fratris de Eodariis," and 
 dated 1498. Though faulty in proportion, and essentially deco- 
 rative in style, they produce a pleasing and picturesque effect. 
 The marble casings of the two side doors of the Cathedral, one 
 of which is called the "Porta della Rana," have been so much 
 mutilated that it is difficult to judge of their original merit, but 
 they bear traces of taste and careful study of nature. Other 
 works by the Rodari inside the Cathedral, such as the second- 
 rate and feeble " dossales" of the altars of SS. Lucia (1492) 
 and Apollonia, show that they were less successful in dealing 
 with figure than with ornamental sculpture.
 
 BOOK III. 
 
 THE LATER RENAISSANCE. 
 
 150n to 1600.
 
 CHAPTER I. 
 
 The year 1500 is a landmark between the early and the later 
 Renaissance, the Quattro and the Cinque-cento. It divides 
 the age when the Antique was taken as a guide, from the De- 
 cadence when it was taken as a master ; the age when nature 
 was interpreted in a realistic spirit, and gems and marbles were 
 studied to purify the taste and elevate the style, from the age 
 when ancient art was slavishly imitated, and the barriers be- 
 tween painting and sculpture were completely thrown down. 
 In the later period the nude was more broadly treated, draperies 
 were more classically arranged, and the balance of the figure, 
 as of the left side against the right, the upper part of the body 
 against the lower, was more consciously observed, but on the 
 other hand there was a marked loss of that freshness, naivete, 
 and individuality, which makes the works of the earlier time as 
 superior to those of the later, as fruits warmed into life by the 
 potent rays of an Italian sun are superior to those w-hich have 
 been forced by artificial heat. Between the two there "was an 
 intermediate period when sculpture was chiefly represented by 
 Andrea Sansovino, whose successive works illustrate the gradual 
 change from the old to the new school, and bridge over the gap 
 between them. 
 
 Andrea was the son of Niccolo di Domenico Contucci, a shep- 
 herd of Monte San Savino near Arezzo, whence his name, 
 slightly euphonised into Sansovino.* Born in 1460, he spent 
 his early years in tending his father's flocks, and like Giotto 
 
 * Milanesi, ed. Vasari, vol. iv. p. 509, gives the name of Andrea's 
 father as Niccolo di Domenico (called Menco) di Muccio, whence his 
 family was called de' Mucci, and later de' Contucci. Niccolo's will, dated 
 August 4, 1508, by which he gave a house and lands at Monte Sansavino 
 to his two sons Andrea and Piero, shows that he was not, as Vasari saya, 
 "poverissimo."
 
 238 Historical Handbook of Italian Sculpture. 
 
 whiled away the lonely hours by drawiug sheep in the sand, or 
 on the flat stones which he picked up in the fields. One day 
 the Podesta Simon Vespucci found him thus occupied, and 
 struck with his evident talent, asked and obtained his father's 
 consent to let him send the young artist to Florence to study 
 with Antonio Pollajuolo, under whom and in the gardens of 
 St. Mark's, where Lorenzo de' Medici had opened an Academy 
 under the superintendence of Donatello's pupil Bertoldo, San- 
 sovino made rapid progress.* His first original works were terra- 
 cotta busts of Nero and Galba, after antique medallions, one of 
 which came into Vasari's possession. These no longer exist, 
 but the painted terra-cotta altar in the church of Sta. Chiara 
 at Monte San Savino which he made at a very early period of 
 his life, shows that at that time the Italian masters of the 
 Quattro-cento had no small influence upon him. No one can 
 look at the San Lorenzo in the central niche, over which flying 
 angels hold the martyr's crown, without being reminded of 
 Donatello's St. George by the turn of the head and the ener- 
 getic expression of the face, or at the St. Sebastian on his 
 right hand, without thinking of Civitali's statue of that saint 
 in the Cathedral at Lucca, or at the San Rocco on his left, 
 without recognising the spirit of the Quattro-centisti. 
 
 Between 1488 and 1492, Sausoviuo carved two pilasters for 
 the sacristy of Santo Spirito at Florence, built the corridor 
 between it and the church, and made an altar for the Corbinelli 
 chapel with statues of SS. James and Matthew and an infant 
 Christ with angels, and reliefs of the Annunciation and the 
 Coronation of the A^irgin, the Beheading of St. John, the Last 
 Supper, and a Picta, which, though not strikingly individual 
 works, arc pure in style and technically excellent. 
 
 From the early part of 1491, when he was one of the judges 
 of the competitive designs odcred for the fa9ade of the Cathe- 
 dral, until the year 1500, Sansovino lived in Portugal, working 
 as architect and sculptor for King John, to whom he had been 
 recommended by Lorenzo de' Medici. During these nine years 
 he built a royal palace, carved a wooden altar with prophet-statu- 
 ettes, and made the statue of St. Mark, and the bronze bas-relief 
 of the King fighting with the Moors which still exists in the 
 
 • See pp. 105 and 117.
 
 Andrea Sansovino. 239 
 
 church of the Convent of St. Mark at Coimbra.* On hi3 
 return to Florence after this long absence he accepted several 
 important commissions, and in the course of the next four 
 years completed a Font for the baptistry at Volterra (1502) ; 
 a Madonna and Child for the Cathedral at Genoa (1504), and 
 the marble group of the Baptism of Christ over one of the 
 doors of the Florentine Baptistry. In this group, which was 
 assigned to him in 1502, and still occupied him in January 
 1505, f we find a new departure, and a modern spirit. Though 
 admirably modelled and skilfally grouped, the aiming at effect for 
 effect's sake is evident in the figures, and as it betrays the self- 
 consciousness of the artist their power over us is by so much 
 diminished. In Early Renaissance works we lose ourselves, as 
 the artist did his own personality when in obedience to the 
 imperious promptings of his nature he modelled them without 
 thought as to the praise or censure which they might ultimately 
 receive. This, as it seems to us, is a primary condition for the 
 production of a really fine work of art, and this it is which 
 makes the essential difference between the art of the early and 
 that of the later Renaissance. Between the time when Sanso- 
 vino made the altar at Santa Chiara, and that when he modelled 
 the St. John and our Lord for the baptistry at Florence, he 
 had eaten of the fruit of the forbidden tree, and becoming 
 self-conscious had passed over to the ranks of the artists .of th(* 
 sixteenth century, in whose spirit he thenceforward worked. 
 
 In the year 1505 or 1506 he went to Rome, where Pope 
 Julius II. gave him a commission for the splendid monuments 
 of Cardinals Ascanio Maria Sforza and Girolamo Basso della 
 Rovere in the choir of S. Maria del Popolo, which differ in 
 ornamental details though they are almost identical in design. 
 In each the sarcophagus, standing in a deep triumphal arch- 
 like niche, is surmounted by a lunette containing a bas-relief 
 of the Madonna and Child, and in each the rich cornice of 
 the entablature above the lunette is crowned by the arms of 
 the Cardinal, above which Christ enthroned sits between two 
 angels holding candelabra, and standing upon pedestals shaped 
 
 * Raczynski, ies Arts en Fortugal. Paris, 1846, p. S^-t. 
 
 t Said to have been finished by Vincenzo Danti after the death of 
 Sansovino. The praying angel is by Innocenzo Spinazzi, a sculptor of 
 the seventeenth century.
 
 240 Historical Handbook of Italian Sculpture. 
 
 like capitals. The statuettes of the Virtues in niches to the 
 right and left of the sepulchral effigy are flanked by rich 
 Corinthian columns, and above them, outside the lunette, there 
 are two other seated Virtues, while from the massive base of 
 the structure to its summit the flat spaces are enriched with 
 ornament of a classical character. The two things especially 
 to be noted as novel features in these tombs are, first the non- 
 dependence of the statuettes and effigies upon the architecture, 
 and secondly the representation of the deceased leaning upon 
 his elbow, with his head resting on his hand as if he had 
 fallen asleep. Upon Etruscan and Roman sarcophagi the dead 
 man is represented as if reclining at a banquet, in order to 
 recall him to his friends as they knew him in life, and to com- 
 fort them with the assurance that he is still feasting in the 
 Elysian fields, wdiile upon Gothic and Early Eenaissance tombs 
 the portrait statue is always laid out in the majestic repose and 
 solemn stillness of death, like the body when it was laid to rest 
 in the sarcophagus. Both modes of representation were justi- 
 fied by their special significance, but it would be hard to find a 
 justification for the senseless compromise between the two, first 
 made by Sansovino, as it has neither the meaning of the pagan, 
 nor the beautiful fitness of the Christian practice. 
 
 In 1512 Sansovino sculptured a marble group cf the 
 Madonna and Child with St. Anne, for James Corycius, a 
 German prelate noted as a patron of literature and the arts, 
 whose praises, sung in one hundred and twenty Latin sonnets 
 which were affixed to it in the church of S. Agostino, and after- 
 wards published in a volume called Coryciano, were prompted, 
 we surmise, by the gratitude of the recipients of his bounty, 
 rather than by the merits of the group. 
 
 After terminating this work, our sculptor was sent to Loreto 
 by Pope Leo X. (1513) to superintend and assist in decorating 
 ■the exterior of the marble temple which encloses the " Santa 
 Casa " with bas-reliefs, of which he modelled the Nativity 
 (1528), and the Annunciation (1522), and began the Adoration 
 of the Kings, and the birth, marriage, and death of the Virgin. 
 The last three were finished by his assistants, who are respon- 
 sible for the remaining reliefs, which fully illustrate the then 
 fallen state of Tuscan sculpture, and show how ignorant the 
 leading artists of the first half of the sixteenth centurv were of
 
 yacopo Tatti. 241 
 
 the nature and treatment of relief. Though Sansovino's works 
 are superior to those of his assistants, they in no wise deserve 
 the praises which have been lavished upon them. Take the 
 Nativity for instance as an example of ultra pictorial sculpture, 
 and note its complete want of repose. The angels, the shep- 
 herds, and St. Joseph, seem possessed by the demon of unrest, 
 and even the ]\Iadonna bending over the infant Christ has her 
 soul disquieted within her. Look also at the Annunciation, 
 which Vasari calls a miracle of art, with its shrinking Virgin, 
 its curtseying angel, its vaunted vase of flowers, whose stems and 
 leaves have been surpassed a thousand times by the sculptors 
 of the Early Renaissance, its landscape and architectural back- 
 ground cut up by jarring lines, and its sky filled with sharp- 
 edged clouds bound together like bundles of spears. 
 
 Here we may leave Sansovino, with regret that his remark- 
 able powers led to no better result. He spent his latter years 
 in planning the fortifications at Loreto, and in agricultural 
 pursuits at Monte San Savino, and died at Rome of a fever in 
 the year 1529. 
 
 Though inventive and skilful, he was always wanting in 
 repose, and too often aiming at effect. Mannered in his later 
 works he is seldom interesting at any period. Cold, correct, and 
 shallow, he sometimes favourably influences the judgment, but 
 never touches the heart. While we thus judge him, we must 
 not forget that he worked at Rome during part of the reign of 
 Leo X., when Michelangelo and Raphael, both in the ascen- 
 dant, were shining with a light which made all lesser luminaries 
 grow pale, and allow that to have then made a distinguished 
 reputation is no small proof of merit. 
 
 His most remarkable pupil was Jacopo Tatti, called 
 Sansovino (b. 1477), whom Andrea received into his studio 
 at the age of twenty- one, soon after his return from Spain. 
 Jacopo's father, Antonio, wished him to become a merchant, but 
 his mother, whose ambitious mind was filled with the fame of 
 Michelangelo, fostered his love of art, and finally persuaded 
 her husband to allow their son to become a sculptor. He first 
 attracted attention (1508-9) in a competition with Rafl'aello di 
 Moutelupo for a statue of St. «Tohn the Evangelist, ordered by 
 the Silk Merchants' Guild, when his design, though not 
 accepted, was highly commended by the best judges, and so
 
 242 Historical Handbook of Italian Scitlptiire. 
 
 much admired by his friend Andrea del Sarto that he used 
 it for his St. John in the Madonna delle Arpie (1517).* 
 
 In 1510 Jacopo followed his master to Rome in company 
 with the famous architect Giuliano di Sangallo, under whose 
 instruction he laid the foundation of his great architectural 
 knowledge, and associated there with artists of the old and 
 of the new schools of art, who live for us in works so widely 
 sundered in style that we can hardly imagine them to have 
 been contemporaries. t After living for some time with Sangallo, 
 Jacopo took up his abode in the palace of the Cardinal di 
 San Clemente with Perugino, for whom he is said to have 
 modelled a Crucifixion and many figures in wax to serve as 
 models, though it seems difficult to understand how the aged 
 painter could have used the designs of an artist, who from the 
 first showed himself to be a disciple of a school whose prin- 
 ciples were not at all in accordance with his own. 
 
 Bramante's friendship procured our young sculptor and 
 architect an entrance to the Vatican, where he made a model 
 of the Laocoon which was cast in bronze, | and found both 
 profit and emolument in restoring antique statues for Pope 
 Julius, until he was obliged by ill health to leave Rome for 
 Florence, where with the classic influence of the Eternal City 
 strong upon him he modelled the nude Bacchus of the Bargello 
 (1513), which ushers in that long line of statues of an antique 
 tj'pe whose descendants, if one may so speak, people our 
 modern studios. Of their prototypes this figure is one of the 
 best, easy in its action, correct in its proportions, and elegant 
 in its forms, but with all its cold perfections less precious 
 than a chip of marble from the workshop of a Donatello or 
 a Desiderio. When Leo X. made his triumphal entry into 
 Florence in 1515, he was much impressed with the beauty 
 
 * In the Tribune at the Uffizi. Nanni Unghero, the wood carver, one 
 of Jacopo's early patrons, owned his sketch of this figure. Temanza, 
 Vita di Sansovino, p. 200. 
 
 t Perugino painted in the Sistine Chapel between 1480 and 1495, and 
 died in 1524. Signorelli painted in the Sistine Chupel about 1484, and 
 died in 1523. Pinturicchio finished the Ara Coeli frescos in 1500, and 
 died in 1513. 
 
 X Cardinal Grimani, who purchased it, left it by will to the Venetian 
 Signory, by whom it was given to the Cardinal de Lorraine, who took it 
 with him to France.
 
 yacopo Sansovino. 243 
 
 of a temporary wooden facade decorated with bas-reliefs and 
 statues of the apostles by Sansovino, and expressed himself so 
 warmly that Jacopo was led to hope that the Pope would com- 
 mission him to build the facade of San Lorenzo, but in this he 
 was disappointed, as on presenting himself at the Vatican with 
 his design he found that he had been forestalled by Michel- 
 angelo (1516). He remained at Rome for the next seven years, 
 and judging from the colossal Madonna which he made for the 
 church of San Agostino, came under the all-pervading influence 
 of his great countryman, which shows itself in the massive 
 structure of the figure, the pose of the hands, and the arrange- 
 ment of the drapery. 
 
 Having made a design for the church of San Giovanni, which 
 the Florentine residents proposed to erect in honour of their 
 patron Saint in the Via Giulia, and been appointed its head 
 architect, Jacopo commenced operations, but before the founda- 
 tions were laid he met with an accident which obliged him 
 to give up the direction of the works and retire to Florence, 
 whence he proceeded to Venice (1523). At this time the 
 cupolas of St. Mark's church were in a ruinous condition, and 
 the doge Andrea Gritti hearing from Cardinal Grimani that the 
 one man in the world who could restore them had arrived in 
 the city, sent for him to undertake the work,* but Jacopo having 
 just then heard of the election of Clement VII., who being a 
 Medici was expected to revive the golden days of Leo X.'s reign, 
 declined to do so, and went back to Rome, where he remained 
 until lo'27. Forced to fly when the city was besieged by the 
 Constable de Bourbon, he once more turned his steps to 
 Venice, where he was warmly received by his friends Titian and 
 Pietro Aretino, and appointed to succeed Bartolomeo Bon as 
 Protomastro of the Republic, an office which gave him charge 
 over St. Mark's church and the adjacent buildings, with a hand- 
 some salary, and a house. f He was at this time fifty-two years 
 old, and had yet a career of forty-or.e years before him, during 
 which he built so many churches and palaces, that it may 
 be safely said that no one architect ever left his impress so 
 strongly upon a city as Sansovino upon Venice. Had his style 
 
 * Date of Sansovino's visit to Venice fixed in 1523, as Cardinal 
 Grimani died at Eome on the 27tli of August of that year. 
 t Decree dated April 7, 1529 
 
 R 2
 
 244 Historical Handbook of Italian Sailpture. 
 
 been that of a Brunellesclii or an Alberti, how differcut Avould 
 have been the result attained ! but unfortunately it was corrupt, 
 and despite its undeniably rich and picturesque character, fruit- 
 ful of evil to the rising generation. Capable only of assimi- 
 lating its defects, his many scholars* developed them into the 
 wild extravagancies of the Baroque, to which the cold formalities 
 of Palladio and other Vitruvians form a scarcely less obnoxious 
 antidote. Both in architecture and in sculpture as connected 
 with it, Jacopo Sansovino aimed at a decorative effect. In his 
 buildings we get an impression of rich detail at the expense of 
 breadth and mass of structure, and feel in the statues which 
 he placed about them, that they were only thought of from a 
 pictorial point of view. Thus it happens that while his single 
 figures are in many respects excellent, his architectural statues 
 want dignity and repose, and as in the case of the colossal 
 Mars and Neptune upon the Scala d' Oro of the Ducal Palace, 
 are utterly unworthy of the man who sculptured the Bacchus 
 of the Bargello. The statues of Apollo, Mercury, Minerva and 
 Peace in the niches of the Loggietta of the Campanile (1540), 
 though thoroughly unplastic in action and conception, are of a 
 much higher order of merit, and like the terra-cotta Madonna 
 and Child with St. John in the interior of the Loggietta, a 
 little figure of St. John on a holy water vase at the Frari 
 (1554), and the bronze figure of St. Thomas of Eavenna over 
 the door of S. Giuliano, form seme of the better examples of 
 Jacopo' s work as a sculptor. In bas-relief he was at his worst, 
 as he showed by the six small bronze reliefs of the miracles of 
 St. Mark around the choir of his Basilica, which are but a 
 confused mass of heads, arms and legs ; by the bronze bas- 
 reliefs in the sacristy upon which he worked at intervals during 
 a period of thirty years, and by the bas-reliefs of the Entomb- 
 ment and the Besurrection upon the door leading into the 
 sacristy. 
 
 A Madonna in the court of the Arsenal, the Poducatoro 
 monument at S. Sebastiano, the tomb of the doge Francesco 
 Venier (155G) at S. Salvatore, the four Evangelists upon the 
 balustrade of the high altar of St. Mark's, and a very mediocre 
 
 * Among them were II Tribolo, II Solismeo, Luca Jjancia, Bartolonieo 
 Amnianati, Danese Cattaneo, Alessandro Vittoria, Girolamo da Ferrara, 
 and Tiziano Sogala.
 
 Francesco di Sanmllo. 
 
 o 
 
 245 
 
 bas-relief, representing an incident in the life of San Antonio, in 
 the chapel of the Saint at Padua, may be mentioned as further 
 examples of the degeneration of his later style. The career of 
 Jacopo Sansovino at Venice was uninterruptedly successful, with 
 one exception, namely, the falling in of the roof of the Public 
 Library while in process of construction (1545). For this catas- 
 trophe he was held rcsj)onsible, deprived of his office under 
 government, and both heavily fined and imprisoned. After his 
 release, obtained through the efforts of his scholar Danese 
 Cattaneo and his friend Pietro Aretino, he repaired the roof 
 and finished the building. In February, 1549, he was restored 
 
 Bishop Bonafede. (By Francesco di Sangallo.) 
 
 to favour and position, and until his death (1570) was con- 
 stantly occupied in the duties of his profession. He was buried 
 at S. Gimignano, whence his remains were removed to S. Maria 
 della Salute at the beginning of the present century. 
 
 Francesco di Sangallo (b. 1493, d. 1570), the son of the 
 famous architect Giuliano,* and, like Jacopo Tatti, the pupil of 
 Andrea Sansovino, sculptured the recumbent effigy of Lionardo 
 Bonafede, Bishop of Cortona (see woodcut), whose position, in 
 the pavement of a chapel at the Florentine Ccrtosa of which 
 he was the Superior, gives it a striking effect. The mitred head 
 
 * The tomb of Francesco Sassetti, in the Sassetti Chapel at Sta. Trinita» 
 is generally attributed to Giuliano di Sangallo, though Vasari does not 
 mention it as such. The little figures performing funeral obsequies, and 
 the medallion portrait of the deceased in flat-relief upon the base of the 
 sarcophagus, are sculptured in a pure quattro-cento style.
 
 246 Historical Handbook of Italian Sculpture, 
 
 rests on a cushion, the hands are crossed upon the breast, and 
 the robes are simply disposed over the straight laid limbs. 
 Other works by the same sculptor are a group of the Virgin and 
 Child with St. Anne (1526) at Or San Michele, the monument 
 of Bishop Angelo Marzi at the Annunziata, the statue of the 
 historian Paolo Giovio, Bishop of Nocera, two heads in relief of 
 the IMadonna and San Eocco at Fiesole in the church of 
 S. Maria Primerana, and the monument to Piero de' Medici in 
 the church of the convent of Monte Cassino. 
 
 Were it not for the recumbent effigy of Bishop Bonafede at 
 the Certosa, Francesco di Sangallo would hardly be remembered, 
 for he had neither remarkable skill nor originality, but this 
 was not the case with his contemporary Benedetto, the son of 
 M. Bartolomeo di Piicco di Grazino, de' Grazini, called " da 
 Rovezzano," from a small town near Florence where he had an 
 estate. Born at Pistoja about 1474, he left Tuscany at an early 
 age to exercise his profession in other parts of Italy. He is 
 first heard of at Genoa in 1499, as employed with Donato Beati, 
 a Florentine sculptor, upon the marble " cantoria " of the church 
 of San Stefano, which they had been commissioned to make by 
 the Abbot Lorenzo del Fiesco. The two artists are also said to 
 have made a monument for Louis XII., King of France, in 1502, 
 and to have gone there from Genoa to set it up, but nothing is 
 known positively of Benedetto's movements until 1505, when 
 he returned home, and sculptured the very beautiful chimney- 
 piece of the Casa Ptoselli. The tombs of Piero Soderini at the 
 Carmine (1512), and of the Prior Oddo Altoviti (d. Sept. 28, 
 1507) in the choir of the SS. Apostoli, are the works which 
 most fully illustrate his peculiar mode of dealing with orna- 
 ment when applied to sepulchral monuments, both as regards 
 choice of subject and technical treatment. Instead of the 
 sphinxes, ribbons, vases, festoons, putti, &c., in favour with his 
 predecessors, Benedetto used mortuary emblems, such as skulls, 
 crossbones, &c., almost exclusively, and these he treated in 
 every variety of relief, from the flattest to the highest, keeping 
 the first almost level with the surface of the marble, and work- 
 ing out the last nearly in the round, with deep perforations and 
 under-cuttings. The result is highly effective and altogether 
 peculiar. Where, as in the statue of St. John the Evangelist 
 * Cicognara, vide vol. ii. plate xxx.
 
 Benedetto da Rovezzano. 247 
 
 (1512) at the Cathedral, Benedetto attempted to deal with large 
 figures in the round, he was far less successful than in treating 
 ornament, to judge hy this single example, as we must do, 
 since the life-size figures which he sculptured for the monument 
 of San Giovanni Gualberto, founder of the famous convent of 
 Vallomhrosa, were destroyed by the papal and imperial soldiers 
 during the siege of Florence in 1530. Begun before 1511 in 
 the sculptor's studio outside the Porta S. Croce, it remained 
 there up to the time of the siege, and was never set up in the 
 church of the Monastery of Pasignano, for which it was destined. 
 Three of the five bas-reliefs at the Bargello, which are all that 
 remain of it, are mere fragments, but the other two, though 
 injured, are tolerably perfect. One of them represents the 
 Saint expelling a demon from the body of the monk Florenzio, 
 and the other the removal of the Saint's remains from Pasig- 
 nano to Vallomhrosa upon a bier borne by monks and attended 
 by an angel with outspread wings. The beauty of this celestial 
 attendant is set off by the writhing form of a boy possessed with 
 a devil (see tail-piece), who brought with hope of cure to meet 
 the procession, struggles in the arms of his keepers. Skilfully 
 wrought, and well composed, these reliefs show that Benedetto 
 had dramatic power as well as great technical skill, and had 
 this monument and that which he made for Cardinal Wolsey 
 escaped destruction, we should not, as now, feel that his talents 
 are but inadequately represented. 
 
 The Cardinal's tomb, which consisted of a marble sarcopha- 
 gus with bronze enrichments, was commenced by Benedetto in 
 1524, five years before Wolsey fell from power. Henry "VT^II. 
 then ordered him to complete it for himself, but although it 
 must have been finished long before the monarch's death (1517»), 
 he was not buried in it, nor was Charles I., as he also intended 
 to have been. Its rich metal work was melted down in 1616 
 by order of Parliament, and the sarcophagus remained unten- 
 anted until 1805, when it received the remains of the hero of 
 Trafalgar. How long Benedetto remained in England we do 
 not know, but he probably returned to Florence long before his 
 death, which took place about 1552, after he had passed twelve 
 years in a state of total blindness. 
 
 Before Cardinal "Wolsey gave Benedetto the commission for 
 nis monument, he had negotiated for it with one of his con-
 
 24B Historical Handbook of Italian Sculptnre, 
 
 temporaries, Piero Torrigiano. This Florentine sculptor, who 
 was born in 1472, and went to England about 1513 to make the 
 tomb of Henry VII., left Florence in 1492 for Rome, after he 
 had brought himself into disfavour with Lorenzo de' Medici by 
 his brutal conduct to Michelangelo, whom he had disfigured for 
 life by a blow given during a dispute which arose between them 
 on some trifling subject, while they were employed together at 
 the Carmine. After spending some time in working in stucco 
 at the Torre Borgia, he served in the papal army under Caesar 
 Borgia in the Romagna, fought at the battle of Garigliano (1503) 
 where Piero de' Medici lost his worthless life, and then becom- 
 ing impatient of non-advancement after eight or ten years of 
 military life, went to England where he soon attained great 
 reputation for his skill in marble, brass, and woodwork. 
 In 1518, after he had been commissioned to make the monu- 
 ment of Henry VIL, he returned to Florence to obtain more 
 able assistants than he could find in England, and among 
 others selected Benvenuto Cellini, who outraged by the 
 insolent manner in which he boasted of the result of his 
 quarrel with Michelangelo, refused to have anything to do 
 with him.* 
 
 Others proved less scrupulous, and Torrigiano with their 
 assistance, completed what Lord Bacon calls " one of the state- 
 liest and dai)itiest monuments in Europe, in which King 
 Henry VIL" (with Queen EHzabeth) " lieth buried at Westmin- 
 ster, so that he dwelleth more richly dead in the monument of 
 his tombe than he did alive in Ptichmond, or any of his 
 palaces."! This tomb, which is considered the best example of 
 the Pienaissance style in England, is made of black marble ; its 
 sides are divided into panels by bronze pilasters, which are orna- 
 mented with the King's emblems, the rose and the portcullis. 
 The panels are filled with bas-reliefs, representing the Virgin 
 and Child, the Archangel Michael trampling on Satan, SS. 
 John the Baptist and Evangelist, George of England, Anthony 
 of Padua, Christopher and.Vincent (the king's two patron saints), 
 
 * In his autobiography, p. 23, Cellini describes Torrigiano as a hand- 
 some man, with the air of a soldier rather than an artist, given to much 
 gesticulation, possessed of a sonorous voice, ever in the habit of knitting 
 his brows in a terrible manner, and daily boastful of his valorous deeds 
 'amongst those English beasts." 
 
 f History of the Beigne of Jlenry VII. London, 1622.
 
 Torrigiano. 249 
 
 the Magdalen, and SS. Barbara and Anne. Armorial bearings 
 with the quarterings of France, England, Ulster, and Mortimer, 
 are placed at each end of the tomb, upon the top of which lie 
 the bronze effigies of the king and queen, draped with simple 
 and well-arranged folds.* 
 
 An " awlter and various images," which Torrigiano bound 
 himself " to make and work, or do to be made and wrought," to 
 stand within the screen, was destroyed during the Civil Wars 
 by Sir Eobert Harlow, who, says a chronicler, "after breaking 
 into Henry VII.'s chapel, brake down the altar stone which 
 stood before that goodly monument of Henry VII."f From its 
 similarity of style, Torrigiano is also supposed to have made 
 the monument of ISIargaret, Countess of Richmond,! which 
 stands in a chapel adjoining that of her son, King Henry VII. 
 The copper effigy (originally gilt) represents her dressed in a 
 plain mourning habit, with her feet resting on a collared 
 antelope, the Lancastrian emblem. The face and hands seem 
 to have been cast from life, the drapery is skilfully arranged, 
 and the work technically excellent. Horace Walpole had a 
 head in his possession, supposed to represent Henry VII. in 
 the agonies of death, attributed to Torrigiano, § as is the tomb 
 of Dr. Young, Master of the Eolls, in the Chancery Lano 
 Chapel, at London, the Italian character of which strikes the eye 
 agreeably in a foreign land. The recumbent terra-cotta figure, 
 simply treated, lies upon a stone sarcophagus of early Renais- 
 sance style, under a low arch, above which are placed a head of 
 Christ, and two angels in terra-cotta. 
 
 * Torrigiano received ^1,500 in payment for this monument. It stands 
 within a sacelkim, or chantry chapel of brass, which is Rupposcd to be 
 the work of English artists, as it was begun during the life of Henry VIL, 
 before " Peter Torrysany " (as the English called him) came from Italy. 
 ■See Dart's Westminsinr ; G. S. Scott's Gleanings from Went minster 
 Ahhey, and Neale's History and Antiquities of the Abbey Church of St. 
 Peter's, Westminster, vol. i. p. 54. 
 
 f Dr. Ryves, AnrjUfe Rnina. Neale, op. cit. 
 
 X Daughter of John of Gaunt; she founded Christ and St. John's 
 Colleges at Cambridge, and was noted for her literary tastes and her 
 charitable disposition. See Neale, op. cit. p. 69, and Walpole's Anecdotes 
 of Paintinq, vol. i. p. 104. 
 
 § Now in the possession of the Duke of Northumberland. It is 
 engraved in J. Carter's Specimens of Ancient Sculpture and Painting, 
 vol. il plate xl. p. 44.
 
 2;0 
 
 Histoi'ical Handbook of Italian Sculpture. 
 
 Though fortune smiled upon him in England, Torrigiano left 
 it for Spain where, though he failed to ohtain the commission 
 for the then contemplated monuments to Ferdinand and Isabella, 
 he probably passed the remainder of his life, and made a cruci- 
 fix, a terra-cotta group of the Madonna and Child for the 
 Geronomite church at Seville, an alto-relief of Charity, for the 
 tympanum of a door in the Cathedral of Grenada, and a terra- 
 cotta statue of St. Jerome originally coloured like life, now in 
 the Museum at Seville.* Realistic in treatment, and carefully 
 modelled, it represents the Saint kneeling upon one knee, with 
 a cross in one hand, and a stone in the other. 
 
 The following history of the sculptor's death is related by 
 Vasari. The Duke d'Arcos, a Spanish nobleman, who had 
 ordered a duplicate of his terra-cotta Madonna in marble, sent 
 Torrigiano a bag full of maravedis, amounting to only thirty 
 ducats, in payment. Insulted by this pitiful recompense, he 
 shattered his group to fragments with a hammer, and the duke, 
 in revenge, denounced him to the Inquisition as an impious 
 heretic who had dared to destroy the image of the mother ot 
 God. He was then thrown into prison, where he starved him- 
 self to death. 
 
 * A cast of it may be seen at the Louvre, and another in the Crystal 
 Palace at Sydenham.
 
 251 
 
 CHAPTER II. 
 
 MICHELANGELO. 
 
 Ingenium triplex docto praefulsit ab Arno. 
 
 The complex nature of Michelangelo, who is aptly called 
 the man of four souls, has generally been studied as a whole, 
 though any one of its component parts, if, as here examined 
 separately, appears in itself sufficient to have filled up his life, 
 as it w^ould have insured his fame. 
 
 In none of the manifestations of his genius does he appear 
 greater than in sculpture, for which his preference was so 
 marked, that he always turned to it when not actually forced by 
 some one of his taskmasters to build or to paint. In one of his 
 letters he says, " It is only well with me when I have a chisel 
 in my hand," and he tells us in one of his most beautiful 
 
 sonnets, 
 
 " The best of artists hatli no thought to show 
 Which the rough stone in its superfluous shell 
 Doth not include."* 
 
 Teeming with possibilities, the virgin block seemed to his 
 mind the prison of a captive idea waiting to be set free by the 
 action of his strong hand, with which he dealt blow after blow, 
 until possessed by a fresh thought he left the half-revealed 
 image in a state vague as music, and as suggestive to the 
 imagination, f 
 
 An enemy to tradition in art as well as to a positive imi- 
 tation of nature, following neither the Conventionalists, the 
 Realists, nor the worshippers of the Antique, he was a great 
 dreamer, who developed man into something more than man, 
 and by the novelty and strangeness of his creations placed him- 
 self out of the pale of ordinary criticism. His defects, which are 
 
 * XV. " Non ha '1 ottiraa artista alcun concetto," &c. 
 f Carducci speaks of " quella man che si potente puguo co' marmi 
 atrarne vita fuori."
 
 252 Historical Handbook of Italian Sculpture. 
 
 palpable to all, are surrounded, like the spots in the sun, by a 
 dazzling indistinctness, which renders it impossible to examine 
 them closely. Many are the artists who suit our taste better, 
 move our feelings more deeply, and satisfy us a thousand times 
 more than this Titan of a lale time, but we know of none, 
 ancient or modern, who leaves a stronger impression of power 
 upon the mind, or who more unmistakably imprinted the stamp 
 of genius upon all that he touched. 
 
 Considering that Michelangelo looked upon "the rough 
 stone " as including every possible shape, and that sculpture 
 was the art of his predilection, it is interesting to observe 
 the many ways in which he was associated with it. The 
 historical stronghold of the Counts of Canossa, from whom 
 he supposed himself to be descended,* was a mountain for- 
 tress, f his birthplace was a castle built on the summit of a 
 rock, and his wet-nurse was the wife of a stonemason, so 
 that, as he humorously said, he imbibed his love for marble 
 with his first nourishment. 
 
 He was born on Sunday, March 6, 1475, at eight o'clock in 
 the evening, in the castle of Chiusi e Caprese in Casentino, a 
 Tuscan stronghold on the upper waters of the Tiber, of which 
 liis father, Ludovico di Lionardo Buonarotti Simoni, was 
 podesta. j Returning to Florence with his wife, Francesca di 
 Neri di Miniato del Sera, when his year of office had expired, 
 Ludovico stopped at Settignano where he had a villa, § to place 
 
 * Despite his strong republican tendencies, Michelangelo was proud of 
 his supposed descent from the Counts of Canossa, and was disposed to 
 take offence when its reality was questioned. It, however, has no founda- 
 tion in fact. (S?e Aurelio Gotti, V'da di Miclielunr/elo, vol. ii. pg. 3-5.) 
 A. letter written to Michelangelo in 1520 by the Count Alessandro da 
 Canossa, and signed your "bon parente " (see Gotti, op. cit. vol. i. p. 4), 
 shows that he was, nevertheless, recognized as a kinsman by the then 
 living representative of the family. 
 
 t Situated in the territory of Modena near Reggio. It was the patri- 
 mony of the Countess i\[atilda, daughter of Boniface, Marquis of Tus- 
 cany, the gi"eat ecclesiastical heroine of the eleventh century. 
 
 X The ruins of the castle crown a height on the left bank of the Tiber. 
 The hill belongs to the mountain chain which separates the source of the 
 Tiber from that of the Arno. Seenigrimage to the Soiirccs of the Tiber, 
 by W. Diivios. The room in which Michelangelo was born is still shown, 
 and a commemorative tablet has been placed in it. 
 
 § A correspondent of the Academy (January 2, 1875), describes the
 
 Michcla ngelo. 253 
 
 their infant son in charge of the stonecutter's wife. Thus 
 almost the first ohjects upon which Michelangelo's eyes rested 
 were the blocks of stone quarried by his foster-father, and the 
 chisels and hammers which he used in his daily work. Does it 
 seem altogether fanciful to suppose that such early associations, 
 with the implements of his special art, may have fostered those 
 plastic instincts which nature had implanted in him at his 
 birth ? 
 
 As soon as he grew old enough, Michelangelo was sent to a 
 school at Florence, kept by Francesco Venturini of Urbino,* 
 who found him more disposed to draw on the margins of the 
 pages of his books, than to possess himself of their contents. 
 Between the dictates of his nature which indicated art, and tho 
 will of his father which pointed to trade as his future occupation, 
 the quick-tempered and self-willed boy suffered much before 
 April 1st, 1488, when he obtained leave to enter the studio of 
 Dominico Ghirlandajo, as an assistant, at a progressive salary 
 of six, eight, and ten florins during three years, which shows 
 that he was far in advance of ordinary pupils who had to pass 
 through a preliminary apprenticeship. That Ghirlandajo had 
 no appreciable effect upon Michelangelo's early manner is to be 
 accounted for by the little natural affinity between them and by 
 the pronounced individuality of his pupil, who found the antique 
 and modern marbles and bronzes at the gardens of St. Mark 
 more congenial to his disposition. There his esthetic taste 
 was trained, while in the studio he learned to master technical 
 difficulties, such as preparing colours, fresco grounds, and 
 panels for painting in tempera, copied Ghirlandajo's drawings, 
 counterfeited those of other masters, and painted a picture 
 
 Buonarotti villa as "a good-sized house, beautifully situated on the olive- 
 clad slopes of the range of hills stretching east from Fiesole, commund- 
 inof a noble view over the Val d'Arno and Florence. At the top of the 
 stairway leading to the kitchen, there is a drawing on the wall of the 
 upper portion of the figure of a Satyr, attributed by tradition to Michel- 
 angelo, as are two chimney-pieces, though these latter are said by the same 
 writer to be of later date. C. H. Wilson (L?/e and Worlcs of Michelangelo, 
 p. 9) savs the Satyr " is evidently by Michelangelo, but when his powers 
 were matured." There are also some clever heads painted in fresco ujjon 
 tiles by Giovanni da San Giovanni. The house is now inhabited by a 
 lineal descendant of Michelangelo's old enemy, Baccio Bandinolli. 
 
 * Author of the first complete Latin grammar printed at Urbiuo in 
 1494! by blaster Heinrich of Cologne.
 
 254 Historical Handbook of Italian Sctdptnre. 
 
 from Martin Schonganer's engraving of St. Anthony tormented 
 by devils and monsters covered with scales, which he coloured 
 like those of fishes selected at the market for their bright 
 hues. The work which ho did at the Academy of St. Mark's 
 was of a sort much better suited to his ardent spirit than 
 this. Vasari tells us that the " loggia " opening into the garden 
 and its shady walks were peopled with antique and modern 
 marbles from the collections amassed by Cosmo and Lorenzo 
 de' Medici.* The so-called "Madonna delle Scale" at the 
 Casa Buonarotti, which is much in the manner of Donatello, and 
 the mai'ble mask of a Faun at the Bargello, which is a copy or 
 an imitation of an antique original, show that at this time Michel- 
 angelo studied the works of the quattro-centisti as well as those 
 of the ancients. The mask is interesting, if only for the story 
 that it drew Lorenzo de' Medici's attention to the young sculp- 
 tor, and led to an intercourse which ripened into friendship. 
 When invited to take up his residence in the palace of his patron, 
 Michelangelo was brought into daily intercourse with Lorenzo 
 and the distinguished scholars of his court* and in their society 
 developed that love of poetry and philosophy which distin- 
 guished him through life. His character was also formed during 
 this period by the eloquent voice of Savonarola. As he listened 
 in the Cathedral to the reproaches addressed by the prophet 
 monk to Lorenzo de' Medici and other princes who, like him, 
 had crushed Italian liberty and corrupted Italian hearts, that 
 love of country awoke within him which long after led him 
 to devote himself to her cause, and as he heard the earnest 
 appeals of the preacher to take the Bible as a guide to truth, 
 those religious instincts were roused in his soul which after 
 many years ripened under the influence of Vittoria Colonna and 
 made him not only almost, but altogether, a Christian. 
 
 While living at the Medici Palace, Michelangelo, under the 
 advice of Politian, sculptured a bas-relief of the battle between 
 
 * For an acconrt of tlie Medici collections, see IjCS Prccurseurs de la 
 Renaissance, par M. Eugene Miintz. Paris, 1882, pp. 136-157 et seq. and 
 p, 186, where he cites an inventory, published after the death of Lorenzo, of 
 the treasures collected in the Medici Palace. Nothing is said of the statues 
 in the gardens of St. Mark. Among the artists who studied there were 
 Kustici, Torrigiano, Fr. Granacci, Niccolo Soggi, Bugiardini, Lorenzo 
 di Credi, Baccio da Montelupo, Andrea Sansovino, and Albertinelli.
 
 Michelangelo. 255 
 
 Hevcnles and the Centaurs, now at the Casa Buonarotti, in 
 which he clearly revealed his individuality. Filled with an 
 intricate web of nude forms in vigorous action, and sculptured 
 with all the boldness of his later years, it seems impossible 
 that it can be the work of a boy of eighteen, and as such it is a 
 marvel. It illustrates one of the most striking things about 
 Michelangelo's beginnings in art, that stepping at once upon 
 his own ground, he began as he was to go on, ignoring the 
 trammels of the schools, paying no attention to. architectural or 
 landscape backgrounds, not busying himself with the realistic 
 imitation of objects around him, and disdaining to make a 
 show of his knowledge of perspective although he understood 
 it like an Uccello or a Mantegna, or a parade of finish although 
 when he saw fit he could give as smooth a surface to marble or 
 canvas as any artist of his time. From the first he recognized 
 the human form as the one great object of study, and strove to 
 represent it in every possible and, we had almost said, 
 impossible attitude. He shared with Winckelmann the Greek 
 feeling that " the highest object of art for thinking men is 
 man," and with this conviction, planted his midnight torch in 
 the breast of a corpse, and pursued his investigations until 
 he had mastered all the springs of action and could work them 
 at will. 
 
 It was by such studies that Michelangelo sought to alleviate 
 his deep grief for the death of Lorenzo de' Medici (April 8, 
 1492).* He was enabled to pursue them though the kindness 
 of his friend the prior of Santo Spirito, who gave him a cell in 
 the convent, where, by dissecting dead bodies obtained from 
 the neighbouring hospital, he laid the foundation of that won- 
 derful knowledge in which he has had few equals. 
 
 Lonelyf and dispirited he lived at his father's house, until 
 
 * In sculpture he was not altogether inactive at this time. He had a 
 stndio in his father's house, and there made a statue of Hercules, which 
 was bought by Giambatista delta Palla for Francis I. in 1529. Henry V. 
 placed it in the garden park at Fontainebleau in 1594, where it remained 
 until 1713, when the garden was destroyed. "What became of it after this 
 time is not known. 
 
 f Among the artists of his own age Granacci seems to have been his 
 one friend. At the Gardens of St. !Mark he soon quarrelled with his 
 fellow-pupil Torrigiano, and when they worked together at the Carmine 
 he received a crushing blow in the face from this ill-tempered, second-rate
 
 256 Historical Handbook of Italian Sculpture. 
 
 Piero de' Medici induced him to return to the Medici Palace, 
 where he treated him as a hired servant, and employed him to 
 build up a snow statue in his courtyard, fit emblem of the 
 then unstable and crumbling fortunes of his house (January 20, 
 1494).* Michelangelo's sense of obligation to Lorenzo recon- 
 ciled him at first to his position, but it was impossible for him 
 to hold it long under such a representative of the family. The 
 only way for him to shake himself free of Piero was to quit 
 Florence, but to do so at this moment was no light matter for 
 iffa. honourable man, as it was to fly before a danger which 
 every loyal adherent of the family was called upon to share. 
 
 In August, 1494, the Alps were black with the gathering 
 masses of the French army which Charles VIII. was leading 
 into Italy at the invitation of Ludovico Sforza, with the avowed 
 object of seizing upon the crown of Naples, which he claimed 
 as the rightful heir of the house of Anjou. Florence stood in 
 the invader's path, and as the liberals within her walls, with 
 Savonarola at their head, looked to Charles to deliver them 
 from the tyranny of the Medici, it was .a foregone conclusion 
 that Piero would be driven into exile. We may suppose. that 
 Michelangelo reconciled his conscience to the step he was 
 about to take, by reasoning that to wait for the catastrophe 
 would be worse than to depart before it happened, since he 
 would then be obliged to fly with the man whom he despised. 
 This would set him in a bad light before his fellow-citizens, a 
 result he wished to avoid, as he fully sympathized with the 
 
 sculptor and braggadocio which disfigured him for life. See p. 248. 
 With the older artists, the acknowledged masters of the time, he 
 sympathized but little. He did not appreciate the works of Lorenzo di 
 Credi, never had any friendly relations with Lionardo da Vinci, who 
 became his rival after ho returned from Milan, and had a contempt for 
 Pietro Perugino, whom he must have had frequent opportunities of know- 
 ing during their common residence at Florence. 
 
 * It is generally said that the snow statue was the only commission 
 given by Piero to Michelangelo. This is not so, for in a letter to his 
 father from Rome, dated August 19, 1497, Michelangelo refers to a com- 
 mission for a statue for Piero, which he had never begun because pro- 
 mises made to him had never been kept. " Now," he says, " I have boiight 
 a piece of marble and am cutting out a figure for my own pleasure." This 
 was perhaps the Cupid bought (with the Bacchus) by Jacopo Gallo, 
 which became the property of the Duchess of Mantua, and is now pre- 
 served in the Museum ni. ]\Iantua. See Milanesi. Lettere. vol. ii. r. 4.
 
 Michelangelo. 257 
 
 popular party to ^vllicll, if be awaited the moment of its 
 triumph, he would not be able to adhere openly without 
 appearing to be a traitor to the memory of his benefactor. 
 Nothing, then, remained for him but to leave Florence 
 while Piero still weakly held the reins of power. Having 
 arrived at this conclusion, he went for a short time to Venice, 
 and thence returned to Bologna, where Piero de' Medici had 
 already taken refuge to the great dissatisfaction of the Bolognese. 
 The city was so agitated, and the general condition of Italy so 
 unsettled, that a law had been lately made by which any 
 stranger entering or leaving the gates without having a seal of 
 red wax upon his thumb-nail, by which he could be recognized 
 as such, had to pay a fine of fifty francs or go to prison. 
 Having neglected the required formality and being unable to 
 pay the fine, Michelangelo would have been imprisoned had 
 not a counterpart of the good Samaritan in the person of a 
 magistrate, named Gian Francesco Aldovrandi, happening to 
 pass by at the very moment when he was about to be led 
 away, inquired his name and circumstances, ordered him to be 
 set free, and given him shelter in his own house. This act of 
 kindness proved mutually beneficial, for while on the one hand 
 Michelangelo gained a home and a friend, his host secured the 
 society of a man of rare genius, who talked admirably upon 
 many subjects, and read Dante, Petrarch, and Boccaccio aloud 
 to him with rare expression and deep appreciation. While 
 thus engaged, Michelangelo may have forgotten his sorrows 
 and uncertainties, but there were doubtless many hours when 
 they pressed heavily upon him, and as he could not return to 
 Florence until political matters had assumed a more definite 
 shape, he gladly accepted a commission from the monks of 
 St. Domenic to finish a statuette of St. Petronius for the 
 monumental altar of the titular saint, and to sculpture a 
 kneeling angel holding a candelabrum for the altar-table.* 
 
 This was one of the two included in the contract made with 
 Niccola da Bari in 1464. That he may have sculptured neither 
 of them is possible, but it is evident that he can have made 
 but one, as in 1494 Michelangelo was commissioned to mako 
 the other. Of those upon the altar table, the one to the left 
 has until recently been supposed to be his work, but as it is 
 
 * (See chapter i. p. 18. 
 
 8
 
 258 Historical Handbook of Italian Sculptui^e, 
 
 not at all Miclielangelesque, and the other is decidedly so, this 
 conclusion has been disputed, with no little show of reason.* 
 We should consider the question settled could it be proved 
 that Niccola dell' Area sculptured either, for in this case 
 his must be the one to the left. If he did not, then it is 
 perfectly reasonable to suppose that Michelangelo who, as he 
 proved by the Madonna delle Scale at the Casa Buonarroti, 
 could imitate the manner of the quattro-centisti when he 
 pleased, did so here in order to make his work harmonize with 
 the rest of the monument. If we are right in this conjecture, 
 we may conclude that the angel to the right, on the evangelist 
 side of the altar, was sculptured by an artist bred in Michel- 
 angelo's school, to which it manifestly belongs. This may have 
 happened in 1532, when, as we know from an entry in the 
 convent archives, a sum of money was paid to some person 
 not mentioned " ad perficiendum Arcam S. Domenici." The 
 heavy draperies of the angel to the left furnish further ground 
 for ascribing it to Michelangelo, as they resemble those of 
 Giacomo della Quercia (1425-1433), whose bas-reliefs upon the 
 doors of the basilica of St. Petronius Michelangelo undoubtedly 
 studied during his residence at Bologna. f 
 
 On his return to Florence, he found the city at peace under 
 a comparatively stable republican government, and as Lorenzo 
 and Giovanni, the sons of Pier Francesco de' Medici, had 
 given in their allegiance to the new order of things, he 
 could call himself a rei^ublican without any appearance of 
 ingratitude to their family. The popular party was, however, 
 slow to believe in the liberalism of those who, like Michelangelo, 
 maintained friendly relations with the present representatives of 
 the family, for though they called themselves " Popolani " their 
 adherence to the Republic was evidently a mere matter of policy. 
 In his case these relations were perfectly natural, as while 
 
 * Raphael und Michelangelo, von Anton Springer, p. 12, and second part, 
 p. 492. 
 
 f Vasari and Condivi both say that Michelangelo stayed at Bologna 
 more than a year ; but M. de Montaiglou, in his biography of Michel- 
 angelo {Gazette des Beaux Arts, January 1, 1876), shows that he was 
 one of the persons consulted about the construction of the great Council 
 Hall in the Palace of the Signory at Florence, with which Cronaca was 
 charged nn the 15th of July, 1495, he must have returned home earlier 
 than has been hitherto supposed.
 
 ]\Iichclangelo. 259 
 
 Lorenzo, who had inherited the artistic and literary tastes of 
 his namesake, "II Magnifico," was drawn towards Michel- 
 angelo, the latter was equally impelled by the unforgotten past, 
 and the hope of favours to come, to welcome his advances. 
 In this hope he was not disappointed, for Lorenzo not only 
 aided him in obtaining work, which in the low state of his 
 funds was a matter of great importance to him, but himself 
 purchased a statue, of which until a few years back all trace 
 was lost. 
 
 In 1875, on the four hundredth anniversary of Michelangelo's 
 birth, all his works were exhibited at Florence, either in 
 marble or plaster, and among the casts, one of a statue belong- 
 ing to Count Eossellmini Gualandi at Pisa, which had hitherto 
 passed as by Donatello or Civitali, was pronounced by many 
 competent judges to be the long-lost St. John the Baptist made 
 by Michelangelo for Lorenzo de' Medici. Since that time the 
 marble has been purchased for the Eoyal Museum at Berlin, 
 and its authenticity is now very generally acknowledged. 
 It represents a youth of about fourteen or fifteen years of 
 age, with a sheep's skin about his loins, in the act of raising 
 to his open mouth a small goat's horn full of honey, which he 
 has pressed from the honeycomb in his right hand. To our eyes 
 the sculptor's individuality is clearly recognizable in it, though 
 softened and subdued into something as like and yet as unlike 
 his fully-developed style as the bud is to the flower. Further- 
 more, in its mingling of the antique, the quattro-cento, and the 
 Michelangclesque, it realizes our idea of a work sculptured at a 
 transition stage when the manner of the master was still in the 
 process of formation. In the gardens of St. Mark, as we have 
 seen, he worked in the manner of Donatello and also counter- 
 feited the antique ; at Bologna, if the kneeling angel long 
 attributed to him be really his, he adapted his work to 
 that of the fifteenth century monument to which it was to 
 belong, and now at Florence he sculptured the St. John in a 
 style like that of his predecessors, and in his Sleeping Cupid* 
 counterfeited the antique so successfully that when, by the 
 
 * Gotti (op. cit. vol. i. p. 15) says that the Cupid afterwards came into 
 the possession of Duke Valentino, who gave it to Isabella, Marchioness 
 of Mantua. It may still be seen in the Museum at Mantua. See Gaye's 
 Carteggio, vol. ii. pp. 63, 54. 
 
 s2
 
 26o Historical Handbook of Italian Sctdpttire. 
 
 advice of Lorenzo de' Medici, it had been buried at Rome and 
 was oflered for sale b}' a Milanese dealer named Baldassare 
 as a genuine ancient work, it found a purchaser as such for 200 
 ducats, in the Cardinal di San Giorgio. The discovery of the 
 fraud, and the attempt made by the dealer to cheat Michel- 
 angelo out of the purchase-money, led to his first visit to 
 Rome, where he arrived on the 13th June, 1496, and Avaited 
 on his Eminence, who so far from bearing any ill-will towards 
 him, received him kindl}', and gave him a commission for a 
 Btatue which he immediately began.* 
 
 Flattered by the Cardinal's reception, and sensible of the 
 superior advantages of Rome as a residence, Michelangelo 
 remained there for four years, during which time he pro- 
 duced two works of an extremely opposite character, one of 
 which, the famous Pieta at St. Peter's, may be considered 
 as an expression of the religious feelings which had been 
 awakened in him by Savonarola, and the other, the Bacchus 
 of the Uffizi, which he sculptured for Jacojio Gallo, as a 
 typical representation of the life which surrounded him at 
 Rome, then ruled by Alexander VI. f Between the group 
 and the statue there is that wide gap which separates the 
 noble from the ignoble. The Bacchus, a drunken youth 
 with a wine-cup in one hand and a bunch of grapes in the 
 other from which a little satyr is stealthily regaling himself, 
 embodies the vulgar idea of the god of wine, who differs 
 from the inspired Dionysos as the Venus Pandemos from the 
 Venus Urania, and scantily atones for its want of ideality by 
 skilful modelling and anatomic correctness. We can only 
 excuse Michelangelo for selecting such a subject by supposing 
 that he consulted the taste of his employer rather than his 
 own. In the Pieta, on the contrary, we may believe that he 
 found a theme congenial to his raind.t 
 
 * In a letter to Lorenzo de' Medici dated July 2, 1496 (see Milanesi, 
 p. 375), Michelangelo speaks of his having bought a piece of marble 
 for a statue ordered by the Cardinal, and in another letter to his father 
 says that he is waiting to leave Rome till he is paid for it, " for in deal- 
 ing with snch great people ' bisogna andare adagio.' " 
 
 t Vasari (vol. xii. p. 169) says that his first Roman work was a cartoon 
 of St. Francis receiving the Stigmata, for the Cardinal di San Giorgio's 
 barber, who was himself an artist. 
 
 X Sculptured for Jean de Groslaye de Villiers, Cardinal de St. Denia
 
 Michdan^rdo. 261 
 
 "i 
 
 He must have often wandered under the vast roof of the 
 venerable basilica, so rich in associations with the purer ages 
 of the Church, and so full of tombs of great and good men of 
 past times, whose faith was a standing reproach to the scan- 
 dalous unbelief of those in which his lot was cast. Impressed 
 with the religio loci, and proud to think that a work from his 
 hand was to be placed within the walls of this central edifice of 
 Christendom, he determined to make his Pieta worthy of it, 
 never dreaming that it was to be the first stone of the new 
 temple which he was destined to raise upon the ruins of tho 
 old. 
 
 It represents the mother of the Saviour of mankind gazing 
 upon the mortal remains of Him who is Himself the spring 
 of life, the fountain of faith in things unseen. Her chief 
 office in art at all periods is to show her divine son to the 
 world. While He is yet a child He sits enthroned upon her 
 arm, or stands erect upon her lap like a statue upon its pedestal ; 
 and when he has grown to manhood and has consummated the 
 mighty sacrifice which He came on earth to make, she lays 
 Him reverently across her knees, and sits in calm dignity, that 
 all may behold the body of Him who died that they might 
 live. 
 
 Here, more completely than in any other work of modern 
 sculpture, art and Christianity are allied ; here alone, among 
 the plastic works of Michelangelo, is evidence of that religious 
 spirit which found frequent expression in his sonnets. In his 
 sublime frescos at the Sistine Chapel he is a historian of sacred 
 things, who rises to the lofty height of the inspired Hebrew 
 writers in his own peculiar language, but he is not, from the 
 nature of the subjects with which he there dealt, what he is in 
 his Pieta — an exponent, through form, of the gospel spirit of 
 absolute submission to the will of God, whose type is the 
 prostrate figure of the dead Christ. In his sculptured Holy 
 Families and Madonnas there is no show of Christian fervour ; 
 still less in his mannered and unmeaning statue of Christ at 
 
 and Ambassador of Charles VIII., between 1499 and 1500, who placed it 
 in the chapel of the kings of France dedicated to St. Petronilla, at St. 
 Peter's. The contract bears date August, 1498. It is given by Gotti in 
 his second volume, 02:*. cit. p. 33, The price agreed upon was four hundred 
 and fifty ducats.
 
 262 Histoi'ical Handbook of Italian Sculpture. 
 
 the Minerva ; but little in his half-finished groups of the 
 Deposition at Rome, Palestrina, and Florence ; or in the bas- 
 relief at the Albergo dei Poveri at Genoa. Considering how 
 truly religious he was, it seems strange that such slight trace 
 of it is to be found in that art which, as he loved it most, 
 would, we should have supposed, have been that in which his 
 deepest feelings would have found expression. 
 
 Harmoniously composed, the lines of the Pieta combine 
 admirably from every point of view, and the inner harmony of 
 its parts with each other is no less remarkable than that which 
 they bear to the whole. What the Greeks call " iraOos,'" that 
 is, a unity of feeling running through the whole body of the 
 dead Christ, is wonderfully rendered. The drooping head, the 
 fallen arm, and the helpless hanging of the feet all tell of 
 death which has not yet stiffened the limbs or robbed them of 
 their suppleness. 
 
 Sculptured in the very last years of the fifteenth century, 
 this group stands like a boundary-stone on the extreme limits of 
 the quattro-cento. Its devotional spirit marks its connection 
 with the art of the past, as its anatomical precision and 
 masterly treatment connect it with that of the future, and with 
 it the first period of Michelangelo's development ends. Ihe 
 curtain falls on Piome, and the scene opens with the new 
 century at Florence, to which he returned, after an absence of 
 four years, to begin a new phase of his life, to show a fresh 
 development of his genius, and to engage in a world-renowned 
 contest with Lionardo da Vinci, who, after a nineteeen years' 
 residence at Milan, had just returned to the banks of the Arno. 
 
 The cartoons prepared by the two masters for the never 
 executed frescos in the Hall of the Palazzo Vecchio were 
 masterpieces, whose destruction we can never sufficiently 
 regret.'"" Each had selected a theme calculated to display 
 his peculiar powers. Lionardo, who was an accomplished 
 horseman and thoroughly conversant with equine anatomy, 
 had taken a moment of struggle in the midst of battle ; 
 
 * For several years the rival works hung side by side in the great hall 
 of the Pahizzo Vecchio, where that of Michelangelo was maliciously cut 
 to ]jit'ces during a popular tumult in 1512. Vasari (vol. x. p. 296) accuses 
 Eaccio Biindinelli of this dastardly act. There is, however, no proof of 
 his guilt, and for reasons given we are inclined to believe him innocent.
 
 Michelangelo* 263 
 
 TvMle Michelangelo, knowing that his greatest strength lay 
 in the treatment of the nude, had rejDresented a numher 
 of soldiers suddenly summoned to the fight by the sound 
 of the trumpet whilst bathing in the Arno. Some were in 
 the act of climbing the steep bank of the river ; others who 
 had already gained it were endeavouring to clothe their dripping 
 limbs. Beyond them, either outlined upon the canvas or 
 finished in black and white, were groups of men in every variety 
 of attitude, standing, kneeling, lying, struggling. 
 
 In strict chronological order, we should have mentioned 
 this cartoon after the David, which Michelangelo began in 
 September, 1501, and completed in January, 1504. This 
 celebrated statue must be judged with reference to the fact 
 that it was made out of a piece of marble which had been 
 BO much cut away by an incompetent sculptor of the fifteenth 
 century, that no one less confident in his own powers than 
 Michelangelo would have consented to try his hand upon it. 
 To other artists the long thin block lying in the pffice of Works 
 of the Cathedral was meaningless ; to him it suggested the 
 form of a shepherd boy who, like one of the younglings of 
 his flock, was at that awkward age when the limbs are not 
 symmetrically developed. So he made a small wax model, still 
 preserved in the Casa Buonarroti, and then, shutting himself 
 out from curious eyes, rained sturdy blows upon the mutilated 
 marble until it took the shape with w'hich all who have been at 
 Florence are so familiar.* Admiration at the feat performed 
 combined with the real merit of the statue to rouse popular 
 enthusiasm, and the artists and connoisseurs who were called 
 upon to say where it should be placed decided, probably by 
 Michelangelo's own advice, to remove Donatello's bronze group 
 of Judith and Holofernes from the terrace of the Palazzo 
 Vecchio to the Loggia de' Lanzi in order to make room for it. 
 In placing this image of one who had courageously saved a 
 people whom he afterwards wisely governed, at the door of the 
 palace of the Signory, the Florentines wished perpetually to 
 remind the city magistrates of their duty to the people. f 
 
 Although the distance from the Duomo to the Palace, over 
 
 * It was set up on the 8tli of June, 1504. 
 
 f That jMichelangelo also had this ia his mind is very plausibly 
 suggested by M. de Montaiglon, op. ciU
 
 264 Historical Handbook of Italian Scidptnre. 
 
 which the David had to be conveyed, was only about a quarter 
 of a mile, five days (14th to 18th of May) were consumed in 
 the operation of moving it upon a ponderous machine dragged 
 by forty men. Stones were thrown at it by riotous people, and 
 the guards were attacked, but their animosity ceased after it 
 reached its destination. In 1527 the arm was accidentally 
 broken,* but from that time up to 1873, when it was removed 
 to the Academy of Fine Arts, this tutelary genius of Florence 
 kept its place unharmed, save by wind and weather, until it 
 had become as much identified with the Square over which it 
 presided as the Palazzo Yecchio and the Loggia de' Lanzi.f 
 
 The incomplete condition of many of the works which 
 Michelangelo executed at Florence before he bent liis neck to 
 the papal yoke, shows us both the impetuosity of his spirit and 
 his unlimited belief in his own possibilities of work. Not 
 recognizing limitations of time, strength, or material, he 
 accepted more commissions than a dozen sculptors could 
 have executed, and working with a conviction that he could 
 accomplish whatever his will led him to undertake, he com- 
 menced with the St. Matthew at the Academy that long series 
 of unfinished works which stand like milestones along his path 
 from the year 1500 until his death in 1567. When we look at 
 these marbles, whose grandeur is that of such semi-defined 
 shapes as are formed by clouds and vapours, and whose impres- 
 siveness, like that of the ancient oracles, is in some degree 
 owing to their vagueness of meaning and consequently multiple 
 possibilities of interpretation, we are tempted to believe that 
 Michelangelo made use of the undefined with deliberate 
 purpose, laying down his chisel after he had blocked out a 
 
 * During tbe tumults -which agitated the city at this time a band of 
 rioters attacked the pahice. Some one, in order to repel them, threw a 
 piece of furniture out of a window, which fell upon the arm of the David 
 and broke it into three pieces. They were picked up by Francesco 
 Salviati and Vasari, then young men, and taken to a place of safety. 
 Duke Cosimo I. had them restored. 
 
 t Michelangelo modelled another statue of David of life-size for 
 Soderini. It was cast in bronze and presented by the Signory of Florence 
 to Florimond de Eobertet, treasurer to Louis XII., king of France. 
 Having been sent to that country in 1508, it was set up at Robertet's 
 Chateau de Bury. In 1650 it was removed to the Chateau de Yillary, 
 after which nothing; is koowu of its fate.
 
 MichclaiKTclo. 2 6 - 
 
 '<b 
 
 figure, because he knew that every new stroke would diminish 
 its effect. But even without attributing their unfinished state 
 to press of otlier work, or to sudden weariness of one idea 
 under the charm of a new inspiration, or to intention, it is 
 evident in many cases that he had committed irretrievable 
 mistakes through the impetuosity of his attack upon the 
 marble block, which left him no choice in the matter. Cut 
 away until it could no longer hold his thought, he threw it 
 aside like a manuscript, which through manifold corrections and 
 erasures had become illegible. 
 
 " Disdaining the ordinary methods of the sculptor, he made 
 no plaster model, nor did he fix the three points of length, 
 width, and depth, according to the system of execution 
 practised in his day, of which he took no heed. When his 
 sketch was finished he placed it before him, side b}^ side with 
 the block of marble and the living model ; he then sought the 
 extreme points of his composition, and having found them 
 fixed his attention upon the marble which concealed his statue 
 from him. Then, after tracing the principal outlines upon it 
 in charcoal, he attacked the block with violence, dealing blow 
 after blow so as to strike away the superfluous matter. The 
 fragments flew in showers with the sound of hail driven by the 
 wind ; the point struck sparks from the stone ; blow succeeded 
 
 blow It seemed as if the hot and rapid breathing of 
 
 the artist infused the first breath of life into the hard material. 
 As by degrees the marble grew in the likeness of his thought 
 his ardour increased, and his idea shone with a brighter light 
 .... the marble seemed to feel the power of its master."^ 
 Often, alas ! we may add, did Michelangelo, like Saturn, devour 
 his own children, leaving them, like his group of the 
 Deposition at the Palazzo Fevoli, but shapeless wrecks. 
 
 The above vivid description does not apply to his method of 
 working at that earlier time when he sculptured the Pieta at 
 Rome and the Madonna and Child in the church of Notre 
 Dame at Bruges. These show that he at first proceeded with 
 caution. They are equal in finish, but of the two the first is 
 so superior in composition, in treatment, in mastery over detail, 
 
 * Dupre's discourse before the Florentine Academy in Sejitember, 1875. 
 Jja l^azlonc, September 17, 1875, quoted, by M. Guillaumo in his Michel 
 Ange, Sculpteur, G. dcs B. Arts, January 1, 1S7G.
 
 266 Historical Handbook of Italian Sculpttire, 
 
 and in correctness of proportion that we are inclined to belieye it 
 to be the later work. The constrained pose of the Madonna, the 
 disproportionate length of her neck, and the shortness of her 
 figure from the waist downwards, betray a less practised eye 
 and hand than that of the sculptor of the Pieta, but theso 
 defects are condoned by the fine arrangement of the drapery, 
 which is thoroughly Michelangelesque, the modelling and 
 finish of the hands, the sweet and virginal expression of the 
 face, and the natural and pleasing attitude of the infant 
 Saviour who leans asfainst the Madonna's knee.""' 
 
 The Madonna at Bruges may be compared with two un- 
 finished circular bas-reliefs of the Holy Family, one of which, 
 now at the Bargello, was sculptured for Bartolomeo Pitti ; the 
 other, now in the Pioyal Academy, for Taddeo Taddei, one of 
 the most generous patrons of art and literature at Florence. 
 Excellent in composition, and remarkable for its combined 
 strength and sweetness of feeling, the Taddei bas-relief is one 
 of Michelangelo's most pleasing works. The Madonna is grace- 
 ful and sympathetic, and at the same time grand in style. 
 By her side the Madonna of the Tribune is hard and unin- 
 teresting, the Madonna at Bruges a little cold and wanting in 
 feeling, the Madonna of the National Gallery grandiose but 
 unmotherly, and the Madonna of the Pieta impassive. While 
 working upon the two bas-reliefs, the statues of the Apostles 
 ordered for the Cathedral at Florence, and those of fifteen 
 Saints for the Cardinal Piccolomini's family chapel at Siena,-f* 
 
 * This group was given to the church of Notre Dame by a member of 
 the Mouscron family, but not, as generally supposed, by Peter Monscron, 
 ■who was 1/Orn in 1514, died in 1571, and lies buried under the altar above 
 which it is placed. A letter from Barducci, written from Rome in 1506 
 to Michelangelo, then at Carrara, about the shipment ot one of his 
 works, not specified, via Viareggio, to Flanders for the heirs of John and 
 Alexander Mouscron, Gotti (o^). cit. vol. ii. p. 51) proves that it was a 
 group, and not a bronze bas-relief, which two Flemish merchants bought 
 from Michelangelo, as stated both by Yasari and Condivi. That it was 
 this marble group is evident, since Albert Diirer speaks of having seen 
 it in the church in 1521. It is also spoken of as there, and as by j\Iichel- 
 angclo, in a history of Belgium written in 1560. 
 
 f In June, loOl, Michelangelo signed a contract with the Cardinal, 
 afterwards Pope Pius III., by which he engaged to make these fifteen 
 statues, between four and five feet in height, within three years. A new 
 contract was made on the death of the Pope in 1503, after a pontificate
 
 Michelangelo. ' 267 
 
 Miclielangelo "svas called to Eome by Popo Julius II. and 
 obeyed the summons without delay, leaving them all un- 
 finished. 
 
 His first interview with the Pope was a turning-point in his 
 career, and we have no doubt that he carried from it the im- 
 pression that he had found his match in strength of will and 
 energy of character. 
 
 Julius was a man of war, who would not brook the slightest 
 opposition to his wishes. When men stood in his way he set 
 his foot on them, and when cities rebelled against him he 
 mounted his horse and rode in triumphover their ruined walls.* 
 But one man in the world, so far as we know, ever dared to 
 oppose him, and that man was Michelangelo. Sparks will fly 
 when flint and steel are bi'ought into contact, and had they not 
 mutually esteemed each other they would have soon separated, 
 but as vindictiveness was not in the nature of either, their 
 frequent quarrels were followed by reconciliations, brought 
 about through such concessions and explanations as each could 
 make without undue sacrifice of dignity. 
 
 During the first years of his reign (1503-1513) Julius II. 
 had little time to give to anything save war, but after the final 
 expulsion of the French from Italy, and the conclusion of a 
 treaty between Louis XII. and Ferdinand of Naples, Caesar 
 Borgia and Piero de' Medici being both dead and the succession 
 to the Duchy of Urbino secured to his nephew, Giuliano della 
 Eovere, he turned his attention for a few months to the 
 arts of peace, and conceived the project of erecting a monu- 
 ment to himself which should surpass all other monuments 
 in size and splendour. Michelangelo was commissioned to 
 
 of twenty- seven days, under which the time was prolonged two years. 
 Four were then finished, namel}', those of Saints Peter, Panl, Pius, and 
 Gregory, and with these tlie work ended, for in 1537 we find that the 
 heirs of tlie Pope reclaimed one hundred scudi on money advanced over 
 and above the value of work done. (Gotti, vol. i. pp. 25, 26.) There are 
 five small statues of Saints Francis, James, Pius, and Gregory, and a 
 Madonna and Child in the Piccolomini Chapel in the Duomo at Siena. 
 These represent the result of the Cardinal's commission, but we quite 
 agree with the annotators of Vasari {Vrosfctto Cronolorjxco, vol. xii. 
 p. 388) that they are second-rate works, and not in Hichelangelo's 
 style. 
 
 * As at the siege of La Mirandula, a.d. 150G,
 
 268 Historical Handbook of Italian Scnlptn^'e. 
 
 give substance to this great scheme, and could the design 
 ■which he produced have been carried out in all its details, 
 there can be no doubt that the result would have fully satisfied 
 the ambition of its projector. As no part of the basilica of 
 St. Peter was capable of receiving a marble structure covering 
 eight hundred square feet, and consisting of three storeys, 
 the lower one of which was thirteen feet in height, the question 
 of site had first to be considered. The plan suggested and 
 adopted was the completion of the new Tribune begun by 
 Pope Nicholas V. (1447-1-155), and this led to the destruc- 
 tion of the whole church, and its reconstruction on its present 
 magnificent scale. The hand of the destroyer, once raised, 
 was never stayed till every vestige of the venerable and precious 
 shrine had been swept away. This act of vandalism was not 
 even condoned by the carrying out of the scheme which had 
 prompted it, for executed only in part by Michelangelo, the 
 shrunken monument of Pope Julius at San Pietro in Vincula 
 responds in no sense either to the ambition of the Pontilf or 
 the grand conception of the sculptor, save in one statue. 
 
 The descriptions of Vasari and Condivi, and a pen-and-ink 
 sketch in the Casa Buonarroti at Florence, show us that it was 
 to have been an immense quadrangular structure, thirty-six by 
 twenty-seven feet at the base, raised upon a platform reached 
 by steps. The lower storey was to have been decorated with 
 niches, separated by terminal figures supporting a projecting 
 cornice, and containing statues of prisoners naked and bound, 
 symbolic either of the provinces added to the patrimony of tho 
 church by Julius, or of the arts and sciences rendered powerless 
 by his death. Colossal statues of Moses, St. Paul, Piachel 
 and Leah were to have been placed above the cornice at the 
 four corners of the flat surface of the monument, whose centre 
 contained the papal effigy watched over by the angels of Grief 
 and Consolation. This effigy, according to Vasari's account, 
 was to have rested upon the shoulders of two figures repre- 
 senting Heaven rejoicing and Earth grieving over the Pope's 
 death.* 
 
 Of its forty statues, and its multiple bas-reliefs, cornices, 
 
 * Vasari, vol. xii. p. 181. The body was to have been placed in a 
 sarcophagus within an oval chamber constructed in the centre of the 
 monument.
 
 Mi chela ngclo. 269 
 
 and mouldings in marble and bronze, but few were even 
 commenced, as we shall see when we come to speak of that 
 later period of Michelangelo's life to which they belong. 
 
 Within four months of his first interview with the Pope, 
 Michelangelo started for Carrara, where he spent eight months 
 in superintending the extraction of marbles, in blocking out 
 certain figures intended for this monument, and in planning a 
 colossal work like that j^roposed by Diuocrates to Alexander 
 the Great." One of the Carrara mountain-peaks was to be 
 shaped into a gigantic figure, which could be seen far out at 
 sea, but what it was to have represented we do not know. 
 Anxious to return home, he abandoned the idea as soon as he 
 was no longer needed at the quarries, and after spending a few 
 days at Florence continued his journey to Rome, which he 
 reached late in the mouth of November. f 
 
 His one desire was to begin the monument as soon as 
 possible, and in order that he might do so the Pope gave him 
 a house in the immediate neighbourhood of the Vatican, — too 
 near, as it proved, for a long continuance of their friendly 
 relations. To find himself subject to a visit from Julius, 
 whenever the whim seized him to cross the bridge which had 
 been built between the Vatican and his studio, must have been 
 intolerable to one who loved privacy and was unaccustomed to 
 work under supervision. This v/e suspect was one of the causes 
 of the catastrophe which the Pope might have foreseen, had he 
 known the nature of the man with whom he had to deal. 
 Michelangelo does not, however, allude to it in the letter 
 which he wrote to Giuliano di Sangallo after he reached 
 Florence, the following extract from which shows, among other 
 things, that the Pope had begun to count the cost of those 
 great blocks of marble lying in the square behind St. Peter's, 
 "whose number seemed to the people sufficient for the building 
 of a temple rather than a tomb." 
 
 " Talking at table with a jeweller and a master of the 
 ceremonies, I heard that the Pope had said that he would 
 not spend another bajocco upon big stones or little stones. 
 Astonished at this, I determined before leaving Piome to ask 
 for a part of the money needed for the continuation of my 
 
 * This architect wished to fashion Mount Athos into a statue. 
 f Coudivi, 01^. cit. p. 18.
 
 270 Historical Handbook of Italian Scidptnre. 
 
 work. When I did so, his Holiness sent me word to come 
 again on Monday, and so I did, and also on Tuesday, Wednes- 
 day, and Thursday. At last on Friday the door was shut in 
 my face by an attendant who said that he knew me very well, 
 
 but that he must obey orders This, however, was not 
 
 the only cause of my departure ; there was also another reason, 
 which I do not wish to mention." * This reason doubtless was 
 that Julius had changed his mind about the monument, and 
 had projiosed to Michelangelo to decorate the Sistine Chapel 
 with frescos. Both Vasari and Condivi tell us that this was 
 brought about by Bramante, with the desire to ruin Michel- 
 angelo and thus bring Piaphael forward. They say that he told 
 his Holiness that he would hasten his death by building his 
 own monument, f and advised him to employ Michelangelo to 
 paint the ceiling of the Sistine Chapel, hoping that he would 
 fail in the attempt and thereby lose all favour at the Vatican. 
 From these charges Bramante cannot be altogether exonerated, 
 for it is evident that he had some hand in the matter, from the 
 testimony of Pietro Roselli, who, writing to IMichelangelo, tells 
 him that Bramante, being told by the Pope in his presence that 
 Sangallo was to be sent to Florence to bring him back, replied, 
 *' It will be of no use, for I have heard him say several times 
 that he would not paint the chapel as the Pope had ordered 
 him to do," adding, ''In my opinion Michelangelo is afraid to 
 try his hand at a work which is out of his line." " This," 
 writes Roselli, " I denied, and told the Pope that I would stake 
 my head that you had never said a word to Bramante on the 
 subject." It is clear that, for some reason or other, Bramante 
 placed himself in Michelangelo's way, prevented him from 
 doing what he had set his heart upon, and turned his powers 
 in a direction in which most men would have said they were 
 likely to be wasted. If this was his object we cannot cha- 
 racterize his spirit as other than malignant, and yet we have 
 reason to be grateful to him, for had he done otherwise tho 
 
 * Letter cccxliii., Milanesi, op. cit. p. 377. 
 
 f Michelangelo undoubtedly alludes to the Pope's acceptance of this 
 idea, and his subsequent change of plan, in the lines of a sonnet addressed 
 to him, — 
 
 *' Lo, thou hast lent thine ear to fables still, 
 Rewarding those who hate the name of truth."
 
 ]\Iichelangclo. 271 
 
 world would have lost the sublime frescos of the Sistine Chapel 
 ceiling, fov which the monument to Julius would have been but 
 a poor compensation. 
 
 It was on a Saturday in the month of May, 150G, that 
 Michelangelo, who had paid for the last shipment of marbles 
 from Carrara out of his own pocket, took the road to Florence, 
 angry at the ill-treatment which he had received, and fully 
 determined henceforward to leave the Pope to shift for him- 
 self. Pursued and overtaken by a messenger who used every 
 argument to induce him to return, he kept on his way, and it 
 was perhaps well for him that Julius had other rebels to deal 
 with, and plans for their reduction to turn over in his mind 
 while his anger was at white heat, else the towers of Florence, 
 like those of Perugia and Bologna, might have shaken with 
 the sound of his cannon. His demands that the fugitive 
 should be immediately sent back were so imperious, and his 
 menaces so violent, that Soderini was really alarmed as to the 
 consequences of delayed compliance. "You have dared," he 
 said to Michelangelo, "to treat the Pope in a way the king 
 of France would not have done, and as we are not inclined 
 to risk our independence and go to war on your account, you 
 had better make up your mind to obey."*' Answering one of 
 the papal briefs on the subject, he writes, " Michelangelo tho 
 sculptor is so frightened f that, notwithstanding the promise 
 
 * Gaye, Garteqqxo, vol. ii. p. 83. 
 
 f The sonnet, written as if from Rome aljout this time, certainly does 
 not show much personal fear, and is so very plain-spoken about abuses 
 at the Court of Rome, that if the Pope, to whom it is addressed, had 
 seen it, it may be doubted whether he would have ever consented to 
 pardon the writer. It is signed, " Your Michelangelo in Turkey," whero 
 our sculptor, having been invited by the Sultan to superintend the build- 
 ing of a bridge between Pera and Constantinople, seriously thought of 
 taking refuge in case Soderini should turn him out of Florence. 
 
 " Here helms and swords are made of chalices : 
 The blood of Christ is sold so much the quart : 
 His cross and thorns are spears and shields : aud short 
 Must be the time ere even his patience cease. 
 Kay let him come no more to raise the fear 
 Of fraud and sacrilege beyond report ! 
 For Rome still slays and sells him at the court, 
 Where paths are closed to virtue's fiiir increase. 
 Now were fit time for me to scrape a treasure I
 
 2/2 Historical Handbook of Italian Sculpture. 
 
 of forgiveness conveyed to liim in this brief, he will not 
 return unless you send us a signed letter promising him 
 security and immunity." That the Gonfaloniere was frightened 
 there is no doubt, but Michelangelo was not a man to be 
 intimidated by threats, though, as Soderini wrote to his brother, 
 the Cardinal of Volterra, " if you speak kindly to him and treat 
 him affectionately, you can do anything you please with him." 
 After three months spent in working upon his unfinished 
 cartoon at Florence, he consented to go to Bologna " with a 
 halter round his neck," to use his own w^ords, " to ask pardon 
 of the Pope," not because he was afraid to refuse, but that 
 he did not wish to bring trouble upon his friends and fellow- 
 citizens ; that he wished to return to Rome as soon as pos- 
 sible ; and, lastly, because his Holiness had sent him word 
 by the Cardinal of Pavia, in a letter addressed to the Signory 
 of Florence, that " he would receive him kindly and set him 
 to work immediately." 
 
 As Perugia and Bologna had submitted to the Pope after 
 his bold march from Pome, Michelangelo had every reason 
 to hope that he should find him in a comparatively amiable 
 frame of mind when, after an absence of eleven years, he 
 re-entered the gates of Bologna, at the latter end of November, 
 150G. He was recognized by one of the Pope's servants while 
 attending mass at the Cathedral of St. Petronius, and con- 
 ducted to the palace where Julius had taken up his residence. 
 After the irritation which showed itself in the first words 
 addressed to him had spent itself upon a meddling Mon- 
 signore, who proffered an unasked excuse for the culprit, the 
 papal brow relaxed its frown, and the papal eyes once more 
 looked kindly on the repentant fugitive, who was needed for 
 the realization of a new project. This was to make a colossal 
 bronze statue of the Pope, which, seated above the great door 
 of St. Petronius,* would perpetually remind the Bolognese of 
 
 Seeing that work and gain are gone : while he 
 
 Who wears the robe, is my Medusa still. 
 
 God welcomes poverty perchance with pleasure; 
 
 But of that better life what hope have we, 
 
 "When the blest banner leads to nought but ill ? " 
 See The Sonnets of Michelangelo and Campanella, translated by 
 J. Addington Symonds, p. 3i. London, 1878. 
 
 * In a letter to his brother Buonarroti, Michelangelo thus records a
 
 Michelangelo. 273 
 
 tbeii- absent master. The clay model, which was immediately 
 begun, was nearly finished before the 22nd of February, when 
 Julius, alarmed at the movements of Louis XII. of France 
 who was preparing to make a descent into Italy to reduce 
 insurgent Genoa to obedience, left Bologna for Rome. His last 
 words to Michelangelo about the statue are characteristic of the 
 man. Questioned as to whether the left hand of the figure 
 should hold a book, the right being raised in a menacing 
 attitude, he replied, " Rather a sword, for I am no reader." 
 
 At the end of April, when the figure was ready to be cast 
 in bronze, Michelangelo seems suddenly to have remembered 
 that, as he knew nothing of the processes of the font, he could 
 not go on without the assistance of a skilled workman. He 
 accordingly wrote to Florence for Maestro Bernardino d'Antonio, 
 a master of artillery in the service of the Florentine Republic, 
 much renowned as a bronze-caster, who after obtaining the 
 necessary permission, joined him at Bologna towards the end 
 of May. A month later an attempt was made to cast the 
 figure, but as he says in a letter to his brother, "either on 
 account of the ignorance or misfortune of Bernardino it has 
 failed. Half the bronze has stuck in the furnace, which must 
 be taken to pieces in order to get it out. When this is done, 
 all will go well I trust, but not without great annoyance, 
 fatigue, and expense. So great was my faith in Bernardino 
 that I w-as ready to believe that he could have cast the statue 
 without fire ; not that I mean to say that he is not a skilful 
 artist, or that he did not do his best, but those who work 
 are liable to fail, and he has failed, not only to my injury 
 but to his own, for he is blamed in such a fashion that he 
 hardly dares to raise his eyes in Bologna."* 
 
 The second casting succeeded much better, though even this 
 seems to have been less perfect than might have been hoped, 
 
 visit of the Pope to his studio on the 29th of January : — " On Friday 
 Evening at 21 o'clock {sic) Pope JuUus came to the house where I am 
 working and stayed about half an hour while I was at work ; he then 
 gave me his blessing and went away. He seemed pleased with what I 
 am doing. For this it seems to me we have reason to thank God : so 
 do I pray for you, and ask you to pray for me." Letter L. Milanesi, 
 Lettere, p. 65. In another letter. No. li., to the same he records a second 
 visit on the 1st of February, 1507. 
 * Letter lxiii., Milanesi, op. cit. p. 79. Dated July 6 
 
 T
 
 2 74 Historical Handbook of Italian Scidptttre. 
 
 as several months of hard work were afterwards spent in 
 cleaning and polishing the surface of the statue. In Novemher 
 it was finished, but as the Pope had made Michelangelo 
 promise to remain at Bologna until it was actually placed 
 above the door of the basilica, he was obliged to restrain his 
 impatience until the 21st of February, 1508, when the final 
 ceremony took place with the accustomed rejoicings. Pipes, 
 trumpets, drums, and bells made the day soporous, and fetes 
 and fireworks made the night joyous. Four years later 
 (December 30, 1511) when the Bentivogli came back to enjoy 
 their own again, a furious rabble gathered in the square before 
 the church, bent on the destruction of this effigy of a now 
 detested taskmaster. When lowered to the pavement, upon 
 which despite every precaution it left the impress of its enor- 
 mous weight, it was delivered over to the insults of the populace, 
 and then broken into fragments which were given, in exchange 
 for some pieces of artillery, to the Duke of Ferrara, who recast 
 them in the shape of a huge cannon, fit symbol of so warlike 
 a pope as Julius II. 
 
 The many letters written by Michelangelo to his brother 
 Buonarroti during his forced and prolonged stay at Bologna 
 are filled with expressions of discontent. "Like everything 
 else here," he writes, "the wine is dear and bad, so that life 
 is a burden, and it seems to me a thousand years before I can 
 come to you ; " and again, " I must stick to my work, else it 
 will detain me another six months ; " and again, " Know that 
 I desire a speedy return even more than you desire it for me, 
 for I live here in the greatest discomfort and undergo the most 
 extreme fatigues, working day and night ; you would be sorry 
 for me if you knew how I am situated here." Writing to his 
 younger brother Giovan Simone, he alludes in a half-joking way 
 to the plague which had broken out at Bologna. "You tell 
 me that you have heard from one of your friends, a physician, 
 that the pest is a bad disease which kills. I am glad that you 
 have heard this, for we have it here, and these Bolognese have 
 not yet found out that it is a mortal sickness." * 
 
 On his return to Florence in March, 1508, Michelangelo took 
 a year's lease of the house in the Borgo Pinti which had been 
 
 * Letter cxxiv., dated April 20, 1507.
 
 Michelangelo. 275 
 
 built for him by the Board of Works of the Cathedral when he 
 acccjDted the commission for the statues of the Apostles, with 
 the intention of completing them, but as the Pope insisted upon 
 his coming immediately to Rome to paint the ceiling of the 
 Sistine Chapel, he reluctantly changed his plans, and arrived 
 there at the end of June. To go on with the Papal monument 
 was his heartfelt wish, but Julius was obdurate, and although 
 Michelangelo protested that he was no painter, he was obliged to 
 begin the mighty task before the end of the year. When it was 
 half completed the scaffold was removed that the Pope might 
 judge of the effect, and the doors of the chapel were thrown open 
 on All Saints' Daj^ 1509. They v.:re then again closed, and if 
 the papal chamberlain is to be trusted, were not re-opened to the 
 public until March, 1513, when the Pope died, though it is gene- 
 rally supposed that the frescoes were finished in the previous 
 year. As the special subject of this work and the limits 
 assigned to it do not permit us to dwell upon them, we must 
 refer our readers to Harford, Grimm, Gotti and other waiters 
 who have done so with all fulness, and content ourselves with 
 saying that the ceiling of the Sistine Chapel, perhaps the 
 greatest of achievements in art, could only have been conceived 
 and executed by one who was not only architect and sculptor, but 
 also painter and poet. 
 
 Perhaps no other man ever lived who could have grappled 
 successfully with such an enterprise, for even if we could name 
 one who had, like Michelangelo, the requisite knowledge of all the 
 arts of design, coupled with poetical genius of the highest order, 
 this genius and that knowledge would not have sufficed without 
 the Titanic boldness of spirit which gave him courage to under- 
 take what seemed beyond human power. 
 
 The death of Julius II., in 1513, deprived Michelangelo of a 
 real though an often troublesome friend, who was ill replaced by 
 Leo X., whose person and court were uncongenial to him. The 
 one hope which sustained him in a grief greater than any which 
 he had felt since the death of Lorenzo de' Medici was, that he 
 would now be allowed to complete the monument which the lato 
 Pope's superstitious fears had caused him to abandon. This 
 hope was authorized by the provision made in his will that it 
 should be finished on a somewhat diminished scale, and reduced 
 to an apparent certainty upon the signing of a new contract with 
 
 T 2
 
 2/6 Historical Handbook of Italian Sculpture. 
 
 his executors, whose payments to Michelangelo during the next 
 two years'"'' show that no oj^position was made to the prosecution 
 of this work until Leo X. visited Florence in 1514, when seeing 
 the unfinished condition of the church of San Lorenzo, which 
 was the hurial-j^lace of the Medici, he conceived the idea of 
 doing honour to his race by completing it, and solicited designs 
 for its fagade from Baccio d'Agnolo, Giuliano da Sangallo, 
 Andrea and Jacopo Sansovino, Raphael, and Michelangelo. 
 Why the latter, who was no practical architect, did not decline 
 to compete if he really wished to be left undisturbed, we cannot 
 understand, for he must have foreseen that if, as it happened, 
 bis design was accepted he would be called upon to carry it out. 
 He had lately signed a second contract with the executors, which 
 bound him not to undertake any work of importance until he had 
 completed that which he had on hand for them, and was at Carrara 
 when the Pope recalled him to Rome, forced him to accept the 
 commission, and then sent him back to the quarries to procure 
 the necessary materials for the facade. •!• In this occupation 
 nearly three years of his life were wasted and embittered by 
 pecuniary embarrassment, uncongenial toil, and those ceaseless 
 annoyances which made the Tragedy of the Fagade only second 
 to the Tragedy of the Sepulchre. 
 
 These years were spent in tedious journeys to and from the 
 mountains of Carrara, and in building a road to the quarries of 
 Seravezza, hitherto approachable only by footpaths, j As the 
 ground was both marshy and rocky, a long time passed before 
 it could be made solid and smooth enough to admit of the 
 transportation of marbles to the sea-shore, and long before 
 this was done the Pope's ardour had begun to cool, and the 
 supplies of money to decrease in proportion. The weight of 
 tedious labour, the heartsickness of exile, the impatient fret- 
 
 * Through Bernardo Bini he received 6,100 ducats on acconnt in 1514 
 and 1515. Hea Appendix to Gotti, op. cit. No. 8. 
 
 t Leo obliged the executors to consent to his wishes, promising them, 
 however, that Michelangelo should do what he could for them when not 
 otherwise employed. 
 
 X As the Marchese Malespina, Lord of Massa and Carrara, derived a 
 considerable portion of his income from the quarries at Carrara, he 
 looked with a jealous eye upon the attempt to make those of Seravezza 
 accessible. Obstacles were thrown in Michelangelo's way, and the 
 hostility of the Carrarese workmen was excited against him.
 
 Michelangelo. 277 
 
 ting of a proud and haughty will against a power which it could 
 not resist, would have shaken and unnerved a less resolute 
 spirit and crippled its powers completely. But Michelangelo 
 was strong enough to hide his time. He had long ago learned 
 that his destiny was to struggle and to he temporarily overcome, 
 and though defeated could yet hope for ultimate victory. He 
 believed that the Pope had sent him to Carrara to get him out 
 of the way, and although he was well received when he went to 
 Rome for a few weeks in the autumn of 1517 to present a model 
 of the facade to the Pope, this belief was in no wise shaken.* 
 
 At the end of February he was again sent back to the moun- 
 tains, nor was it till another twelvemonth had elapsed that he 
 was liberated by the final abandonment of the enterprise. The 
 fruit of all his toil and anxiety was certainly not sufficient to 
 console him. Only six columns had been extracted from the 
 quarries, four of which were never carried further than the sea- 
 shore. One still lies at La Vincarella amid a mass of chips and 
 blocks of Seravezza marble, and one may be seen at Florence at 
 the base of the bare brick- wall which it and its fellows were 
 to have rendered beautiful, forming a silent but impressive 
 memorial of the wasted years of one of the greatest among men 
 of genius. 
 
 From time to time during his exile at Carrara, Michel- 
 angelo had visited Florence, and had employed himself at long 
 intervals upon the monument to Pope Julius. To this he 
 returned when he was finally freed from his engagement to 
 Leo, nor would he suffer himself to be enticed back to Piome, 
 although certain inducements were held out to him which 
 seem to show that the reigning pontiff was not as hostile 
 to him as he believed him to be. Thus, after the death of 
 Raphael he was invited, through his friend Sebastiano del 
 Piombo, to paint the Hall of the Pontiffs at the Vatican. As 
 Raphael had left drawings or cartoons for the mural decora- 
 tions of this hall, his scholars, Giulio Romano and Francesco 
 
 * In Michelangelo's design, preserved at the Casa Buonarroti, the 
 architecture, as was his wont, is treated as a background to sculpture, or, 
 in other words, as a field for the display of statues and bas-reliefs. " He 
 did the work of an architect," says M. Gamier {Gaz. des Beaux Arts, 
 January 1, 1876, pp. 192-4), " but he was not an architect, properly 
 speaking."
 
 2/8 Historical Handbook of Italian Sndpture, 
 
 Penni, laid claim to tlie commission, and it is just to suppose 
 that Michelangelo's refusal to interfere was at least partially 
 prompted by a proper respect for the memory of the great painter, 
 whose wishes, could they have been expressed, would have un- 
 doubtedly been that his designs should be carried out by his 
 scholars. Other reasons against the acceptance of the offer 
 are not difficult to conjecture, such as that he wished to com- 
 plete the monument, and that painting was not an art to which 
 his nature inclined him. He was at this time working upon 
 a statue of Christ which he had long before commenced for 
 his friend Metello Yari. After he had brought the marble 
 to an advanced stage of completion he sent it to Eome under 
 the care of one of his workmen, Pietro Urbano, whom he 
 charged to finish it according to his design, but Pietro had 
 the vanity to suppose that he could improve his master's work, 
 and after doins: much mischief, was dismissed in disgrace. 
 " He has spoiled everything," writes Sebastiano del Piombo 
 to Michelangelo, " especially the feet and hands, so at least 
 says Federigo Frizzi, a Florentine sculptor of repute, in whose 
 judgment I have greater confidence than in my own, as I do 
 not pretend to understand how to work marble. As for the 
 beard, my studio boy would have known better how to do it, 
 indeed, it looks as if a blunt knife had been used in the 
 operation. I have put it into Frizzi's hands, and he M'ill do 
 his best to finish it satisfactorily."* In October of this same 
 year the statue was set up in the church of Sta. Maria sopra 
 Minerva, where it still stands. The sculptor was evidently not 
 himself when he conceived it, for of all his works it is the most 
 insipid. "He was at this time," says Condivi, "in a despon- 
 dent frame of mind, unable to apply himself to anything, or 
 when so doing, working without enthusiasm." Suddenly a hope 
 dawned in his mind that an object worth}^ to call forth his best 
 
 * This letter is dated September 6, 15'21. The statue was begun at 
 Rome in 151-A at the request of Bernardo Cenci, Canon of St. Peter's, 
 Maestro Mario Scuppiani, and Metello Vai-i, but the block of marble 
 proving unsatisfactory it was abandoned. In 1521 Michelangelo again 
 blocked out the figure and worked upon it between the months of April 
 and August. {See Wilson, o]). cit. pp. 200, 264). The name of the 
 workman employed by Michelangelo to finish it is incorrectly given by 
 this writer as Pietro d' Urbino. Gotti (vol. i. p. 140) calls him Pietro 
 Urbano, as does Vasari.
 
 Michelangelo. 279 
 
 powers would be set before him. A petition was about to bo 
 sent by the Florentine Academy to the Pope, urging that the 
 bones of Dante should be brought back to Florence, and among 
 the eminent names appended to it he thus wrote his own : " I, 
 the sculptor Michelangelo, ask the same of your Holiness, 
 offering myself to make a worthy monument for the Divine 
 Poet, and to give it an honourable place in this city." To 
 this petition and to this oftcr Leo paid no attention, and the 
 project was left to be carried out in our own day by the sons 
 of a united Italy. 
 
 In the autumn of 1519 the Pope determined to build a 
 family- chapel in the church of San Lorenzo, where monu- 
 ments to the most distinguished members of his house should 
 be placed. The Cardinal Giulio de' Medici, then Governor of 
 Florence and afterwards Pope Clement VIL, was instructed 
 to ask Michelangelo to make designs for the chapel. These 
 were sent to Rome in 1520, and are referred to in a letter 
 from the Cardinal with expressions of satisfaction, but pre- 
 parations to carry them out were hardly begun when they 
 were temporarily suspended on account of the death of Leo X. 
 (1522). 
 
 The subsequent election of Adrian Boyers, Cardinal Bishop 
 of Tortosa, who took the name of Adrian VL, left Michelangelo 
 free to work upon the Julius monument, for the new Pope re- 
 garded the arts with an aversion which he did not attempt to 
 conceal, and was absolutely indifferent as to how he or any 
 of the artists who had been the pride and glory of his prede- 
 cessors' court employed themselves. They left Piome " en 
 masse," soon however to return, for within two years the Pope 
 died, and was succeeded by a man of a very diflerent stamp, 
 the Cardinal Giulio de' Medici, son of Lorenzo the Magnificent, 
 known in history as Clement VII. Confident that he would 
 prove a second Leo X., the lovers of wisdom and the lovers of 
 pleasure came back from their exile, eager to inaugurate the 
 new reign with befitting splendour, and Michelangelo expressed 
 the general feeling when he wrote to Domenico (a marble-worker 
 at Carrara), " I am of opinion that much will now be done in 
 the way of art." His own anticipations of finding favour in the 
 new Pope's sight were founded on the fact that ever since the 
 days when they had lived together in the Medici Palace at Flo-
 
 2 8o Historical Handbook of Italian Sculpture. 
 
 rence, Giulio cle' Medici had shown an interest in him. What 
 he did was not what Michelangelo desired, although he must 
 have anticipated that the Pope who had given him the commis- 
 sion for the Medici monuments while he was Cardinal would 
 not allow him to go on with the monument to Pope Julius, 
 and thus forego the realization of a project calculated to ag- 
 grandize the prestige of his own family, which he had much at 
 heart. 
 
 Julius or Leo would have commanded him to do their hidding 
 without any preliminaries, but Clement tried first to temj)t him 
 by the offer of a pension, and hinted that he had better enter a 
 religious order, a course which would have taken away from him 
 even that shadow of independence to which he had held fast 
 under former Popes. Although Michelangelo rejected both 
 propositions, Clement was none the less master of the situation, 
 as he showed by ordering him to go on with the Medici Chapel, 
 to build a library to contain the books and manuscripts of his 
 family,* and to decorate the piazza of San Lorenzo with a 
 colossal statue sixty feet in height. This last scheme was evi- 
 dently taken by JMichelangelo in the light of a joke, — an excep- 
 tional way of looking at anything with him, — for in a letter to 
 Fattucci he ridicules it with a grim smile. "Let us put it," 
 he writes, " where the barber's shop now stands, opposite the 
 square on the other side of the street : and in order to save 
 Figaro from displacement, I will make the seat hollow, upon 
 which the figure is to be seated, and give it to him as a conve- 
 nient place to shave his customers in. The cornucopia in the 
 hand of the statue can be used as a chimney, and the head being 
 empty can serve as a dovecot. Another plan would be to treat 
 the figure as a campanile for San Lorenzo, putting the bells 
 inside the head and having the sound come out of the mouth, 
 so that when they are rung it Vv-ill seem as if the figure cried 
 * Misericordia.' " This humorous letter seems to have killed 
 
 * Cosmo Patev Patria? built a room for them in tlie convent of St. 
 Marks. After the death of Lorenzo and the expulsion oF Piero de' 
 Medici, the monks, being embarrassed pecuniarily, sold thorn to Leo X., 
 who, when he became Pope, took them to Rome, installed them at the 
 Villa Medici on the Pinci:ui, and made many precious additions to them. 
 In 1522 Clement sent them back to Florence, where the Laurentian 
 Libre ry had meanwhile been prepared to receive them.
 
 Michelangelo. 283 
 
 the project altogether, and Micheitrcclo meant that it should 
 down to work upon the library and tiio elaborate finish of its 
 peace, had he not been worried by a lawsio diminish its effect. 
 Julius II. proposed to bring against him, bec^aestion in treating 
 to fulfil his last contract for that monument whicingelo learned 
 mittent torment of his life for forty-five j'ears, andfc in correct 
 of having received money on account which he hadbe object 
 other ways than those for which it was advanced. Filleises is 
 righteous indignation, and firm in the consciousness of'^r; 
 innocence, Michelangelo demanded and obtained an examination 
 of the accounts ah initio, which resulted in proving that so far 
 from having plundered others he had robbed himself by spend- 
 ing more money than he had received for buying marbles and 
 transporting them to Eome. 
 
 The reader will remember that according to the first design 
 the monument was to have been an immense quadrilateral 
 structure, three storeys in height, decorated with forty statues 
 and many bas-reliefs. The second design, made under the new 
 contract, shows but three sides, the fourth being set against the 
 wall ;* but from Michelangelo's own words in the letter just 
 quoted, and from the fact that instead of ten thousand ducats, 
 stipulated by the first contract, the executors agreed to allow him 
 sixteen thousand five hundred, it is evident that they proposed to 
 make it even richer and grander than it would have been accord- 
 ing to the first design. The arrangement of niches, statues, 
 architectural enrichments, etc., seems to have been very much 
 the same, but a chapel adorned with five statues was to be built 
 against the wall, at the rear end of the platform, which would 
 certainly have contributed greatly to the grand and imposing 
 effect of the whole. 
 
 In 1515 Leo X. obliged Michelangelo to break this second 
 contract in order that he might work for him upon the facade 
 of San Lorenzo, but the next year he permitted him to make 
 a third, by which the design for the monument was again modi- 
 fied, and the number of statues considerably reduced. Nine 
 years of incessant occupation, during which little was done 
 towards carrying it out, ended with those threats of prosecution 
 of which we have already spoken, and brought about an exami- 
 
 * Milanesi, Appendix, pp. 635-637, gives this secoad contract in 
 exienso.
 
 28o Historical Handbook of Italian SculpttL7'e. 
 
 rence, Giulio de' Medici huicli cleared Michelangelo from the 
 be did was not what ]\^a,ud with which he had been charged. 
 have anticipated tbatigned his name to a fourth contract, by 
 sion for the Medimself to finish six statues with his own hand 
 not allow him„-nt, which, on a greatly reduced scale, was to be 
 and thus fom St. Peter's, but in the church of " San Pietro ad 
 grandize of which Julius II. had at one time been Cardinal, 
 heartcompense he was to receive two thousand gold ducats, and 
 ^vhole was to be completed in three years ; but this agree- 
 ment was broken like the rest, nor was it until the vear 1542 that 
 a fifth and final contract was made between Pope Paul III., the 
 Duke of Urbino, and Michelangelo, under which the monument 
 received its present form. As all the world knows, it has one 
 statue finished by the great sculptor himself, and two other 
 statues, the Rachel and Leah, for which he famished the de- 
 signs. Before concluding this final arrangement, Michelangelo 
 stipulated that he should be allowed to pay back a sum of money 
 already advanced for the three other statues agreed upon by the 
 contract of 1532, and he accordingly deposited fifteen hundred 
 and eighty ducats to the Duke's credit in the hands of his 
 bankers, the Strozzi, at ^Florence. 
 
 The monument in its final shape would hardly have satisfied 
 the ambition of Julius II., whose statue, reclining upon a sar- 
 cophagus (the work of Maso del Bosco, a third-rate sculptor), is 
 one of its most insignificant features. It has been called a 
 monument to Moses, and such it appears, for in looking at 
 it we see only that mighty figure relieved against an architec- 
 tural background, whose tasteless lines disturb rather than 
 enhance its eftects. Painfully out of harmony with its sur- 
 roundings, which are quite disproportioned to it, it is but the 
 disjointed part of an unexplained whole, a giant among pigmies, 
 a huge block of marble set in a cold and uncongenial frame- 
 work. In judging it we should not forget that we behold it 
 under the greatest disadvantage, on a level with the eye, 
 instead of seeing it at a height of fifteen feet from the pave- 
 ment, as the artist intended. So when sitting within a few 
 feet of an orator whose voice is pitched for a vast audience, the 
 car is deafened, and the mind perplexed, until all power oi 
 appreciation is lost. This remark applies, however, solely to 
 the pose, proportions, and general effect of the figure, for ifc
 
 Michelangelo. 283 
 
 cannot be denied that, as Michelangelo meant that it should 
 be seen at a considerable distance, the elaborate finish of its 
 surface was a waste of labour, calculated to diminish its effect. 
 It was not until he grappled with the same question in treatinj^ 
 the ceiling of the Sistine Chapel that Michelangelo learned 
 after one failure to calculate finish and expression in correct 
 ratio to the fixed distance between the spectator and the object 
 offered to his sight. With all its defects, however, the Moses is 
 original, grandiose, and tlioroughly characteristic of the master; 
 but this is not the case with the statues of Kachel and Leah, 
 which fill the niches to its right and left.* The original sug- 
 gestion for these figures is to be found in Dante's vision of 
 Leah and Rachel. Leah gathers flowers in a meadow to deco- 
 rate herself, for, as one of his commentators explains, '' she 
 delights in her own labour," and is a tj'pe of the unglorified 
 Active life as Matilda is of the glorified, which delights in God's 
 labour, while Rachel sits all day long looking at her own image 
 in a looking-glass, for she is a type of the unglorified Contem- 
 plative life, as Beatrice is of the glorified, which finds joy in the 
 sight of God's face. 
 
 In the statues of Michelangelo, Leah holds a mirror and a 
 wreath of flowers, while Rachel gazes upwards as if in prayer. 
 Thus neither corresponds to the poet's description of Leah as 
 wearing a garland while she walks, 
 
 "To please me at the mirror, here I deck me; '* 
 
 or of Rachel, who never leaves 
 
 "Her looking-glass, and sitteth all day long" 
 
 gazing at herself. It would be hypercritical to object to such 
 modifications of the poet's idea by the sculptor if his own 
 creations Avere equally inspired, but this we do not find them 
 to be. Yague as the figures on the Medici monuments in 
 meaning, they have none of their redeeming grandeur. 
 
 A Prophet and a Sybil by Raffaele da Montelupo, with both 
 of which Michelangelo was greatly discontented, four terminal 
 
 * Michelangelo says of these statues. "!N"e forni due di mia mano, 
 cio 6 la Vita contemplativa e I'attiva." Letter dated February, 15-15, 
 written to M^ Salvestro da Montanto, No. cdxlv.
 
 284 Historical Handbook of Italian Sculpttire, 
 
 figures, the Papal arms, and other details not necessary to men- 
 tion, complete the decoration of a sepulchre conceived by am- 
 bition, nursed in disappointment, and finished when the will 
 and power of him who had planned it on a mighty scale were 
 weakened by age and trouble. Take away the Moses, which be- 
 longed to the original design, and there is nothing which any 
 second-rate sculptor could not have conceived and carried out. 
 And for this poor result what a world of trouble, annoyance, 
 humiliation, and pain had one of earth's greatest and noblest 
 sons suffered ! Condivi calls its history a tragedy, and with 
 ample reason, for it is not only unutterably sad as studied in 
 its result, but in its every detail. With it are connected the 
 delays and hesitations of Julius, varied by outbursts of anger 
 and threats of punishment ; the opposition of Leo, leading to 
 months of exile at Carrara and Seravezza, to endless journeys, 
 and troubles with the Duke of Massa and the quarrymen and 
 the boatmen ; to accusations of dishonest}', delays in payment 
 of dues for work commissioned and completed, constant change 
 of plans, and a thousand other painful circumstances more easily 
 imagined than described. 
 
 Among the statues known or supposed to have been intended 
 for this monument, the two finest are the Prisoners at the 
 Louvre. The sleeping Prisoner perhaps symbolizes its sculp- 
 tor's grateful recognition of the one avenue of escape which 
 Nature off"ered him. To forget in sleep the burthens of life, 
 the impediments of circumstance and the obstacles which stood 
 between him and his lofty ideal, was to him an infinite relief. 
 When himself a prisoner at Carrara, he WTote those lovely 
 lines to Night, which should be in the mind of him who looks 
 at the statue that embodies their spirit.* 
 
 " Niglit, sweet though sombre space of time I 
 All things find rest upon their journey's end — 
 Whoso hath praised thee, well doth apprehend; 
 And whoso honours thee, hath wisdom's prime. 
 Our cares thou canst to quietude sublime ; 
 For dews and darkness are of peace the friend: 
 Often by thee in dreams upborne, I wend 
 "From earth to heaven, where yet I hope to climb. 
 
 * Poesie di Michelangelo, ed. da Cesare Gausti. No. SLIV. p. 205. 
 Translated by J. Addington Symonds, op. cit. p. 77.
 
 Michelangelo. 285 
 
 Thou shade of Death, through whom the soul at length, 
 Shuns pain and sadness hostile to the heart, 
 Whom mourners find their last and sure relief! 
 Thou dost restore our suffering flesh to strength, 
 Driest our tears, assuagest every smart, 
 Purging the spirits of the pure from grief." 
 
 In tlie waking Prisoner struggling to burst his bonds, Michel- 
 angelo may have symbolized those moments when the sun 
 roused him to a consciousness of his own hopeless bondage. 
 This also he exj^ressed to Pope Julius in the bitter words, — 
 "I am thy slave, and have been from my youth." 
 
 Four other writhing captives in the grotto of the Boboli gardens 
 at Florence are supposed to belong to the monument, but they 
 are so roughly blocked out in the marble that it is impossible to 
 determine whether they are not j'oung men bearing garlands, 
 intended to decorate the never erected facade of San Lorenzo.* 
 In the pen-and-ink sketch of a portion of the monument at 
 the Casa Buonarroti there is a winged Victory, which resembles 
 the marble Victory at the Bargello, another powerful, half- 
 defined shape which sets conjecture at defiance. She stands 
 over the prostrate body of a man whose constrained attitude 
 is similar to that of the so-called Adonis at the Uffizi. If, 
 however, this statue is also one of the prisonersf and not an 
 Adonis, why is the Boar's head thrust under his bent knees ? 
 The sculptor might perhaps have answered this question, but 
 in default of his aid we must leave it unanswered, with many 
 other inexplicable things in his statues. When he puzzles us, 
 as he often does, we must remember that where other artists 
 would have used a lump of clay he used a block of marble, 
 and if his idea did not afterwards seem worth working out 
 clearly, turned from it with as little thought as if the material 
 had been equally worthless. This reckless indifference to the 
 value of a material which had been quarried and brought 
 within his reach at great expense, shows a mind disposed to 
 rise above those reasonable but somewhat vulgar considerations 
 
 * This is suggested by Mr. Pleath AVilson, op. cit. p. 242. (ivl. Guil- 
 laume {Michel Ange, Scidpteur, Gazette, p. 79), on the contrary, thinks 
 the Boboli statues belong to the monument. 
 
 f So far as I am aware the idea that the Adonis is i-eally one of the 
 monument statues belongs to Mr. AVilson. {See p. 21-3, op. cit.) Not so 
 the Victory, however, which he says {ibid) is much too large.
 
 286 Historical Handbook of Italian Satlpture. 
 
 by which most men are influenced. At the bottom of it lay 
 that love of overcoming obstacles which was natural to Michel- 
 angelo. The soft and ductile clay wearied him by its very 
 obedience to his will, whereas the resistance with which the 
 solid block met his vigorous attack was an excitement and 
 a stimulus to exertion, in itself a joy to his strong nature. 
 Is it not possible that he also found some slight consolation 
 for the constant opposition which he met with from his Papal 
 masters in the effort to overcome them, as he would have done 
 had not their hearts been harder than marble ? That indeed, 
 he could fashion as ho would, but these were made of a stuff 
 against which the chisels of his will soon became blunted and 
 useless. When he perceived this, he obeyed their behests, 
 and throwing himself into the work which they gave him to 
 do, temporarily forgot his disappointments. 
 
 Scarcely less magnificent as a scheme than the monument to 
 Pope Julius, the Chapel of the Medici offered him an equally 
 congenial field for the exercise of his powers. Already in 1524 
 the cupola had been raised upon the building, and in the fol- 
 lowing year the four reclining figures of the sarcophagi were in 
 progress and somewhat advanced. The two monuments of which 
 they form a part were not intended to be the only ones in the 
 chapel, as they now are. Besides these of Lorenzo, Duke of 
 Urbino, and of Giuliano, Duke of Nemours, there were to have 
 been others, to Lorenzo the Magnificent (for which the Madonna 
 and Child by Michelangelo, and the two statues of SS. Cosmo 
 and Damianby his pupils, were destined), to Giuliano de' Medici 
 his brother, to Leo X. and to Clement VII. The last three 
 remained, so far as we know, entirely in nubihus, and the com- 
 pletion of the first two was long delayed by the grave political 
 events which brought about the expulsion of the Medici from 
 Florence, and placed Michelangelo before the world, in the new 
 and nobly sustained role of a patriot soldier. 
 
 When the news of the capture and sack of Rome (1527) 
 reached Florence, Ippolito and the infamous Alessandro de' 
 Medici were driven into exile, and a republican form of govern- 
 ment was re-established under the Gonfaloniere Piero Capponi, 
 the representative of the moderate party, who was two years 
 later (1529) deprived of his office by the democratic party, for 
 having entered into secret negotiations with Pope Clement.
 
 Michelangelo. 287 
 
 In the same year the Florentines were roused to a sense of 
 their clanger from Charles V. by the news of the Peace of Cam- 
 brai, from which Florence was tacitly excluded by the contract- 
 ing Powers, and of the treaty of Barcelona, by which the 
 Emperor openly espoused the cause of the Medici, promising 
 his natural daughter Margherita in marriage to Alessandro, 
 and consenting to the Pope's demand, that he should send 
 the Prince of Orange to reduce the Florentines to submission. 
 They consequently began to repair the walls and forts of their 
 city, and on the 6th of April appointed Michelangelo commis- 
 sary-general of the fortifications for one year, with the title of 
 Governor and Procurator.* An ardent liberal, and an enemy 
 to the policy by which Leo X. had crushed the liberties of his 
 native city, he felt in no wise bound in conscience to maintain 
 allegiance to the illegitimate and unworthy descendants of 
 Lorenzo the Magnificent ; accepting the honourable post, he 
 set about putting the hill of San Miniato into a complete 
 state of defence. Towards the end of July, when its fortifica* 
 tions were far advanced, Niccolo Capponi and his colleagues, 
 considering that he had committed grave errors in their con- 
 struction, induced the Signory to send him to study the fortifi- 
 cations and artillery at Ferrara, where he met with a gracious 
 reception from Duke Alphonso, who himself explained the 
 military works, Avhich he had brought to great perfection, and 
 would not allow him to depart until he had promised to paint 
 a picture for his gallery. 
 
 Soon after his return, INIichelangelo became convinced that 
 the Condottiere Malatesta Baf^lioni of Perugia, the commander 
 of the forces of the republic, was a traitor to the cause which 
 he was paid to serve, and he therefore thought it his duty to 
 warn the Signory but, his suspicions were attributed to over- 
 caution or personal fear,f and his warnings were disregarded. 
 Annoyed by this, and believing that the city would be betrayed 
 to the Medici in a few days, or even hours, he took 3,000 florins 
 in his purse, and, in company with Piinaldo Corsini, secretly 
 departed for Venice, with a vague plan of proceeding thence to 
 France. He had hardly arrived there and taken lodgings in a 
 
 * Prospctto Cronologico, p. 384. 
 
 f This insulting imputation was cast upon him by the Gonfaloniere 
 Carducci. Gaye, Cartcggio, vol. ii. p. 213 ; Varchi, St. Flor,, lib. x.
 
 288 Historical Handbook of Italian Sculpture. 
 
 house on the Giudecca Canal, where he intended to live un- 
 known, when he was waited on by two gentlemen, members oi 
 the Signory, who in the name of that body offered to supply his 
 wants and those of his companions, an act of courtesy which, 
 showing the high appreciation in which they held him, gratified 
 Michelangelo extremely, and might have induced him to remain 
 in this friendly asylum, had he not at the same time received a 
 letter from Galeotto Giugni, delegate from the Florentine Re- 
 public to Duke Alphonso d'Este, begging him to come imme- 
 diately to Ferrara on business of importance. After a sojourn 
 of fourteen days, he left Venice and went to Ferrara, where he 
 met Giugni, who in accordance with the instructions of the 
 Signory urgently entreated him to return to his post at 
 Florence. 
 
 The magistrates' earnest desire that he should do *so is 
 proved not only by their instructions to Giugni, but also by 
 their not having included his name in the list of the proscribed 
 who had abandoned Florence at the same time with himself, as 
 well as by the safe-conduct which they sent to him at Venice, 
 through a stone-cutter named Bastiano, who was greatly at- 
 tached to him. Duke Alphonso again welcomed him most 
 cordially, and urged him to take up his residence in the palace, 
 hut Michelangelo firmly refused, preferring to remain at the 
 inn at which he had alighted. 
 
 In the latter part of November he returned to Florence, not 
 without peril of his life, for the city had been closely beleaguered 
 hy the enemy since the 24th of October, when the Prince of 
 Orange had encamped with his army on the hill of Arcetri. As 
 this position was overlooked by the campanile of San Miniato, 
 the besieged were able to inflict much injury upon the enemy, 
 who directed their artillery against it and would have destroyed 
 it, had not Michelangelo efl*ectually protected it by piling up 
 bales of wool on the sides exposed to their fire. 
 
 This is not the place to recount the history of the siege of 
 Florence, which was distinguished by the hold sorties of the 
 besieged and the brilliant exploits of the valiant Francesco 
 Ferrucci, who was taken prisoner at the battle of Gavignana 
 and barbarously put to death by the Imperialists. After this 
 event, which spread consternation throughout the city, Malatesta 
 threw off the mask (August 12th, 1530), and by turning his
 
 MicJiclangclo 289 
 
 artillery against the Porta Eomana, forced the lialf-famisbed 
 and plague- stricken inhabitants to capitulate, with the agree- 
 ment that their future form of government should be fixed by 
 the Emperor within four months, and that they should not be 
 deprived of their liberties. Michelangelo had been so long con- 
 vinced of the traitorous intentions of Malatesta that this final 
 result of his infamous schemes could not have taken him by 
 surprise, nor knowing as he did the temper of the victors, 
 could he have put any faith in the general amnesty proclaimed 
 by them and shamefully violated by the Pope a fev/ months 
 later. He therefore lost no time in concealing himself so effec- 
 tually that it was impossible to discover his hiding-place,* 
 and as the Pope needed him to finish the tombs at San 
 Lorenzo, he was obliged to announce publicly that if he would 
 resume his work he should receive full pardon for the past, and 
 his monthly salary as before. It must have cost this proud 
 and high-spirited man a severe struggle to decide upon such a 
 step, particularly as he had none of those feelings of affection 
 for Clement YII. which had paved the way to his reconciliation 
 with Julius II., yet for his work's sake he did so, and again 
 took up his chisel to finish the Medici monuments. 
 
 He had employed his rare moments of leisure during the 
 siege in painting a picture of Leda for the Duke of Ferrara, in 
 sketching a group of Samson smiting a Philistine, and a young 
 Apollo drawing an arrow from his quiver, but it is morally 
 certain from what we know of him, that his loyal hand had 
 dealt no chisel-stroke for the Medici while he was working to 
 prevent their return to power. In 1527, when he had ceased his 
 work upon the chapel-monuments, the four recumbent figures 
 were blocked out and a portion of the architectural background 
 was completed, but when he again took them in hand after the 
 siege a great deal remained to be done, and his state of health 
 was such that it seemed more than doubtful whether he would 
 finish them. " He is so ill," writes his pupil, Antonio Mini, 
 " that he cannot live unless he can be persuaded to take care of 
 himself." " Suffering from loss of sleep and appetite, subject 
 to headache and attacks of vertigo, and distressed by the con- 
 dition of his beloved Florence," his feelings would have broken 
 
 * Either in the house of a friend, or, according to another accouut, ia 
 the tower of the church of San Niccolo oltre I'Arno. 
 
 U
 
 290 Historical Handbook of Italian Sculpture. 
 
 his heart had they not found an outlet in poetry and sculpture. 
 In these so-called figures of the Medici he embodied his own 
 moods and thoughts, and this is the reason why they are so dif- 
 ficult of interpretation. It is hard to conjecture why Giuliano, 
 titular Duke of Nemours and brother of Leo X., who was an 
 insignificant person, and Lorenzo, Duke of Urbino, son of Piero 
 and father of Catherine de' Medici, who was a dissolute and 
 unprincipled man, were chosen to represent the family of 
 Clement VIL, unless because both had governed Florence.* 
 Neither of them was a representative man in any sense. Of 
 the two, Giuliano was the most interesting to Michelangelo, as 
 he had elevated tastes, which led him to cultivate the society of 
 literary men and of artists, but his statue gives no indication 
 of this side of his character. It is that of a military hero, 
 although he did nothing as a soldier or a leader to entitle him 
 to be so regarded. Can we come to any other conclusion than 
 that Michelangelo, failing to find in the real man an element of 
 greatness worthy of embodiment, substituted an abstract being 
 in his p'lace ? If he did so when dealing with Giuliano, we 
 cannot wonder that he also ignored Lorenzo's personality as 
 being even less worthy of his regard. f We may, then, dismiss 
 both from our minds when we enter the Medici Chapel, and 
 regard their statues as purely abstract conceptions. The finer 
 of the two is well called " II Pensoso," — the Thinker, for as 
 he sits with the forefinger of his left hand pressed upon his lip, 
 as if to command silence, with his face darkened by the pro- 
 
 * Giuliano, from the restoration of the Medici until the elevation of 
 Leo X to the Papacy ; and Lorenzo, from 1513 until his death in 1519, 
 
 f This unprincipled and ambitious man, whose influence over his 
 bi-other Leo X. was altogether for evil, desired, like Cassar Borgia, to 
 carve out a principality for himself in the heart of Italy, by uniting 
 Siena, Lucca, and the Duchy of Urbino under his rule; but failing to 
 induce the Pope to favour the rash attempt he returned to Florence, 
 where he died of his excesses in 1519, leaving a daughter known in 
 history as Catharine de' Medici, and an illegitimate son, the infamous 
 Alessandro, who was to die by the avenging dagger of his cousin Loren- 
 zino, and be buried in the same sarcophagus with his father in the Medici 
 Chapel. The statues of Dawn and Twilight were not placed upon the lid 
 until after Alessandro's assassination (March, 1536) and burial. The sarco- 
 phagus was opened in March, 1875, and found to contain the two bodies, 
 which, having been fully identified, were shamefully treated, and thrown 
 back "a conSueed pile of bones." /See Wilson, oji. cit. Appendix, p. 565.
 
 Michelangelo. 291 
 
 jocting visor of his helmet, he looks the very personification of 
 all-absorbing thought. Thus when the struggle was over, brood- ' 
 ing in silence over those evil times for his country and himself, 
 which he had in vain striven to set aright, did the sculptor sit, 
 groaning in spirit as he remembered the wrongs of Florence, or 
 thought bitterly of* the hard fate which doomed him to be the 
 puppet and slave of popes and dukes, or pondered over the great 
 problems of life. 
 
 Select whichever subject you will, and it will suit the Thinker 
 at San Lorenzo. You ask what he is thinking of. If you would 
 know, read the life of Michelangelo. He was an artist, and he 
 was ever thwarted in his work ; he was a patriot, and he saw his 
 country crushed ; he was religious, and he lived among scoffers ; 
 he was full of kindly affection, and he lived alone in sadness 
 until, to use his own words, 
 
 "Par che amaro ogni mio dolce io sento." 
 
 Thus interpreted, the Lorenzo has a far greater interest and 
 significance than the Giuliano, which has too little distinctive 
 character to give us any clue to the artist's meaning.* The 
 head is spirited and handsome, the pose elective, but there is 
 little depth in the face, or significance in the attitude. The 
 magnificent figures of Day and Night upon the sarcophagus 
 below it would seem better suited to the Thinker, waiting in a 
 night of doubt and perplexity for the coming of the day, than 
 to the warrior, with whom they seem to have no connection. 
 Taken rath the Dawn and Twilight, they are commonly inter- 
 preted as a pale allegory of the flight of time which, as touch- 
 ing the interests of Florence, was to pass from the twilight 
 and night of her evil days to the dawn and full day of better 
 times. This interpretation would be satisfactory as connecting 
 the four figures with Florence and her fate, did we not know 
 that all four figures were blocked out four years before the siege 
 began so that they cannot allude in any way to events resulting 
 from it.f Equally unsatisfactory is the explanation which makes 
 
 * Wilson says that Giuliano is here " represented as an incompetent 
 leader, the face mindless ; the hand with the baton of command listless 
 and feeble, the other filled with the purchase-money of treason," — a coin 
 held in the lefc as if to bribe the enemy. — Op. dt. p. 391. 
 
 t In a letter of 1525, dated October 21-, and addressed to Messer 
 Giovanni Fattucci, Michelangelo speaks of the four figures as blocked 
 out, but not yet finished. He began them in JFebruarv, 152J^. 
 
 U 2
 
 292 Histomcal Handbook of Italia7i Sctilptitre. 
 
 Lorenzo, as represented in the " Pensoso," a victim to remorse.* 
 Macluavelli had indeed, at one time, counted upon him to effect 
 the national deliverance, but this lofty idea had certainly never 
 crossed his brain. Had Michelangelo supposed him capable of 
 regretting that he had not merged his selfish aims in so noble 
 an enterprise, he would have given his face an expression of 
 remorse, instead of making it depressed and melancholy, as 
 it is, and we therefore return to our j^i'evious idea, that tho 
 statue is a personification of the artist's desolate and brooding 
 spirit, that the Night expresses his longing for repose, and the 
 Day that reaction against despair which proved that, though 
 Bometimes cast down by all the evils which surrounded and 
 oppressed him, he had within him an undying energy. The 
 figure is that of a Titan rousing himself for action. ^Yith 
 Buperhuman strength it lifts itself above the lid of the sarco-' 
 phagus, as the sun at dawn above the horizon, and while by its 
 vague grandeur it reminds us of such shapes as we sometimes 
 see in cloud-cumuli towering against the evening sky, the un- 
 defined nature of its forms allows free play of the imagination, 
 giving us a certain sense of companionship with the sculptor, 
 with whom we seem to be working towards completeness. Often, 
 as in this statue, Michelangelo stayed his hand when approach- 
 ing his ideal, because with every fresh stroke he feared to lose 
 ground. He had dealt his sturdy blows upon the marble without 
 placing a point, or stopping to calculate whether it was broad 
 enough or long enough to hold his thought ; then he paused to 
 reflect, doubt followed, and as his 
 
 "Fears, like the needle verging to the pole. 
 Trembled, and trembled into certainty," 
 
 liis ardour cooled, and he turned away to repeat the same 
 experience. 
 
 The quarries of Carrara and Seravezza must have been as ex- 
 citing to him as the sound of a trumpet to a war-horse, for their 
 white blocks offered him a limitless range of possibilities, but 
 his enthusiasm cooled with possession and he often dropped tho 
 cbisel before he had h.alf worked out the intended form. The 
 exceptions are such highly finished works as the " Pieta," the 
 Moses, and the Night of the Medici Chapel. Unlike the Day, 
 
 * Niccolini. Essay on the BiMimQ and Michdangclo,
 
 Michelangch. 293 
 
 this sleeping giantess is completely and most elaborately worked 
 out in the marble. She lies upon the opposite end of the 
 sarcophagus with her head drooping towards her left shoulder in 
 an attitude which, were it possible, would hardly allow repose. 
 A star between two moon-horns {cornua noctis) rests above her 
 forehead ; a mask, the symbol of dreams, lies near her left arm, 
 and a bunch of poppies at her feet. 
 
 " The Night which thou beholdest, bound in deep 
 And sweet repose, an angel's hand did hew- 
 Out of this rock, and, though she is asleep, 
 Breathes : doubt'st thou ? Wake her, she will speak to you. 
 "Whereto, in language we may never match, 
 The grief-worn patriot gave sublime reply: 
 • 'Tis well to slumber, best to be of stone, 
 While shame endures and Florence is not free ; 
 So lest I waken, ah ! subdue thy tone : 
 Methiuks 'tis blessed not to hear nor see.' "* 
 
 These lines to the Night were written in 1531, the year after 
 the submission of the city to the Medici, and it is to the grief 
 which he feels for her slavery that the sculptor plainly alludes in 
 his ansu'er, but the statue expresses that desire for repose, 
 that love of the dark hours which bring 
 
 " Sleep, that knits up the ravelled sleeve of care," 
 
 which he felt when he wrote the Sonnet to the Night, and sculp- 
 tured the Prisoner at the Louvre. In presence of the Thinker 
 and the Day, the Night, grand as it is, is forgotten, but when 
 compared with the Aurora and the Twilight it, in turn, 
 casts them into the shade. In the unfinished group of the 
 Madonna and Child, Michelangelo is himself again. It reminds 
 us of the Taunton Madonna in the National Gallery, but it ia 
 stamped with a grander and more mature feeling. 
 
 Splendid as are the powers displayed in the Medicean monu- 
 ments, they explain the deleterious influence of Michelangelo 
 npon the rising generation of artists. Unable to seize his 
 spirit, they attached themselves to those qualities of exaggera- 
 
 * The apostrophe left by Giovanni Strozzi in the sculptor's studio 
 during his absence, and the reply of Michelangelo on his return, are here 
 given as translated by Dr. T. W. Parsons at the conclusion of a short 
 poem called the " Birthday of Michelangelo," written for the celebration 
 of its four hundredth anniversai-y by the Women's Club at Boston.
 
 294 Histo7'ical Handbook of Italian Sadphtre. 
 
 tion ■which impair his style, and like the frog in the fable, 
 burst from over- dilation. The pretentious grandeur of their 
 works makes their weakness conspicuous. After a Michelangelo, 
 a Bandinelli was inevitable. His Hercules and Cacus, with 
 its blustering vulgarity, its swollen muscles, and its back which 
 Cellini compared to a sack filled with chestnuts, is an epitome 
 of Michelangelo's defects. ''"^ The immediate scholars of Michel- 
 angelo were not, like Bandinelli, men of remarkable talent. 
 Their best works, the SS. Cosmo and Damian, which flank 
 the Madonna in the Medici Chapel, were executed under the 
 master's eye, and with his direct assistance. He retouched the 
 St. Cosmo of Fra Giovan Angelo Montorsoli, and modelled 
 both the head and hands in clay,f and may have done as much 
 for the St. Damian of Raffaelle da Montelupo, ;|: whom he em- 
 ployed to finish the statues of Eachel and Leah for the tomb of- 
 Julius II. The dissatisfaction with which he regarded them is 
 not to be wondered at, considering what they are as compared 
 with what they might have been had he fulfilled his promise of 
 finishing them himself, which he was prevented from doing by 
 stress of occupation. In accepting them, Michelangelo drained 
 the last drops of the bitter cup which Julius II. held to his lips. 
 Architecturally, the Medici Chapel is cold and uninteresting. 
 Such effect as it has is derived from the skill with which the 
 monuments are connected with the architecture by the great 
 sarcophagi, which are so placed that the heads of the grand 
 allegorical figures upon them rise just above the line of the 
 Burbase running round the walls, and by their combination 
 with the portrait statues in the niches above them form pyra- 
 midal compositions on either side of the chapel. It is unfair, 
 however, to judge it from its present appearance. When the 
 dome was decorated with arabesques, and the panels below it 
 were enriched with stucco work by Giovanni da Udine, it 
 doubtless wore a very different aspect. 
 
 * The block of marble whicb Bandinelli used for this group had been 
 assigned to Michelangelo in 1528 by the magistrates of Florence for a 
 group of Samson slaying a Philistine. 
 
 t Montorsoli's bas-reliefs and statues at Genoa, Kaples, and Messijia 
 have little individuality. 
 
 X Other works of E. da Montelupo are the Prophet and Sybil on the 
 tomb of Julius II. at San Pietro in Vincoli. For this artist's auto- 
 biography, see the next chapter
 
 ]\Iichclangelo. 295 
 
 Among Michelangelo's works is a grand, though unfinished, 
 bust of Brutus.* The shape of the head fully corresi)onds to 
 the expression of the face, which is stern, defiant, and resolute. 
 The exact date of this work, and the circumstances under which 
 it was commenced and abandoned are not known, but it was 
 probably begun shortly before the assassination of Alessandro de' 
 Medici, as a relief to feelings under whose influence the artist 
 thought of Brutus only as a passionate lover of liberty, and 
 given up when the dagger of the " Tuscan Brutus " laid that 
 ignoble Ca3sar low, and brought before him the nature of such 
 a deed in all its heinousuess.f His residence at Florence 
 during the latter part of Clement's reign was anything but 
 agreeable, on account of the suspicion and dislike with which 
 Alessandro de' Medici regarded him, and he was anxious to 
 go to Rome, both because he wished to fulfil his contract Avith 
 the Duke of Urbino, and because, should the Pope die while 
 he was within Alessandro' s reach, he had reason to fear the 
 result, j 
 
 As Clement refused to give him leave of absence, and ordered 
 him, under pain of excommunication, to devote his time 
 wholly to the Medici Chapel and the Laureutian Library, § 
 he remained at his post, with the exception of one or two 
 flying visits to Kome, until September, 1534, when, having 
 completed all necessary arrangements for the prosecution of 
 the work at Florence by his assistants, he hurried there, and 
 arrived only two days before the Pope breathed his ]ast.|| 
 Condivi says that it was well for him that he was then out 
 of the Duke's territory, though he incurred the risk of enter- 
 ing it by returning to Florence almost immediately to look 
 after his workmen, who were thrown out of employment when 
 
 * The bust, which is at the Uffizi, bears the following inscription: — 
 
 " Dum Bruto effigiem sculptor de marmore ducit 
 In mentem sceleris venit et abstinuit." 
 
 f Wilson (op. cit. p. "234) says it was begun for Cardinal Ridolfi. 
 
 X The Duke was especially angered with Michelangelo because he 
 refused to select a site for a fortress which he wished to build at 
 Florence, with the view of overawing the people, and strengthening his 
 government. To forge chains for tyrants' use was no work for a majc 
 like jNIichelangelo. 
 
 § A brief to this effect was issued on November 11, 1531. 
 
 11 September 25, 1534.
 
 296 Historical Handbook of Italian Sciilptui'e, 
 
 within a fortnight of completing the ceiling of the Medici 
 Chapel. The new Pope, Paul III., whose election took place in 
 December, was a Farnese, and indifferent to the posthumous 
 glory of the Medici. As little did he care for that of the Delia 
 Rovere, so that when he summoned Michelangelo back to Rome 
 it was not to bid him finish the monuments of Lorenzo and 
 Giuliano, and the Laurentian Librar}', nor to allow him to work 
 upon the monument of Julius II., but to carry out a scheme 
 conceived by his predecessor, which would reflect glory upon his 
 own reign. He knew that designs for a fresco of the Last 
 Judgment, to be painted in the Sistine Chapel, had been pre- 
 pared for Clement's acceptance, and when he went to Michel- 
 angelo's studio to see them it was with the determination that 
 they should be used immediately. 
 
 Among the cardinals who accompanied him was his Eminence 
 of Mantua, who on beholding the Moses, declared it to be in 
 itself a sufficient monument to Julius 11. Seizing this idea, 
 the Pope overruled the plea of Michelangelo that he must com- 
 plete his contract with the Duke of Urbino before he could 
 undertake to paint the Last Judgment, and promised to persuade 
 the Duke to content himself with the Moses and two other statues 
 as a final arrangement. Preparations for the fresco were actively 
 carried on during the following year, and he commenced it in 
 September, 1534, as chief architect, sculptor, and painter to 
 the Pope, with an annual salary of twelve hundred golden 
 florins.* For the next seven years it occupied his thoughts^ 
 and formed the chief object of his labours. Regarded as his 
 masterpiece by contemporary critics, by those of our own time 
 it is placed lower in the scale of his works than the stupendous 
 frescoes of the ceiling above it ; not that any sign of waning 
 power is visible in it, either in conception or execution, but 
 that the subject is one which demanded incompatible qualities 
 for anything approaching adequate treatment. As paintei-, all 
 Michelangelo's work after the Last Judgment has but a 
 retrospective interest, and so also as sculptor after the Moses 
 and the tombs of the Medici, f but as architect and poet he rose 
 
 * The brief of nomination is dated September 1, 1535. For text sac 
 Gotti, op. c\t. vol. ii. p. 123. 
 
 t Among bis later works are tVie almost shapeless Pieta in the court- 
 yard of the Palazzo Fevoli at Rome, and that in the Barberini Palace at
 
 ]\IicIiclangclo. 297 
 
 in his latter years to new heights of distinction, and as a man 
 grew daily in all qualities calculated to command respect and 
 veneration. 
 
 In 154G Michelangelo succeeded Antonio da Sangallo as head 
 architect of St. Peter's Church, and completed his commenced 
 restoration of the "Palazzo" Farnese hy adding a fine cornice of 
 classical design, by building the great windows over its princi- 
 pal doorway, and by projecting a bridge across the Tiber to units 
 the Farnese with the Farnesina. These works were carried on 
 simultaneously with those at St. Peter's, of which he received 
 the official charge by Papal brief issued on New Year's Day, 
 154;7, when he was seventy-six years old. He accepted it with- 
 out salary, so that he might act with absolute independence, 
 and he kept it until a few months before his death at the age of 
 eighty-four, never faltering in the discharge of a duty which he 
 looked upon as sacred. Neither the pressing invitations to visit 
 Florence which he received from the Duke of Tuscany, nor the 
 solicitations of his friend Vasari, availed to turn him from it. 
 " I should love," he writes to him, " to lay my bones near those 
 of my father, as you urge me to do, but did I leave Eome at 
 present, I should be the cause of great harm to St. Peter's and 
 bring disgrace upon myself, and commit a grievous sin." 
 
 Michelangelo's chief desire was to finish the building so far 
 that no one could alter the design. Abused and opposed as ho 
 was by the " Sangallo sect," he had no little reason to fear that 
 this would happen in case he was removed by death before he 
 had made a change of plan impossible, and he therefore re- 
 mained at his post firm and unmoved, like a rock amid the 
 breakers. 
 
 Three years after he assumed the direction of the works 
 the naves and transepts had been roofed in, the external eleva- 
 tion fixed, the two great stairways completed, and the founda- 
 tions of the great piers under the dome, as well as the four 
 arches upon which it rests, strengthened.'^ This was necessary, 
 
 Palestrina, in which the shoulder and head of the Christ and the hand of 
 the Virgin are finely worked out. His last unfinished work, begun during 
 the reign of Julius III., 1555, is the group of Nicodemus and the 
 Magdalen supporting the body of Our Lord, while the Virgin faints from 
 grief. 
 
 * A ri?.re engraving, representing a tournament iu the court of the 
 Vatican under Pius IV., not mentioned by Bartsch, but attributed to
 
 298 Historical Handbook oj Italian SaUpture. 
 
 as the dome, instead of being a half-sphere, as Bramanto 
 projected it, is a double drum composed of two thin shells 
 connected by interposed bands, like the famous cupola of Bru- 
 nelleschi at Florence.* " lo la faro piu grande si, ma non piu 
 bella," he said, when asked if he hoped to surpass that admir- 
 able model. The result showed that he had under-estimated 
 his powers, for the dome of St. Peter's is not only larger, but 
 finer in eflect and more perfect in its proportions than that of 
 its rival at Florence. At certain hours the flood of light which 
 pours into the church from the sixteen windows with which 
 it is pierced, streams like a banner of golden vapour across 
 the chancel, bathing the great Baldacchino in its splendour. 
 Then if you look up into the overhanging vault, you will 
 seem to be gazing into the spacious firmament, so vast, so 
 luminous, and so lofty does it appear. Disturbed by many 
 inharmonious details of ornament, fretted by the tortured and 
 twisted draperies of the statues with which Bernini and his 
 scholars have filled the surrounding niches, and annoyed by 
 the white marble cherubs in medallions with which the great 
 pillars of the nave are spotted, you have perhaps confessed 
 yourself disappointed in the great Basilica, but now, under 
 the full impression of its crowning glory, the part stands for 
 the whole in your mind, and it becomes to you the paragon 
 of churches. 
 
 It was a grand ending to a noble career, this enrichment of 
 
 Jacob Binck by Passavant (ie Peintre Graveur), vol. iv. p. 96, Appendix 
 No. 3, shows the condition of St. Peter's about 1555. The arches and 
 piers under the dome are visible through the open walls at the apsidal 
 end of the church. The drum of the dome is .about two-thirds finished, 
 the cupola not yet commenced. 
 
 * So late as 1556, on his return to Eome after a short absence at 
 Spoleto, Michelangelo, yielding to the solicitations of his friends, who 
 feared that he might die and leave behind him neither drawing nor model 
 of the cupola, made a small model of it in clay, and some working draw- 
 ings. By the help of these Giovanni Franzes, one of his workmen, 
 constructed the wooden model, sixteen feet high and twelve feet eight 
 inches in diameter, now preserved at Rome in the Archivio della Fabbrica 
 di San Pietro. Gotti {op. cit. p. 324) says that subsequent architects 
 altered the exterior of the cupola, but that the interior is exactly as 
 Michelangelo designed it. This is also stated by Milanesi, p. 333, Note 2 
 to Letter cccir. Michelangelo refers in this letter, addressed to his 
 nephew, to the model as about to be made.
 
 Michelangelo. 299 
 
 the first of Christian temples with a dome so loftily enthroned 
 upon its pedestal that it is the first object seen by the tfaveller 
 on his approach to Rome, and the last upon which his eyes 
 rest when he leaves it. If you traverse the city until you 
 reach its extreme limits, or drive miles away from its gates 
 upon any of the great roads which cross the Campagna, so long 
 as no hill intervenes to shut it out, so long will you see the 
 mighty cupola of St. Peter's, so long will you have the name of 
 Michelangelo upon your lips. 
 
 At Eome, like this noble creation of his genius, he is 
 rarely out of sight. The Sistine Chapel, the Campidoglio, 
 the Farnese Palace ; the noble church of Santa Maria degli 
 Angeli, which he shaped out of the ruins of Diocletian's Baths ; 
 the cypresses which he planted in the midst of the adjoining 
 cloisters, where they mirror their sombre foliage in undisturbed 
 waters; the deserted villa of Pope Julius III., near the Arco 
 Scuro, which he designed ; the monument of Julius II. at San 
 Pietro in Vincola, vdiich cost him so many years of trouble and 
 disappointment ; the Pieta at St. Peter's, which he sculptured ; 
 the Torso of the Belvidere, which he so much admired ; the 
 Laocoon, which he restored ; the Porta Pia, which he built ; the 
 house near -the steps of the Capitol, where he once lived ; and 
 the little church of San Silvestro on the Quirinal, where he held 
 converse Avith Yittoria Colonna,* — these are but a few of the 
 many objects which recall him to our minds as we tread the 
 streets of the Eternal City. 
 
 The period during which he lived in almost daily intercourse 
 with this " lady both great and good " may be compared to the 
 Indian summer which beneficently stays the winter's coming, 
 and as it sheds its warm glow over the landscape, cheats us 
 into the belief that ice and snow are illusions, and cold blasts 
 not inevitable evils. Their friendship probably began between 
 1536 and 1538, when Michelangelo was frequently at Ptome, 
 though possibly a few years earlier. f Vittoria Colonna was then 
 living, by Papal permission, in the convent of " San Silvestro 
 in Capite," where she had retired wdth the intention of taking 
 the veil after the death of her ever-lamented husband, Alfonso 
 d'Avalos, on the battle-field of Pavia. Being unable to obtain 
 
 * Daughter of Fabrizio Colonna and Agnese da Montefeltro. 
 t Gotti (op. cit. vol. i. p. 231) says they met as early as 1532.
 
 300 Historical Handbook of Italian Sculpture, 
 
 tlie Pope's consent to this step, she contented herself with 
 a life of seclusion in a religious house at Rome or Viterbo, 
 where she could "weep, pray, study, and write poetry, and 
 whence she could lend a helping hand to the needy." In these 
 pious, intellectual, and charitable exercises she passed the re- 
 mainder of her existence, cheered by frequent converse with 
 the great artist, between whom and herself existed " a firm 
 friendship and a most unchangeable affection, bound in a 
 Christian knot."* The topics discussed at their interviews 
 were for the most part of a religious nature, but occasionally, 
 as we are told by FranQois de Hollande, art and philosophy 
 also engaged their attention. f Valuable as the Diary of the 
 Portuguese painter i<5 as the only record of Michelangelo's 
 opinions upon subjects connected with his profession, it does 
 not compare in interest with his own letters and sonnets to the 
 Marchesa, which, in language perfectly suitable to their respec- 
 tive rank and age, tell us of his deep attachment to her, and 
 prove the great influence which she had in shaping his religious 
 opinions. 
 
 Knowing what a foothold the Pieformers had gained in Italy 
 at a time when, as stated in the rescript of Clement YII,, both 
 the laity and the clergy were affected by Lutheran doctrines, 
 and having the testimony of Giannone as to the powerful effect 
 of the sermons of Valdez, the Spaniard, and Ochino, the con- 
 verted Capuchin friar, upon many men and women of high 
 rank, we cannot doubt that Michelangelo shared the general 
 feeling as to the necessity of a radical reform in the Roman 
 Catholic Church, and looked, like them, upon the calamities 
 which had fallen upon Rome and Florence as direct judgments 
 of Heaven for the corrupt lives of the clergy and the abuses 
 of the Papal court. Though he does not recant any of the 
 
 * Letter from Vittoria Colonna to Michelangelo, dated July 20, 1546. 
 
 t Fran(;ois de Hollande, the painter, was an art pensioner of Don 
 Giovanni III., King of Portugal, at Eome. The authenticity of his 
 manuscript diary, written in 1549 and first pubhshed by Count Raczynski 
 in a work entitled Les Arts en Portugal (Renouard, 1846), cannot reason- 
 ably be called in question ; and so far as the fact of his being Michel- 
 angelo's friend goes to prove it, is substantiated by a letter dated Lisbon, 
 August 15, 1553, preserved in the Buonarroti archives, which was 
 •written by Francois to the great artist six years after he left Home. 
 {See Gotti, op. cit. vol. i. p. 245.)
 
 Michelangelo. 301 
 
 Ptomisli dogmas in his letters or his sonuets, some of the latter 
 are Protestant in spirit, in so far as they directly appeal to 
 Christ for pardon and aid.* 
 
 We shall never know how much Michelangelo was affected 
 by Protestant ideas, but that they found some favour in his sight 
 seems not improbable, if we reflect that in his youth he had 
 learned from Savonarola to look upon the Bible as the reformers 
 did, to regard the state of the Church as corrupt, and that 
 during his long residence at Rome he afterwards had ample 
 opportunity of convincing himself of the necessity of extensive 
 reforms. 
 
 In those early days he had also learned by study of the 
 philosophy of Plato to aspire to the beautiful and the good as 
 emanations from a Divine but vaguely defined source. This 
 sufficed him until, captivated by the beauty and the genius of 
 Vittoria Colonna and filled with reverence for her piety, he was 
 brought into sympathy with her religious views, and found 
 the peace for which his soul yearned. The deep affection 
 which he felt for the noble guide and friend who blessed his 
 life caused him to mourn over her death with never-ceasing 
 grief. She had been carried to the house of Giulio Cesarini, 
 her last surviving relative, from the monastery in February 
 1547, when it was known that she could not recover, and 
 Michelangelo was among those who stood beside her at the 
 last, to kiss her cold hand, and weep over it with many tears. 
 Although dead, she walked with him in spirit to the end of his 
 own life, inspiring him by her example, guiding him by 
 her precepts, and sustaining him by her well-remembered 
 counsels. 
 
 Nine years later he met with another great sorrow in the 
 death of his faithful servant Urbino (December 3rd, 1555). 
 After watching day and night by his bedside until all was over, 
 he wrote to Vasari that in this death he had received from God 
 a great favour and a great grief — a favour, because Urbino, 
 " after being the support of my life, has not only taught me to 
 die without regret, but even to desire death. He has lived with 
 me twenty-six years, faithful and perfect to the end. I had 
 enriched him, I regarded him as the support of my old age, 
 
 * (See the seventy-third Sonnet. Guasti, O'g. cit. p. 246, and as trans- 
 lated ty J. A. Symonds, op. cit. p. 110.
 
 302 Historical Handbook of Italian Sctdptnre. 
 
 and now lie has gone, leaving with me nothing but the hope 
 of seeing him again in Paradise." 
 
 On the approach of the Duke of Alva in this same year (1556), 
 Pope Paul IV. commissioned Michelangelo to strengthen the 
 fortifications of Ptome ; but having had enough of sieges at 
 Florence, and remembering the sack of 1527, he retired to the 
 mountains near Spoleto, where he dwelt with some hermits 
 until the danger had passed. 
 
 It is not astonishing that, being eighty-one years old, he 
 should have preferred the quiet of this temporary retreat to his 
 necessarily disturbed existence at Ptome, where demands were 
 constantly made upon him, to some of which he could not refuse 
 to listen. Among these were the flattering request of Catherine 
 de' Medici that he would design an equestrian statue of her 
 murdered husband, Henry II. of France,* and that of his 
 countrymen that he would make plans for the completion of 
 San Giovanni, the church of the Florentines at Piome.f Pope 
 Pius IV. also asked him to make designs for a monument to 
 his brother, the Marquis of Marignano,J to be placed in the 
 church of Santa Maria degli Angeli, and also for the Porta Pia 
 at Eome.§ As his hand now trembled so that he could not 
 draw a straight line, Michelangelo was obliged to dictate these 
 plans to Tiberio Calcagni, one of his assistants. Three years 
 before his c]eath he virtually gave up his superintendence of the 
 works at St. Peter's, though he received daily accounts of their 
 progress from his subordinates. 
 
 Early in the year 1564 it became evident that his life could 
 
 * The Queen's autograph letter is dated from Blois, November 14, 
 1559. Gotti, op. cit. vol. i. pp. 349, 350. Daniel of Volterra modelled 
 the horse under Michelangelo's eyes, and it was cast in 1565. In 1639 it 
 was placed in the Place Royale at Paris with a statue of Louis XIII. 
 upon its back. In 1793 it shared the fate of so many other royal monu- 
 ments. 
 
 t This church was begun by Antonio da Sangallo. Michelangelo's 
 designs for its completion, drawn by Tiberio Calcagni, were made in 1559 
 and 1560, but were never carried out, owing to the great expense which 
 they would have necessitated. 
 
 X This monument was executed by Leone Leoni for the Cathedral at 
 Milan. 
 
 § The contract for this gate is dated 1561. The greater part of the 
 sculpture upon it was made by Jacopo del Duca, a Sicilian sculptor, who 
 also designed the Baldacchino in the church of Santa Maria degli Angeli.
 
 Alichelangelo. 303 
 
 not be greatly prolonged, and on the ISth of February bis friend 
 Diomede Lioni wrote to Lionardo Buonarroti: "I advise you to 
 come as soon as possible from Florence, starting immediatel}^ 
 but not hurrying overmuch, because if, as God forbid, the 
 master's life is in danger, you cannot get here with the utmost 
 haste in time to find him alive ; for, owing to his great 
 age and his disease, he cannot live a great while. . . . You 
 may be certain in your absence that Messer Tommaso del 
 Cavalieri, Messer Daniele [Ricciarelli, the painter], and I will 
 not fail in our duty. Besides which Antonio del Francesco 
 [who had succeeded Urbino as manager of Michelangelo's house- 
 hold], the master's old and faithful servant, is one who will do 
 himself credit in any possible circumstances in which it may 
 please God to place him. ... To give you an account of the 
 master's condition at this moment, it being the third hour of the 
 night, I will tell you that I just now left him in full possession 
 of his faculties, but troubled with constant drowsiness. He got 
 on horseback this afternoon, according to his usual habit when 
 the weather is good, to chase it away, but the coldness of the 
 weather and the weakness of his head and limbs made it impos- 
 sible for him to ride, and he returned to his chair by the fire, 
 w^hich he much prefers to his bed." Two days later another 
 letter was despatched to hasten the coming of Lionardo, and on 
 the next day, February 18th,* the great artist breathed his last 
 with these words upon his lips : "I give my soul to God, my 
 body to the earth, and my worldly goods to my nearest relations, 
 charging them through life to keep in remembrance the suffer- 
 ings of Jesus Christ." f 
 
 The feelings with which he met death breathe in the beautiful 
 sonnet to Yasari, written ten years before it came to set his 
 spirit free : — 
 
 " The course of my long life has reached at last, 
 In fragile baric o'er a terapestnous sea, 
 The common harbour, where must rendered be 
 Account of all the actions of the past. 
 The impassioned fantasy, that, vague and vast, 
 
 * M. de Montaiglon (op. dt) says he was exactly eighty-eight years 
 ind fifteen days old. 
 t Yasari, vol, xii. p. 269.
 
 304 Historical Handbook of Italian Sculpttwe, 
 
 [RFade art an idol and a king to me, 
 
 Was an illusion, and but vanity 
 
 "Were the desires that lured me and hai-assea. 
 
 The dreams of love, that were so sweet of yoro. 
 
 What are they now, when two deaths may be mine. 
 
 One sure, and one forecasting its alarms ? 
 
 Painting and sculpture satisfy no more 
 
 The soul now turning to the Love Divine 
 
 That oped, to embrace us, on the cross its arms."* 
 
 Lionardo Buonarroti arrived at Rome three days after tlio 
 death of his uncle, as we know from the letter written hy Daniel 
 of Volterra to Yasari, which also informs us that in accordance 
 with the express wish of Michelangelo he ordered that the body 
 should he removed to Florence. So great, however, was the 
 love of the Romans for the illustrious dead, and so desirous was 
 the Pope to give his remains the peculiar honour of burial at 
 St. Peter's, that it was found necessary to send the corpse to 
 Florence as a bale of merchandise. It remained at the Custom- 
 House until the 11th of March, when it was transferred to the 
 church of San Piero INIaggiore preparatory to its removal to 
 Santa Croce. The funeral obsequies were celebrated, with the 
 utmost pomp and circumstance, at the church of San Lorenzo, 
 under the direction of Vasari, Bronzino, Cellini, and Ammanati, 
 deputed for that purpose by the Academy of Artists, and the 
 oration was pronounced by Benedetto Varchi. 
 
 That Duke Cosimo should do everything in his power to make 
 the ceremonies memorable, and that all the artists in the city 
 should assemble to do honour to him whom they regarded as 
 their chief, was to be expected, but no one could have foretold 
 how universal a homage would be paid to Michelangelo by the 
 people of his native city. *' Perceiving the intense feeling 
 of the multitude, and thinking that it would content many," 
 says Grazzini in his account to the deputies already referred to, 
 ** the prior, who, as he afterwards confessed, desired to see him 
 
 * Sonnet Ixv., written to Yasari and sent to him with these lines: — 
 " My dear Messer Giorgio, you will say that I am old and mad to write 
 sonnets ; but as many say I have fallen into second childhood, I have 
 chosen to do what I can, etc. 19th September, 155-t. Your Michel- 
 agniolo Buonarroti at Eome." Translated by Longfellow, January 2S, 
 1874. Esequie, etc. p. 27.
 
 Michelangelo. 305 
 
 dead ■whom he had never seen living, or had seen when so young 
 that he had hardly any recollection of his appearance, decided 
 to have the coffin opened, which, as you will believe, met the 
 wishes of all ; so, entering into the sacristy, he gave the neces- 
 sary orders. Both he and we expected to find the body in a 
 state of decomposition, as it had lain in the coffin twenty-two 
 days or more, and had been dead twenty-five, but when it was 
 opened no bad odour came fi-om it, and you would have sworn 
 that it was lying in a sweet and most quiet sleep. The lines of 
 the face and the complexion, saving a somewhat deathly pallor, 
 were unchanged, no limb was injured, or in any way disagree- 
 able to look upon, and when we touched the head and cheeks, 
 as all did, to our wonder we found them flexible and natural, as 
 if life had departed but a few hours before." 
 
 Thus the last impression of Michelangelo's face was solemn 
 and peaceful, and since, as so often happens after death, many 
 deeply furrowed lines had disappeared, wore a more youthful 
 appearance than in life. We could wish that for us also some 
 marks of suffering and disappointment might be smoothed 
 away from it by the discovery of a likeness of him in his 
 youth, so that we could know how he looked before he had 
 fought his battle and won his crown. Were such a portrait 
 found, the world would greet it with the same feelings of delight 
 with which it greeted the recovered portrait of the young Dante, 
 painted by Giotto on the wall at the Bargcllo before the sorrows 
 of exile had left their deep and solemn impress upon his well- 
 known features. Without such aid the utmost effort of imagin- 
 ation cannot avail to smooth out the wrinkles, straighten the 
 crushed nose, fill out the sunken cheeks, and give colour to the 
 whitened locks of Michelangelo, and he must ever be thought of 
 as a man advanced in years and burdened with care. Not that it 
 would be desirable to exchange these evidences of past struggles 
 for the fresh smoothness of youth, for they are precious records 
 of the efforts which made him what he was, but that we would 
 also gladly know how he looked before he entered upon them, 
 if only to estimate their intensity. So standing upon a battle- 
 field where a nation had lately won its freedom, we should not 
 desire to obliterate the deep ruts made by cannon wheels, and 
 the marks of the trampling hoofs of victorious legions, and 
 restore the once green expanse to its former smoothness at tho
 
 3o6 Historical Handbook of Italian Sadptttre. 
 
 cost of effacing the memory of brave deeds there done, but we 
 might wish to have seen it as it once was, the better to estimate 
 the price which brave men there paid for victory. 
 
 Condivi tells us that Michelangelo was somewhat sickly in 
 his younger days, and describes him in his seventy-ninth year 
 *' as of middle height, with broad shoulders and thin legs, hav- 
 ing a large head, a face small in proportion to the size of his 
 skull, a square forehead, full temples, high cheek-bones, and a 
 nose made flat by the fist of that beastly and proud man, Torri- 
 giano de' Torrigiani." " His lips," he adds, " are thin, and the 
 lower being the larger, appears to protrude slightly when his 
 face is seen in profile. His eyebrows are sparse ; his eyes small, 
 grey, spotted with yellow and blue lights, and ever varying ; his 
 ears of just proportion ; his hair, once black, is streaked with 
 grey, as is his thin, forked beard, which is four or five fingers' 
 breadth in length."* In all important particulars the portraits 
 known to usf corroborate the exactness of this description. Even 
 in youth the face can never have been handsome, though its 
 energy, earnestness, and intelligence must at all times have 
 made it interesting, as it is the face of a man who would put his 
 will into W'hatever work he had on hand, making that for the 
 time his one object in life. This, indeed, Michelangelo did in 
 all relations and occupations, for whether we look at him as 
 
 * Yita di Michelangelo, pp. 57, 58. Compare Vasari's description, 
 vol. xii. p. 270. 
 
 + In a valuable pamphlet by Mr. C. Drury Fortnum on an original 
 medal by Leo Leone, which contains a complete list of all the portraits of 
 Michelangelo, he says that only seven, including busts, medals, and paint- 
 ings, can be considered authentic likenesses, namely : 1. A bronze bust 
 at the capital supposed to be by Daniel of Volterra. 2. A posthumous 
 bust in mai'ble modelled from a mask taken after death. 3. Leo Leone's 
 medal, of which Mr. Fortnum owns the wax original, which he dis- 
 covered and identified. 4. A figure in the foreground of Daniel of Vol- 
 terra's fresco of the Assumption of the Virgin in the church of Santa 
 Trinita at Rome. 5. A head painted by Marcello Venusti in his copy 
 of the Last Judgment. 6. A portrait by the same painter at the Casa 
 Buonarroti. 7. The engraving by Giulio Buonasoni which forms the 
 title-page to Condivi's Life. To thes-e may be added the portrait by 
 Franc^ois de Hollande, discovered by M. Charles Graux at the Escurial, 
 of which M. Miintz has published a fac-simile in a pamphlet entitled 
 Vno rivalite d" Artistes cm XVI' Siccle, extracted from the Gazette des 
 Beaux Aj-ts, March and April^ 1882.
 
 Michelangelo. 307 
 
 artist, patriot, son, brother, or friend, we see that his whole soul 
 was absorbed in present Avork. In all respects he was one of 
 the most remarkable men the world has known, so multiple 
 were his intellectual gifts, so admirable were his moral attri- 
 butes. 
 
 As an artist, without regard to his influence, for which he can 
 hardly be held responsible inasmuch as he worked himself out 
 according to the imperious necessities of his stronj]: nature, we 
 wonder at and admire him ; but we feel that art paid dearly for 
 Michelangelo when we turn our eyes from his works to those of 
 his scholars, who aped his exaggerated deA'elopment of form, 
 without having that knowledge of anatomy which alone saved it 
 from being absurd, and who taking contorted limbs and impos- 
 sible attitudes, which were signs of superabundant strength in 
 their master, to be essential elements of the sublime, produced 
 shapes simply monstrous and irredeemably bad. None escaped 
 the *' maniera terribile" of the great Tuscan, not even Raphael, 
 whose early death perhaps saved him from a more complete 
 abandonment of those pure doctrines, which he had learnt from 
 his Umbrian master. 
 
 We are not prepared to say what fate would have befallen sculp- 
 ture had Michelangelo never lived, for signs of decay are visible 
 in artists who were old men when he was born, such as Polla- 
 juolo, whose exaggerated style is unredeemed by any sublime 
 element, and many others who enjoyed great reputation con- 
 temporaneously with himself, such as Andrea Sansovino, of whose 
 evil tendencies the bas-reliefs upon the Santa Casa at Lore to 
 are sufficient examples ; but as Michelangelo was far stronger 
 than these men, his power for good or for evil upon his times 
 was proportionably greater, and as his peculiarities were especially 
 marked and imitable, while his sublimity was unattainable by 
 men of inferior stamp, he above all others did harm in his day 
 and generation. 
 
 To appreciate how much art fell away in the first half of the 
 sixteenth century, we have but to remember that while Brunel- 
 leschi and Alberti were the great architects before Michelangelo, 
 Vignola and Fontana filled their places after his death ; that in 
 sculpture, Desiderio and Mino were then represented by Bandi- 
 nelli and Montorsoli ; and that in painting, Ghirlandajo and 
 Perugino had been replaced by Vasari and Pontormo. 
 
 X 2
 
 3oS Historical Handbook of Italian Sailptnre 
 
 Could Michelangelo have passed like a comet through the sky 
 without affecting the lesser lights, our admiration of him would 
 have been unmingled with the regret that so much genius and 
 power did not work for good upon his successors. 
 
 Cdtiu (D7 UiciieLiagelo. South Kcusingtou lluseunU
 
 309 
 
 CHAPTEli m. 
 
 BANLINELLT, AMMANATI, EAFFAELLO DA MONTELUPO, LOEENZETTO, 
 MONTOKSOLI, CELLINI, AND GIAN BOLOGNA. 
 
 The life of Miclielaugelo, recounted in the last chapter, has 
 brought us far into the second half of the sixteenth century, 
 and we must now retrace our steps to consider a group of 
 sculptors especially associated with the reigns of the Duke 
 Cosimo I. and his son, the Grand Duke Francesco, whom he 
 more or less influenced. The proverb "like master, like 
 man " is here fully applicable, for these rulers were as 
 inferior to the great Cosmo, Pater Patrite, and Lorenzo the 
 Magnificent, as the sculptors of their time, Bandinelli, Baccio 
 da Montelupo, Montorsoli, Tribolo, Ammanati, and Cellini 
 were inferior to those whose names shine in the art-annals of 
 the first Medicean princes. Like the first, the second Cosmo 
 strove to make himself the centre of cesthetic culture, and did 
 much to promote arts and letters in a half-ruined kingdom, but 
 ho had neither the taste, the culture, nor the knowledge requisite 
 to take the position occupied by his preVlecessors, nor, indeed, 
 had he been their equal in these respects, could he have done 
 what they did with the inferior material at his command. 
 
 In a sonnet entitled " The Dream of Benvenuto," Cellini 
 says tliat in his sleep he heard the Muse of Painting lamenting 
 that her lamp had gone out, and left her in the dark.* This 
 lamp (he explains) is sculpture, " which all the best painters 
 have used before beginning to paint, when modelling the figures 
 for their pictures in small, and Avith its aid, as our great Michel- 
 angelo has said, have shed light around them. Thus did 
 Masaccio by his frescoes in the Carmine at Florence ; Lionardo 
 
 * Michelangelo in a letter to Varchi says, " A me soleva parere che la 
 BcuUura fosse la lanterna della pittura." — Lett. Pitt., Bottari, vol. i 
 p. 7.
 
 3IO Historical Handbook of lialian Sailphire. 
 
 da Vinci by his works at Florence and Milan ; and our sculptor, 
 painter and architect Michelangelo by his at Eorne ; and after 
 their death, Painting weeps over her decay, and having become 
 blind, lives groping her way," " Furthermore," says Cellini, " I 
 saw Sculpture and Architecture in an equally miserable plight, 
 wandering in the dark, and weeping together at the feet of the 
 great Michelangelo, who burdened with his eighty-five years had 
 grown powerless to succour, although he greatly pitied them. 
 Thus abandoned, they turned in a despairing mood to that noble 
 demigod Hercules, castigator of the evil creatures of the earth, 
 and called three times upon him for aid. At the third summons 
 Hercules answered, that he had once come in a marble shape, 
 when called by Bandinelli, and had been so dreadfully mis- 
 represented and maltreated, that he did not wish again to 
 descend into such benighted regions, ' though it is true,' he 
 added, ' that had I been called by that artist Avho made the 
 statue of my nephew Perseus, I might have consented ; but as 
 he has not called me, I prefer to keep company with these poor 
 abandoned ones. Sculpture, Architecture, and Painting, and to 
 join my lamentations to theirs in these words, Alas ! we are 
 lost ! no one can save us.' " 
 
 It is hardly necessary to explain to the reader that the artist 
 who so pleased Hercules by the statue of " my nephew Perseus " 
 was Cellini, and that he who so dreadfully misrepresented the 
 demi-god as to make him reluctant to return to earth in a 
 marble shape was Ba^cio Bandinelli, in a group of Hercules 
 and Cacus of which we shall speak presently.* Born at 
 Florence in 1487, the son and pupil of Michelangelo di Viviano 
 da Gaiuole,f one of the best goldsmiths in Florence, Baccio 
 Bandinelli grew up an ill-tempered, envious, and ill-mannered 
 person, who quarrelled with everybody and was the butt of 
 the time. Numerous drawings at the Louvre, the Uffizi and 
 
 * Or ill a Hercules which he modelled for the Loggia do' Lanzi when 
 Pope Leo X. visited Florence. 
 
 t Gy.iiiole is a small town between Florence and Siena. Michelangelo 
 di Viviiiiio was employed at the Mint, and highly i-eputed as a niellist, 
 enamellist, and goldsmith. He was the master of ]3envenuto Cellini, 
 and a devoted adherent of the Medici. When Piero de' Medici fled from 
 Florence in .1401-, he confided many precious articles to the care of this 
 artist, wlio returned them intact to the Cardinal Giovanni on the 
 restoration of his I'amily to power in 1512.
 
 Baccio Bandindli. 311 
 
 in other collections, prove his ability and- skill as a draughts- 
 man, but little evidence of talent is to be found in his marbles, 
 ^vhich are for the most part detestable. An insane desire to 
 be more Michelangelesque than IMichelangelo pursued him 
 through life, and in the attempt he only succeeded in making 
 himself ridiculous and obnoxious. Despite every advantage for 
 forming a pure style in his youth, he went hopelessly wrong, 
 and both as sculptor and as man left behind him the worst of 
 reputations. Most of the charges brought againsb him appear 
 to be well authenticated, but the evidence of his having 
 secretly destroyed Michelangelo's cartoon of the battle of 
 Pisa is far from being conclusive. Vasari in his life of 
 Baccio says that he cut it in pieces in 1512, and in that of 
 Michelangelo that he did so in 1517, but this is impossible 
 as Cellini made drawings from it in 1518, and had Baccio 
 committed the dastardly act at a later period, he would have 
 been charged with it in the autobiography of one who hated 
 him, as much as he loved Michelangelo. Cellini's silence 
 corroborates Condivi's statement that no one knows how it was 
 destroyed. 
 
 Baccio is said to have made some admirable studies from 
 the rival cartoon of Lionardo da Vinci Avhich hung near it in 
 the Palazzo Vecchio, and his success may have induced him to 
 attempt painting under Andrea del Sarto and II Piosso, though 
 on finding that he had no talent for it he quickly abandoned 
 that art for sculpture. His first statue, a St. Jerome, was, we 
 are told, commended by Lionardo da Yinci, whom Baccio met 
 frequently in the studio of Piustici where he studied, and his 
 next, a Mercury, sold to Francis I. who valued it most highly. 
 These works brought him into favour with the Cardinal Gio- 
 vanni de' Medici, his brother Giuliano, and Duke Cosimo, and 
 obtained for him a commission to sculpture a statue of St. 
 Peter for the Cathedral (1514). In the next year, when Leo X. 
 made his entrance into Florence, Baccio modelled a colossal 
 figure of Hercules to be set up under one of the arches of the 
 Loggia de' Lanzi, and was roundly abused, not only because it 
 was very bad, but also because he had boasted that it would 
 eclipse the David of Michelangelo. 
 
 After the Pope returned to Fiome, Baccio followed him thcro 
 with a sketch for a statue of David, hoping to receive a com-
 
 312 Historical Handbook of Italian Sculptitre. 
 
 mission for it, but his Holiness who had seen the Hercules set up 
 in his honour at Florence, preferred to employ him otherwise, 
 and to get him out of the way sent him to Loreto to work under 
 Andrea Sansovino upon the bas-reliefs for the Santa Casa.* 
 In a few months, having quarrelled with his associates, lie was 
 again knocking at the doors of the Vatican, and Leo X, who 
 had imprudently promised Charles V. when they met at Bologna 
 to make him a present of the Laocoon, thought that he could 
 not do better than to have a copy of it made by Baccio to be 
 sent to the Emperor in lieu of the original. It was far 
 advanced when Leo X. died, but not finished until after the 
 accession of Clement VII. who liked it so much that he sent it 
 to Florence to be set up in the court of the Medici Palace, whence 
 it was subsequently removed to the Uffizi. Baccio now boasted 
 that he had surpassed the antique, and was held up to ridicule 
 in a caricature (attributed to Titian) of three apes writhing in 
 the coils of a serpent. In 1527, when his friends the Medici 
 were banished for the third time, his position at Florence 
 became quite untenable, and after burying some antique bronzes 
 and cameos belonging to them at Pizzidimonte where he had a 
 villa, he betook himself to Lucca, whence on their return to 
 power he came back to live in the Medici Palace, and to play the 
 spy upon his Ptepublican fellow-citizens for the Pope's benefit, 
 and their detriment. 
 
 He was at this time (1534) blocking out a group of Hercules 
 and Cacus in a piece of marble, which on its way from Carrara 
 to Florence had fallen into the Arno, where a witty poet said 
 that it had drowned itself rather than submit to the terrible 
 alternative of being hacked to pieces by Bandinelli.f Good 
 judges considered it to be "one of the finest pieces of marble 
 ever brought to Florence, and the group made out of it the 
 very worst group ever executed there," | while the rhymsters 
 signalized its vulgarity, pretentiousness, and bad modelling, 
 
 * Serragli afSrms that Bandinelli completed the bas-relief of the 
 iTativity for the Santa Casa in 1531, wherefore he must have gone there 
 twice, if, as asserted by Vasari, he worked under Andrea Sansovino while 
 Leo X. was Pope. 
 
 t In a Latin epigram by Gio. Kegretti, which was printed in the 
 Viaggi fcr la Toscana di Gio. Targioni, vol. ii. p. 42. 
 
 J The stetch for this figure is supposed to be that in the Museum at 
 South Kensington.
 
 Baccio DandinellL 313 
 
 in their epigrams. When Baudinelli complained of them to 
 the Duke in Cellini's presence, ho amused himself by quoting 
 their remarks to this effect : " They say that if you shaved 
 the head of Hercules, you would find a skull too small to 
 hold any brains ; that his face is a cross between that of a 
 lion and an ox ; that he does not attend to what he is about ; 
 that his head is badly set uj)on a pair of shoulders which look 
 like the cross-trees of an ass's pack-saddle ; that the muscles 
 about his breasts were copied from a bag of melons set up 
 against a wall ; that no one can tell how his legs are stuck on to 
 his wretched body, nor on which of them he rests his weight, 
 or if on both that he is quite out of the perpendicular ; that 
 the action of his arms is awkward, and that they in no wise 
 resemble nature ; that the right legs of Hercules and of Cacus 
 are stuck together so closely that if they were separated, not 
 only one, but both, would be left without calves ; and lastly, 
 that while one of Hercules' feet is sunk in the ground, the 
 other looks as if he had fire under it." Those who have seen 
 this group on the Punghiera of the Palazzo Vecchio will hardly 
 think the criticism too scathing, and considering its defects 
 and the state of public feeling in regard to Bandiuelli, it is no 
 wonder that the Duke hesitated about setting it in its place, or 
 that he was obliged to preserve order by military force through 
 Clement Vll.th's influence, when he decided to do so. As the 
 Pope knew Baudinelli to be the devoted servant of his family, 
 and thought that as such he ought to be patronized by the Medici 
 however bad his sculpture might be, he not only helped him at 
 Florence with the Duke, but called him to Rome to make his 
 own monument and that of Leo X. for the church of Sta. Maria 
 sopra Minerva. Baccio served him in a thoroughly mercenary 
 spirit, as might have been expected, and hurried back to Flor- 
 ence before his work was done to begin the statue of the 
 Duke's father, Giovanni delle Bande Nere, which has long dis- 
 figured the Piazza di San Lorenzo. This heavy, unmeaning, 
 ill-proportioned and unfinished figure is mounted on a square 
 pedestal enriched v»ith Ionic columns and festoons, and adorned 
 with a poor and pretentious bas-relief of the hero passing sen- 
 tence on a group of prisoners. 
 
 Wishing to compete with Michelangelo in architecture as 
 well as in sculpture, Baccio projected a plan for remodelling
 
 314 Historical Handbook of Italian Sc2ilptnre. 
 
 the Palazzo Vecchio, and offered to build a palace at Pisa fo:r tlie 
 Duchess, whom he assured that " prudent princes always make 
 use of the best artists, as they not only work with unrivalled 
 zeal for their employers, but also spend their money in the most 
 economical way possible." When his offer was rejected, he 
 persuaded the Duke to allow him to decorate the High Altar of 
 the Cathedral with statues (1549), and the marble balustrade 
 around the choir with figures of prophets and apostles in 
 relief, which he conceived and executed in a better style 
 than that of his other works now scattered about the city, 
 such as the group of Adam and Eve in the Palazzo Vecchio, 
 the dead Christ in the Baroncelli Chapel at Santa Croce, and 
 the God the Father in the cloisters of the same church, all 
 of which works (says Vasari) Baccio thought would j)lease the 
 public as much as they did himself, but in this he was dis- 
 appointed, as they ''were cruelly lacerated in sonnets and Latin 
 verses."* 
 
 Thanks to the intervention of the Duchess, Baccio was 
 employed in his later years to decorate the gardens of the Pitti 
 Palace. f He then unsuccessfully competed for the fountain in 
 the Piazza della Signoria with Cellini, Ammanati, and John of 
 Bologna, and sculptured one of his last and best works, the Pieta 
 in the Pazzi Chapel at the Annunziata, under which he was 
 buried in 1559. 
 
 Among his pupils were his son Clement, a young sculptor of 
 some promise who died at Rome; Giovanni Bandini,| who com- 
 pleted the bas-reliefs of the choir-balustrade in the Cathedral, 
 which Baccio had left unfinished at the time of his death ; and 
 Vincenzo Rossi da Fiesole, who sculptured the prophets and 
 apostles in the Cappella Cesia at Sta. Maria della Pace at 
 Ptome, and the seven labours of Hercules in the great hall of 
 
 * Baccio had full authority given to him over all stone-cutters, masons, 
 ■workmen, wood-carvers, and servants employed in the Duomo. Gayc, 
 vol. ii. p. 498. 
 
 t So says Vasari. Cellini, however, tells us that the Duchess dis- 
 liked him. 
 
 X Commonly called " dell' Opera," because of his long connection with 
 the Opera del Duomo. This artist sculptured the statue of Architecture 
 for the tomb of Michelangelo at Sta. Croce, and the statues of SS. Philip 
 and James the Less for the Duomo. His bust of the Grand Duke 
 Cosimo I. stands over the door of the Opera del Duomo.
 
 Aimnanati. 315 
 
 the Palazzo Veccliio, which weakly represent Michelangelo's 
 school. 
 
 Bartolomeo Ammanati, born 18th June, 1511, who was one 
 of the most noted among the architects and sculptors of this 
 time, also studied under Bandinelli in his 3'outh, but, either 
 from a distaste for his style, or because he could not bear with 
 his violent and insolent temper, left him to join Jacopo Sanso- 
 vino at Venice, where he worked with Cataneo, Vittoria, and his 
 other pupils, upon statues, bas-reliefs, and stuccoes for the 
 library of St. Mark.* On leaving Venice, he returned to Flor- 
 ence, Avhere by studying the tombs of the Medici in the Cap- 
 pella dei Deposit! at San Lorenzo, he caught the manner of 
 Michelangelo, though he failed to approach him in grandeur of 
 spirit and style. Certain statuettes made by Ammanati for the 
 tomb of the Neapolitan poet Sannazzaro, and a Leda, so pleased 
 the Duke of Urbino (Guidobaldo II.), that he commissioned 
 him to make a now destroyed monument of the late Duke Fran- 
 cesco Maria, for the church of Sta. Chiara at Urbino, f after 
 completing which he was called to Padua by a professor of juris- 
 prudence, Marco di Mantova Benavides, who having collected 
 many antique marbles, bronzes, coins, and rare objects of "virtu," 
 as well as modern pictures and statues by eminent masters, in 
 his palace, wished Ammanati to make its entrance worthy of its 
 contents. I He built it in the form of a triumphal arch, with 
 niches containing statuettes of Jupiter and Apollo, and modelled 
 a colossal statue of Hercules for the cortile, twenty-five feet in 
 height, composed of eight pieces, which as he wrote the Arch- 
 bishop of Florence, was much admired by Palladio, Sansovino, 
 and other distinguished artists. § 
 
 Ammanati was also employed by Benavides to erect a costly 
 monument to himself in the church of the Eremitani, where he 
 is represented surrounded by allegorical figures of Learning, 
 
 * Vide Baldinucci, vol. iii. p. 336 ; Temanza, p. 243 ; Vasari, vol. xiii. 
 pp. 91, 100. 
 
 t Being out of proportion with this little church it was removed 
 and probably broken up. Dennistoun's Dulces of Urbino, vol. iii. 
 pp. 337, 379 ; Gualandi, III. series, note iv. p. 41. 
 
 X Anonimo, p. 24, with Morelli's notes, p. 148. 
 
 § The triumphal arch now forms the entrance to the gardens of Casa 
 Venezzi, and near it stands the Hercules in a very injured state.
 
 3 1 6 Historical Handbook of Italian Sctilptttre, 
 
 Labour, Honour, and Renown, and watched OTer by three genii, 
 one of whom is Immortality. 
 
 Either during his first visit to Urbino, or after his return 
 from Padua, Ammanati married the poetess Laura Battiferri, 
 whom Bernardo Tasso called the "Pride of Urbino," and 
 Annibal Caro "the new Sappho,"^ to the great displeasure of 
 the Duchess of Urbino (Vittoria Farnese) who, unwilling to 
 lose one of the chief ornaments of her court, long refused to 
 pardon her. 
 
 Immediately after his marriage (1550) Ammanati went to 
 Rome, where he devoted himself especially to the study of archi- 
 tecture, f and through the joint influence of Vasariand Michel- 
 angelo, obtained a commission for the tombs of Cardinal Antonio 
 de' Monti and his father, in the church of San Pietro in Mon- 
 torio, which were to have been sculptured by Ptaffaello da Mon- 
 telupo had he not lost favour with Michelangelo, on account of 
 the unsatisfactory manner in which he had worked for him at 
 San Pietro in Vincoli. 
 
 After completing these tombs, Ammanati returned to Florence 
 (1557), where he was graciously received at court, and employed 
 to make the fountain at Pratolino which bears his name, the 
 group of Hercules and Antfeus at Castello, and to rebuild the 
 Ponte Sta. Trinita (1569), which had been destroyed by a terrible 
 inundation.! While occupied in the construction of this beau- 
 tiful bridge, which combines great strength with elegance, grace 
 of line, and simplicity of design, and is assuredly Ammanati' s 
 best title to fame, he was also working upon the fountain for 
 the Piazza della Signoria, his most important work in sculpture. 
 
 The history of " that poor ill-starred marble," out of which 
 he made a colossal Neptune for this fountain, "is (says Cellini) 
 an example of the fate Avhich often attends him, who trying to 
 escape from one evil, falls into another ten times Avorse, since 
 
 * Life of Leo X. vol. ii. p. 128, and nota 77, p. 450. Laura TBatti- 
 ferri's poems are cliiefly of a devotional character. They were published 
 by Giunti in two vols. a.d. 1560. 
 
 f There is at the Uffizi a volume by Ammanati, containing drawings 
 for an imaginary city, consisting of ground plans, elevations, &c. &g. 
 CI. 184-. No. 25. The cortile of the Pitti Palace, and the Ponte Sta. 
 Trinita are his most important architectural works. See Forgussoa'd 
 llodern Sti/lis of Architecture, p. 88. 
 
 J Baldinucci, vol. ii. p. 352.
 
 Aminanati. 317 
 
 in trying to escape from Bandinclli, it fell into tlio hands uf 
 Amman ati." 
 
 After the death of Bandinelli who had begun to model the 
 statue, five artists competed for the commission, namely, Cellini, 
 Giau Bologna, Vincenzo Danti, II Moschino, and Ammanati, 
 to whom it was given, although his design was the third best 
 offered, because Giau Bologna was thought to be too young and 
 inexperienced to execute so important a work, and because 
 Cellini had offended the Duke, by telling him in the presence 
 of the Lucchese ambassador that he would disgrace himself 
 if he failed to select the best model. The Neptune, mounted 
 on a car drawn by sea-horses and surrounded by marine deities, 
 is a clumsy figure, weak in pose, heavy in limb, and out of all 
 proportion with the rest of the fountain. Ammanati completed 
 it in 1571, nearly twenty years before his death, which took 
 place at Florence, April 14th, 1592. He was buried near his 
 wife in the church of San Giovannino. 
 
 The two principal scholars of Michelangelo were Eaffaello da 
 Montelupo, and Fra Giovan' Angelo Montorsoli, who revolved 
 about him as small satellites about some great planet. Like 
 Cellini, Piaffaello wrote his autobiography, a portion of which 
 has come down to us, so that up to the date when it closes we 
 have authentic information about him. The year of his birth, 
 which he does not mention, was 1505, his birth-place was 
 Florence, and his father, Bartolomeo di Giovanni d' Astorre, a 
 Bculptor of whom we have already spoken, belonged to the 
 Montelupo Sinibaldi family.* 
 
 When very young, Eaffaello went to reside at Empoli with 
 his paternal uncle Astorre, who sent him to school, where he 
 made some progress in his studies, and excited attention by his 
 skill in drawing with his left hand. He was evidently proud of 
 this, for he records that in after years, at Rome, wbile sketch- 
 ing the Arch of Constantino, Michelangelo and Fra Sebastian 
 del Piombo stopped in their walk to watch him at his work 
 and expressed their astonishment at what, he says, no sculptor 
 or painter had ever before done. After passing two years at 
 Empoli, Eaffaello returned to Florence and was apprenticed to 
 the goldsmith Michelangelo di Viviano, from whose son, Baccio 
 Bandinelli, he hoped to learn something of sculpture, the art of 
 
 * iSee p. IGO.
 
 3 1 8 Historical Handbook of Italian Sailpttire. 
 
 his predilection. Disappointed in this expectation, and having 
 little liking for the goldsmith's trade, he ran away from his 
 master's workshop to his father's studio, where he learned how 
 to work in marhle and clay, and in his leisure hours drew at 
 the Carmine, Santa Maria Novella and the Annunziata. By 
 the time that he was sixteen years old he had evidently gained 
 no little proficiency, for he was selected by Giovanni da Fiesole 
 to go with hint to Carrara, to finish a monument commenced hy 
 Bartolomeo Ordonnez, a Spanish sculptor lately deceased. From 
 Carrara, where he spent a year, he went to Lucca, to work 
 upon the tomb of Bishop de' Gigli, begun by his father Barto- 
 lomeo, and thence to Florence where he fell in with the sculptor 
 Lorenzo Lotti, called Lorenzetto, with whom he was afterwards 
 associated at Rome. We first hear of this artist (born 1490, 
 died 1541), who was the son of Ludovico Lotti, a bell-maker 
 and caster at Florence, in 1514, as Avorking on a statuette of 
 Charity, and on the sepulchral effigy of Cardinal Forteguerra for 
 his tomb in the Cathedral of Pistoja,* and then as employed 
 to put into marble the statues of Jonah and Elias which 
 Eaphael had designed as a part of the decoration of the Chigi 
 Chapel at S. Maria del Popolo.f The death of the great 
 painter in 1520, followed almost immediately by that of his 
 
 * Commenced by Yerrocchio, to whom the figures of Hope and the God 
 the Father with angels are attributed. The eiEg}'- by Lorenzetto is in 
 one of the halls of the Sapienza, and unfinished. The bust, the urn 
 and the ornaments are by Gaetano ]\Iazzoni. Milanesi, ed. Yasari, 
 vol. iii. p. 370, nota. 
 
 t Eaphael intended to sculpture these statues himself. We know 
 that he could handle the chisel, through a letter written by Count 
 Castiglione, to Andrea Piperario (his intendant at Home), in which he 
 tells him to inquire of Giulio Romano whether he still owns the young 
 boy in marble sculptured by Raphael, and if so, at what price he will 
 part with it. The boy is supposed to be identical with the wounded 
 child carried on the back of a dolphin, which is preserved at Down Hill, 
 Ireland, and engraved in the Penny Magazine of July 17, 1841. See 
 Passavant's Ita^ihael d'Urhin et son Fere, trad. Fr. vol. i. p. 206, note 2. 
 Passavant erroneously ascribes to Raphael the design of the Fontana 
 delle Tartarughe at Rome, which was made sixty years after his death, 
 by the Florentine scuhator Taddeo Landini ; vide the article by Anatole 
 de Montaglon, appended to the French translation of Passavant's work, 
 vol. i. p. 550. The first edition of Yasari, published in 1550, speaks of 
 the two statues as still in Lorenzetto's studio. The second, published in 
 1508, mentions the Jonah as then in the Chigi Chapel,
 
 Lorenzeito. 319 
 
 patron Agostino Cbigi, stopped the prosecution of this work, 
 and both statues, of which the Jonah was then finished, and 
 the Ehas only blocked out, remained in Lorenzctto's studio 
 for thirty-four years before they were set up in the Chapel. 
 Admitting that Raphael designed, and perhaps modelled the 
 Jonah,* we can scarcely suppose that he did more for the 
 Elias than to leave behind him a pencil sketch, so feeble is it 
 in character, and so wanting in significance. The Jonah, on 
 the contrary, is a pleasing figure, not unworthy of the prince of 
 painters. Resting his right foot upon the whale's jaw, the 
 young prophet sits in a graceful attitude holding up his mantle 
 above his left shoulder, whence it falls behind his back and over 
 his thigh in well-disposed folds. Raflaello da Montelupo tells 
 us nothing in his autobiography about this figure, but he says 
 that when he came to Rome, Lorenzetto employed him to work 
 upon a statue of the Madonnaf to finish the figure of Elias 
 for the Chigi Chapel, and to sculpture the sepulchral effigy of 
 Bernardino Capella, Canon of St. Peter's, for his monument at 
 San Stefano Rotondo. 
 
 While thus occupied he was seized with the plague, and lay 
 for fifty days between life and death in an upper chamber of 
 Lorenzctto's house. On his recovery he found but little work 
 to do, owing to the disturbed state of the times. Evil days 
 were at hand, and the sacking of the Borgo by the Cardinal 
 Colonna in 1526, proved but an insignificant prelude to the 
 events of the following year, when the Constable de Bourbon 
 and his German mercenaries took Rome and gave it over to 
 plunder and rapine. Lorenzetto and Raffaello were among the 
 fugitives who sought refuge in the Castle of St. Angelo, with 
 the Pope who effected his escape (Dec. 1527), after an imprison- 
 ment of seven months, but before this time Rafiaello had made 
 his way to Loreto, where he found employment with other 
 artists in finishing the bas-reliefs commenced by Sansovino for 
 the Santa Casa. Three years later (1530) he was working 
 under Michelangelo at Florence upon a statue of St. Damian 
 for the Sacristy of San Lorenzo. 
 
 * Passavant, vol. i. p. 205, states his decided belief thi,t xiaDuael sculp- 
 tured the statue. 
 
 f The so-called Madonna del Sasso, over the altar under which 
 Kaphael was buried.
 
 320 Historical Handbook of Italian Sctilpttire. 
 
 Designed by the great master, and put into marble under 
 his eye, the merit of this figure, such as it is, can hardly 
 be attributed to Eaffaello, and yet Michelangelo thought so 
 well of him for it, that when he made his final contract 
 with the Duke of Urbino for the tomb of Julius II. (1542) he 
 designated Eaffaello as a fit person to finish the statues of 
 Active and Contemplative Life, designed and blocked out by 
 himself, and to model a prophet and a sibyl* When they were 
 finished, he openly expressed great dissatisfaction with them, 
 and found but little consolation in the plea of ill-health urged 
 by Eaffaello as his excuse for not having performed his task 
 better. They who knew what he did when left to himself, can 
 only wonder that Michelangelo should have been surprised at the 
 result in this case. He was, however, an able workman, and 
 acquitted himself with great credit when called upon to model 
 decorative figures, such as the fourteen statues in clay and stucco 
 which were set up on the Ponte St. Angelo when Charles V. 
 made his triumphal entry into Eome in 1536, and those of the 
 Ehine, and the Danube, with which the Ponte Santa Trinita 
 was shortly after adorned when the same monarch rode into 
 Florence to become the guest of Alessandro de' Medici. 
 
 Little more remains to be said of him. At one time he filled 
 the position of architect of the Castle of St. Angelo, where a 
 marble angel which he sculptured for its summit exists in a 
 niche on the stairway. The effigy of Leo X. at Santa Maria 
 sopra Minerva, a monument to Baldassare Turini who filled 
 several important offices at the Eoman court, in the Cathedral 
 at Pescia, and a bas-relief of the Adoration of the Magi in the 
 Chapel of the ]Magi in the Cathedral of Orvieto, of which he was 
 architect and inspector-general in the latter part of his life, 
 complete the list of his more important works. He died at 
 Orvieto in 1566, and was buried in the same tomb with his 
 lamented friend Simon Cioli, called II Moscha, who was a 
 decorative sculptor of rare skill. f 
 
 * By his contract with Miclielangelo, dated February 20, and August 
 23, 1542, in which three figures are mentioned as already blocked out, 
 Montelupo agreed to finish the four in eighteen months' time for 400 
 Bcudi. MS. British Museum, Nos. 17 and 19, vol. xxii. 731. 
 
 f His best work is in the Cappella Ccsia in S. Maria della Pace a*. 
 Eome. /S'ee Tosi, Mon. Sep. ell Iloma, vol. ii. plates 30-35. At Orvieto 
 he sculptured the capitals, cornices, &c., in the chapel of the Magi, and a
 
 Montorsoli. 321 
 
 Fra Giovan' Angelo Moutorsoli (b. 1500, d, 15G3) who 
 worked with Raffaello da Montelupo under Michelangelo, was 
 the more able sculptor of the two, if we judge them by their 
 respective statues of St. Cosimo and St. Damiau in the 
 sacristy of San Lorenzo. Both statues were retouched by 
 Michelangelo, who is even said to have modelled the head and 
 hands of the Saint Cosimo in clay ; but although equally 
 Michelangelesque it has more individuality than the St. 
 Damian. A larger share of credit thus belongs to Mon- 
 torsoli, who was the son of Michele d' Agnolo da Poggibonsi, 
 by whom he was first set to work as a stone-cutter in the 
 quarries at Fiesole. There he attracted the notice of the 
 sculptor Andrea Ferrucci, who gave him some instruction, and 
 then sent him to Eome where he obtained employment at St. 
 Peter's. He was employed at Volterra with other sculptors 
 upon the monument of Piaffaello MafFei (b. 1454, d. 1522), 
 a renowned scholar of that city,* and later at Florence, where 
 he was enrolled among the assistants of Michelangelo at San 
 Lorenzo. 
 
 The works upon the Sacristy and the Library were suspended 
 in 1527, and Montorsoli, being of a peaceful disposition which 
 led him to prefer a religious to a military life, took the vows 
 in the convent of the Servi in 1530 without renouncing his 
 profession, in which he found occupation, first from the monks, 
 who employed him after the restoration of the Medici to 
 remodel the wax statues of Popes Leo X. and Clement VII., 
 which had been destroyed during the war, and then from 
 Clement himself, to whom he was sent by the General of 
 the Servites by Michelangelo's advice. While at Piome he 
 modelled the Pope's bust, and restored the left arm of the 
 Apollo Belvidere and the right arm of the father in the 
 Laocoon group before returning to Florence, as he did when 
 work was resumed at San Lorenzo, to assist Michelangelo in 
 
 bas-relief of the Adoration. Other works in this chapel are by Frisson 
 Francesco, called II Moschino (1560-71.) This Francesco had a son 
 Simon, sculptor and architect, who died at Eome iti 1610. 
 
 * Called II Volterrano. In 1526 Sylvio Cosini began this monument, 
 for which Stagi di Pietro Santa finished the effigy after 1531, and sculp- 
 tured the ornaments. Montorsoli sculptured the statuettes of the Arch- 
 angel Raphael and of St. Gherardo Cagnoli, in niches. See Gozzini's 
 Mon. Sep de la Toscane, p. 135.
 
 322 Historical Handbook of Italian Scnlptnre, 
 
 finishing the statues of Lorenzo and Giuliano de' Medici, and 
 to sculpture the ah-eady- mentioned statue of San Cosimo. 
 {See tail-piece.) In 1534 he went to France with letters of 
 recommendation from Ippolito de' Medici, but as the terms of 
 his appointment at court \yere not satisfactory, he returned to 
 Florence in time to assist Raffaello da Montelupo and other 
 sculptors in preparing for the triumphal entry of Charles V. 
 (1536). During this visit he sculptured the mannered and 
 Michelangelesque statues of Moses and St. Paul in the 
 Painters' Chapel at the Annunziata, the monument of Cardinal 
 Dionisio Beneventano, General of the Servi, in the church of 
 S. Piero at Arezzo, and the colossal statues of Minerva and 
 Apollo, which form part of Girolamo Santacroce's monument to 
 the poet Sannazzaro (d. 1537) in the church of Sta. Maria del 
 Parto at Naples.* On his return from that city Montorsoli was 
 called to Genoa by Prince Doria to sculpture his statue and to 
 adorn the church of S. Matteo with works in marble and stncco.f 
 
 Among the former, the four Evangelists on one of the two 
 pulpits, those in the choir, and the Pieta, very much resemble 
 Michelangelo in style, but the Christ with the emblems of the 
 Passion on the left-hand pulpit, and the bas-reliefs of the 
 Annunciation, the Adoration, and a St. Matthew, are more 
 individual. The reliefs with which he decorated the ceiling of 
 the cupola include a God the Father, the Creation of Adam 
 and Eve, the Temptation, and the Expulsion in which the 
 three figures are very violent in action. Besides these works, 
 Montorsoli modelled a gigantic Jupiter in stucco for the Villa 
 Doria, where it may still be seen. 
 
 Desirous of meeting Michelangelo, from whom he had been 
 long separated, he left Genoa in 1547 for Ptome, where he fell 
 in with certain persons from Messina who were in search 
 of a sculptor to make a fountain for the Piazza of their city. 
 Having accepted the commission, Montorsoli accompanied them 
 
 * The names of Judith and Moses were inscribed upon these colossal 
 statues to save them from a Spanish Governor who, under pretence that 
 Pagan deities were out of place in a church, was about to take them into 
 his possession. 
 
 t Two statues were erected to the famous Admiral Andrea Doria in 
 1528 and 1551 by the Geneose Senate. They were thrown down in 
 1797, and the two mutilated torsos placed in the cloisters of S. Matteo.
 
 Montorsoli. 
 
 323 
 
 to Messina in tlie same year, and remained there until lie had 
 Fculptured numerous has-reliefs, masks, marine monsters, and 
 other ornaments for the fountain, which is one of the most 
 elaborate works of its kind in Italy ; had finished the facade ot 
 the Duomo (an edifice in the old Sicilian Gothic style) ; had 
 designed the statues of SS. Peter and Paul for one of its 
 chapels, and had sculptured a Madonna for the Cicala monu- 
 ment, a bas-relief for the Bari Chapel at S. Domenico, and a 
 St. Catherine for a church at Taormiua. His many friends 
 were anxious to induce him to take up his residence in 
 
 Sicily, and the Grand ]\raster of Uhodes endeavoured to 
 persuade him to become a knight of his order, but when 
 Pope Paul IV. (1557) ordered all unfrocked friars under 
 grave penalties to return to their duties, he resumed the 
 cowl at Rome, and then, to the great joy of his brother 
 Servites, once more settled himself at Florence in the con- 
 vent to which he belonged. He left it for a time to work 
 at Bologna in the church of the Servites upon the statues of 
 Moses, Adam, Christ, the Madonna, St. John, the Church 
 Fathers in relief (see Avood-cut), and the angels supporting a 
 bas-relief of the Crucifixion to decorate an altar, and then 
 returning to Florence, re-entered the service of Duke Cosimo, 
 
 Y 2
 
 324 Historical Handbook of Italian Scnlptnre. 
 
 with the stipulation that his chisel should be employed only 
 upon sacred subjects. The remainder of his days were spent 
 in adorning the Painters' Chapel at the Annunziata with very 
 Michelangelesque figures in stucco of prophets and biblical 
 personages, and in reorganizing the Company of the Arts of 
 Design, which had fallen into a languishing state. The Duke 
 gave him license to construct, at his own expense, a place 01 
 sepulture for artists under this chapel, over which a solemn 
 mass for the dead was to be celebrated annually on the festival 
 uay of the Holy Trinity, and on its completion it was 
 inaugurated in the presence of forty-eight artists, who attended 
 mass in the chapel, and afterwards listened to an address in 
 praise of Montorsoli's liberality. The bones of Pontormo the 
 painter were then deposited in the new tomb, whose next 
 inmates were Martino, Montorsoli's scholar, who had assisted 
 him at Messina, and Montorsoli himself (15G3), over whose 
 body " the renowned and learned Maestro Michelangelo " pro- 
 nounced a funeral oration. 
 
 BENVENUTO CELLINI 
 
 Among the sculptors of Cosimo I.'s reign, Benvenuto 
 Cellini, goldsmith, sculptor, bronze-caster, poet and prose 
 writer, was by far the most remarkable. His name, on the 
 one hand, calls up visions of jewelled cups, of salt-cellars fit 
 only for royal tables, of cope buttons and helmets of ideal 
 beauty, and on the other evokes the image of an unrivalled brag- 
 gart, who recognizing no distinction between right and wrong, 
 records in his Autobiography deeds kindly and villanous, with 
 equal elation and a like certainty of applause. Although it 
 would be manifestly unjust to judge him by our present 
 standard of morality, we have a right to do so by that of 
 his own time, according to which, low though it was, he was 
 condemned, for by his own account his extravagances and mad 
 freaks amazed his contemporaries almost as much as they do 
 us. He claimed descent from Fiorino da Cellino, a valiant 
 captain in the army of Julius Caesar, who founded Florence 
 and named it Fiorenza, in his honour. Between Fiorino 
 and Benvenuto there were many Cellinis of note, at Eavenna, 
 Pisa, and in other cities ; some valorous soldiers, who
 
 Benvenuto Cellini. 325 
 
 bequeathed to Benvenuto their love of the sword and dagger, 
 and some artists, such as his grandfather Andrea, the architect, 
 and his fother, Giovanni, architect, engineer, worker in ivory, 
 and musical instrument maker, from whom he derived his love 
 of art. On Nov. 3rd, 1500, the glories of his line culminated 
 in his own birth, and his father, then well stricken in years, 
 overjoyed at the event, named him Benvenuto, and determined 
 to educate him as a musician. As the boy disliked music and was 
 bent upon becoming a goldsmith, Giovanni allowed him to enter 
 the workshop of Michelangelo di Viviano,* whence he passed 
 to that of Antonio di Sandro, another goldsmith of repute, in 
 whose workshop he had been only a few months, when he became 
 implicated in a quarrel of so serious a nature, that to avoid 
 imprisonment he was obliged to fly the city, and seek employ- 
 ment at Siena and Bologna. As soon as he was able to return 
 with safety, he resumed his studies, but not long after, being 
 angry because his best clothes had been given to his brother 
 Cecchino, he walked straight out of the nearest gate, and went 
 to Pisa, where he lived for a year in the employment of a 
 goldsmith named Ulivieri, and spent his leisure hours in study- 
 ing the marbles at the Campo Santo. In 1518, Torrigiano 
 tried to persuade him to go with him to England to assist in 
 making the monument of King Henry VII., but Cellini, moved 
 by love of Michelangelo, refused his offers, and made his way to 
 Rome, after which his life may be divided into three periods, 
 the first of twenty-two years spent for the most part in the 
 service of Clement VII. ; the second of five, passed at Paris 
 in that of Fi-ancis I., and the third of twenty-seven years, at 
 Florence, in that of Cosimo de' Medici. 
 
 Soon after his arrival at Piome he modelled a silver salt- 
 cellar enriched with masks, which brought him much custom 
 from the Pope, the Cardinals, the nobles, and the gentry, who 
 bought his gold medals to wear in their caps, according to the 
 fashion of the time. 
 
 The ornate candelabra which ho made for the Bishop of 
 Salamanca, and the exquisite setting which he gave to the 
 diamonds of Madonna Porzia, wife of Gismondo Chigi, attracted 
 much notice, but they did less for his renown than a Papal cope 
 
 * Father of Baccio Bandinelli, the sain'e goldsmith with whom Monte- 
 lupo studied.
 
 326 Historical Handbook of Italian Scttlpture. 
 
 button, described as about the size of the palm of a man*s 
 hand. In its centre shone a magnificent diamond of a reddish 
 hue, limpid and brilliant as a star, used by Cellini as a throne 
 for a little image of God the Father with flying drapery, in 
 whose folds angels fluttered, as also about the surrounding 
 jewels. For this work he received 500 golden scudi from the 
 Pope and an unlimited amount of praise. 
 
 According to his own account, Cellini did the Pope service of 
 another sort during the summer of 1527 by slaying the Con- 
 stable de Bourbon under the walls of Piome, by wounding the 
 Prince of Orange, and by disposing his artillery in the Castle of 
 St. Angelo so judiciously, that Clement gave him his benedic- 
 tion, pardoned him for all past or future homicides committed 
 in the service of the Church, and employed him to melt down 
 the gold settings of his jewels to relieve his dire necessity. 
 Had Cellini expressed some regret for this act of vandalism, 
 we should think more of his love of art, and had he made 
 any valid excuse for stealing away from Florence in 1530, while 
 preparations were being made for her defence against the Papal 
 and Imperial forces, an act the more heinous as he held the 
 rank of Captain in the Ptepublican army, we should be more 
 ready to believe in his valour and his patriotism. As it is 
 we have not much faith in either, although his devotion to the 
 Medici partly excuses his return to Rome at such a moment, and 
 explains his after acceptance of a commission from Alessandro 
 de' Medici to make a die for the new coin with his effigy upon 
 the obverse, issued after his elevation to power. This medallion 
 portrait, and those of Clement YII., Paul III., and Francis I., 
 afterwards modelled by Cellini, were, as he states, considered 
 by the best judges superior to the antique, although they are 
 not only inferior to it, and to the work of the great medallists 
 of the fifteenth century, but even to that of his contemporaries, 
 Grechetto and Bernardi. The assassination of a brother gold- 
 smith named Pompeo, in 1534, brought Cellini into trouble 
 with Paul III., who gave him a safe-conduct because he had 
 need of his services, but regarded him with diminished favour. 
 This determined him to go to France in 1537, whence he 
 shortly returned on plea of ill-health, to find himself accused 
 of having stolen many of the Papal jewels whose settings he 
 had melted down for Pope Clement ten years before. Although
 
 Benvenuto Cellini. 327 
 
 proofs of his guilt failed, be was imprisoned for two years 
 (1538-40) in the Castle of St. Angelo, and might have 
 longer remained there had not the Cardinal Ippolito d'Este 
 obtained his liberation on the plea that the King of France had 
 need of him. With a salary of 700 gold scudi a year, the title 
 of " Seigneur," letters of naturalization, the Hotel de Petit 
 Nesle as a residence, and many commissions from Francis I., 
 Cellini now established himself at Paris, and assisted by many 
 able French, Italian, and German workmen, under the direc- 
 tion of his pupils Ascanio and Paolo Romano, who had 
 accompanied him from Italy, produced many works, whose 
 vogue greatly wounded the pride of the Parisian Corporation 
 of Goldsmiths, then peculiarly sensitive to the extraordinary 
 patronage given by their king to a foreigner, because their own 
 material prosperity had been lately affected by a royal ordon- 
 nance, which they looked upon as unjust. 
 
 Judging by the contemiDtuous manner in which Cellini speaks 
 of French sculptors and goldsmiths, it might be supposed that 
 they were unskilful workmen, but this was by no means the case. 
 During each succeeding reign royal ordonnanceshad been issued 
 affecting the goldsmiths, several hundreds of whom are recorded 
 by name in documents of the fourteenth century, and during 
 that of Charles IV. (1322), who has been styled the father of 
 the goldsmiths, those of Paris had a private chapel assigned to 
 them, and were marshalled according to fixed rank and pre- 
 rogative in the royal, municipal, and ecclesiastical ceremonies. 
 The magnificent style of dress indulged in at that time gave 
 great scope to the exercise of their skill, as the smallest 
 ornaments were covered with little figures in relief, chiselled 
 with the greatest care. Cellini certainly had great influence 
 upon French art, but he was not the pioneer which he claims 
 to be, nor was he the first Italian who brought the taste and 
 skill of his compatriot goldsmiths to bear upon France, for 
 King Charles YIII., on his return home from his expedition 
 to Naples (1495), brought in his train many excellent woi' men, 
 among whom were goldsmiths from Florence, Venice, and 
 Milan ; while the Cardinal d'Amboise, Minister of Louis XII., 
 not only brought from Genoa and Milan an immense number of 
 precious objects, with which he filled the Chiiteau de Gailloii, 
 but also induced many artists from those cities to settle in
 
 328 Historical Handbook of Italian Sculpture, 
 
 France, by whose influence, as well as by that of those subse- 
 quently called thither by Francis I. (among whom Cellini holds 
 the first rank), the Renaissance style supplanted the Gothic. 
 
 The French goldsmiths whom Cellini found at Paris 
 especially excelled in works included under the head of 
 "grosseria," that is in church and table ornaments, and 
 statuettes in gold and silver, and were hardly to be surpassed 
 in hammered metal-work. It was consequently in " minuteria," 
 Ithat is in personal ornaments connected with dress, such as 
 medals for the bonnet, rings, &c. &c., that his influence was 
 principally felt, as well as in the almost universal adoption of 
 mythological, in preference to Christian subjects. As in Italy, 
 so in France Cellini introduced medallions worked throughout 
 with the graver, which were worn in the hats of men and the 
 hair of women, especially during the reigns of Francis I. and 
 Henry II. 
 
 Upon French sculpture he had only an indirect influence, 
 nor did he begin to work as a sculptor until after he came to 
 iFrance. Many names of French sculptors who enjoj'ed a high 
 'reputation, both at home and abroad, during the thirteenth 
 and fourteenth centuries, are known to us, while during the 
 latter part of the fifteenth, and beginning of the sixteenth, 
 there were such men of note as Michel Colombo, sculptor of 
 the noble tomb of Francis II., Duke of Brittany, at Nantes; 
 Frangois Marchand, who worked at Chartres ; and Jean Juste, 
 of Tours, who sculptured the tomb of Louis XII. and his 
 queen, Anne of Brittany.* In 15B0 Francis I. confided the 
 direction of all his artistical enterprises to II Rosso, who came 
 from Italy for the purpose, and was followed by Primaticcio 
 the painter and many young artists of talent, such as Paul 
 Pontius Trebatti the sculptor, who with Cellini founded the so- 
 called school of Fontainebleau. 
 
 Tempted by their facility to work without models, these 
 artists, whose style was imbued with that factitious grace 
 which was then the bane of the Florentine school, were 
 blind to the defects of limbs unnaturally lengthened, and 
 extremities disproportionately small, of forms both full and 
 delicate, of outlines exaggeratedly rounded, and of joints so 
 
 * Bee Emeric Davic\ Tableau Historviue de la Sculpture Frani;aise, 
 pp. 114, 153.
 
 Benvemito Cellini. 329 
 
 firaall as to be manifestly unable to bear the fif^ures tbey were 
 meant to sustain. Their pretentious elegance and false graco 
 captivated the King, whose taste formed itself definitively in 
 the school of Fontainebleau, upon the works of II Eosso, 
 Primaticcio and Cellini, for whom in particular he conceived so 
 unbounded an admiration, that he was induced to overlook and 
 excuse his violence of conduct, and to protect him against the 
 enmity of Madame d'Etampes and the Count of St. Paul, who 
 did not scruple to tell his Majesty, when he expressed fear of 
 losing his protege, that the surest way to keep him would be 
 to hang him on a gibbet. 
 
 The only large work executed by Cellini in France (1543), 
 is the bronze Nymph at the Louvre, originally intended to be 
 placed over the principal door of the Palace of Fontainebleau, as 
 the personification of the " Belle Eau," a spring from which the 
 forest derives its name. Crowned with fruits, she lies upon 
 the waves with her right arm around the neck of a stag, and 
 her left resting upon an urn from whose mouth flow abundant 
 waters which are lapped up by deer, wild boars, and dogs. 
 The absence of expression in the face, the inordinate length of 
 limb and the want of organic unity in this colossal figure, are 
 defects which give it the appearance of a magnified piece of 
 goldsmith's work, and such it really is, for Cellini was never 
 more a goldsmith than when he undertook to be a sculptor.* 
 He was at his best in such a silver statuette as that of Jupiter, 
 which he made for Francis I. in 1544, and in the golden salt- 
 cellar now in the Cabinet des Antiques at Vienna (1543), 
 which he decorated with the arms of that monarch.! The 
 Neptune and Cybele with their attributes, the figures symbolic 
 of the winds, and the divisions of time upon its ebony base, 
 and all the accessories, are marvellously worked out by one 
 who understood the resources of the goldsmith's art to perfec- 
 tion, but nevertheless we feel here, as in Cellini's larger works, 
 that they fail altogether in that deductive harmony which 
 makes the best Greek work as thoroughly satisfactory to the 
 
 In 1547, after the death of Francis 1., Henry II. sent the Nymph to 
 the Chateau d'Anet, whence after the Revolution it was taken to the 
 
 I/onve. 
 
 f iS'ee Dr. von Lackeu's Catalogue of the E. K. Ambraser Sammlung, 
 
 p. 161, No. 22.
 
 330 Historical Handbook of Italian Sculpture, 
 
 mind as it is beautiful to the eye. In it, each part is the 
 corollary and indispensable complement of every other, and the 
 ■whole like a natural creation is one and indivisible. 
 
 "Whether Francis I. at last grew tired of Cellini's art or his 
 eccentricities, or reluctantly made up his mind to part with him 
 to pacify Madame d'Etampes, we do not know, but in 1545 their 
 connection was dissolved by mutual consent, and in the month 
 of August of that year Cellini reached Florence, and imme- 
 diately waited on the Duke at Poggio a Cajano. 
 
 The benign prince, as he tells us, received him in the kindest 
 way, and requested him to model a figure of Perseus, to be 
 placed under one of the arches of the Loggia de' Lanzi. 
 "Hearing this (he says), I was moved by an honourable am- 
 bition, and thought within myself, ' My work will then stand 
 between one by Michelangelo, and one by Donato, men who 
 have surpassed the ancients ; what more can I desire than to 
 be admitted to such proximity ? ' Wherefore with great joy 
 and zeal I commenced to make a little model of the Perseus,* 
 and when I showed it to his Excellenc}', he said in wonder, 
 * If you can make this work in the large as well as you have 
 made it in the small, it will be the finest statue in the Piazza,' 
 to which, moved partly by reason of what I had done, and 
 partly by what I felt able to do, I replied, ' Oh ! most excel- 
 lent prince, I promise you that the statue shall be three times 
 better than the model,' at which he shook his head, and I took 
 my leave." 
 
 During the next four years, while occupied upon this figure, 
 Cellini suffered infinite trouble and annoyance from Piicci, the 
 Duke's maggiordomo, and Baccio Bandiuelli, who threw doubts 
 upon his capacity. The Duke had given him a house for his 
 atelier, f and fixed his salary at two hundred scudi a year, but 
 this promising prospect soon clouded over, and Cellini finding 
 it impossible to get money enough to go on with his work, 
 would have returned to France, had he not received an intima- 
 tion that the settling of his accounts with the King, which 
 were by no means as clear as they should have been, might 
 seriously damage his reputation. 
 
 * Trattato d' Oreficeria, p. 87. This model may be Ecen in the LroiiZb 
 room at the Bargello. 
 t In the Via del Eosajo.
 
 Benvenuto Cellini. 
 
 Zl"^ 
 
 ( 
 
 His position eventually became so intolerable, that he went 
 to Venice (1546), and there sjjent a short time in the society 
 of Titian, Sansovino, and Lorenzino de' Medici who advised 
 him not to return to Florence. He, however, disregarded the 
 advice, and having cast a bust of the Duke, and the body of 
 Medusa, would have begun work on the statue of Perseus, 
 had not the Duke, influenced by Bandinelli, long refused to 
 advance him the necessary funds. When these were at last 
 granted, he began his difficult task, after taking many precau- 
 tionary measures, necessary with this figure on account of the 
 position of the arms which made it very difficult to cast it 
 in one piece, 
 u We must refer our readers to Cellini's Autobiography for a 
 graphic account of the terri,ble anxieties which beset him and the 
 dangers which he successfully avoided 
 in the casting of the Perseus. W^hen 
 at last it was uncovered in the Piazza 
 before the Duke, and an immense crowd 
 of people whose loudly expressed admi- 
 ration reached his eager ears, he was one 
 of the proudest and happiest of mortals. 
 On many accounts he had reason to be 
 so, as well for the courage and per- 
 severance which he had shown in the 
 course of his enterprise, as for the 
 result achieved, for there is much to 
 admire in the statue, and the rich 
 pedestal upon which it stands, with 
 its bronze bas-relief and its statuettes, 
 skulls, goats' heads andterminal figures. 
 At the same time, when the figure is 
 looked at critically, we see that, while 
 the winged helmet, the face and the 
 outstretched forearm are admirable, the 
 
 head is too large for the body, the torso is full of unmeaning detail 
 and too long for the legs, and, furthermore, that the pedestal is 
 too narrow for its height, and the bas-relief, fine as it is, not 
 exempt from meretriciousness. In technic and the manage- 
 ment of relief it rivals the works of the quattro-centisti, though 
 it falls far below them in style and purity of taste.
 
 332 Historical Handbook of Italian Sadptitre, 
 
 To Cellini it seemed that not only the bas-relief, but also the 
 statue never had been and never would be surpassed, and so 
 much did he presume upon his success that he estimated its 
 value at 10,000 gold scudi.* When the Duke said that he 
 could build churches and palaces for that sum, he answered, 
 *' Your Excellency can find any number of men to serve you as 
 architects, but not one capable of making such a statue ; no, not 
 even my master Michelangelo liow that he is old, although he 
 might perhaps have done so in his youth, if he had taken as 
 much pains as I have." 
 
 The Duke was now desirous of employing him upon the 
 marble balustrade for the choir of the Cathedral, but as Ban- 
 dinelli, whom he hated, was already working upon it, Cellini 
 refused, and, with even more than his usual self-conceit, offered 
 to make two bronze gates for the great doorway, on condition that 
 he should not be paid for them unless they surpassed those of 
 Ghiberti. The Duke wisely declined to put him to the proof, 
 and gave him permission to go to Rome, where, while residing 
 in the Altoviti Palace near the Ponte St. Angelo, he modelled 
 that admirable bronze bust (1552) of his host, Bindo Altoviti, 
 in reference to which Michelangelo wrote to him : " My Ben- 
 venuto, I have long known you to be the best goldsmith in the 
 world, and I now know you to be an equally good sculptor." f 
 
 Anxious to remain at Rome, Cellini unsuccessfully endea- 
 voured to obtain an interview with Pope Julius III., ^i hopes 
 of obtaining employment, but failing in this he went back to 
 Florence, and resumed his labours for the Duke. 
 
 Xn one of his numberless memorials addressed to the sopra- 
 syndics about the settlement of his accounts, he enumerates 
 the works which he has executed for the Duke, and mentions 
 the prices he has received for them.t Among them is a cruci- 
 fix, with the life-size figure of our Lord, in white marble, set 
 upon a cross of black marble, which Cellini originally intended 
 
 * Girolamo degli Albizzi, who was apiiointed arbiter in the matter of 
 price, valued it at 3,550 golden scudi, to which the Duke agreed, and 
 Cellini was forced to submit. Vita cU Cellini, p. 463. Gualandi says h« 
 oi-iginally asked 7,000 and received 3,000; o^i. cit. series iv. p. 99. Cellin) 
 himself says 3,000 — vide Doc. 57, p. 459, Appendix to his life, ed. le 
 Monnier. 
 
 \ Vita, p. 434. 
 
 X Doe. 57, p. 549. Appendix to Vita di Cellini, '
 
 Benvemito Cellini. 333 
 
 to have placed over liis own grave. He, however, sold it to 
 the Duke in 15G3, and his son, the Grand Duke Francesco, 
 presented it to Philip II., King of Spain (1576), by whom it 
 was placed in the Escurial, where it still remains.* Another of 
 his works, a gold chalice, adorned with figures of the threo 
 Christian Virtues, was purchased by Cosimo, who at the time 
 of his coronation as Grand Duke (1570) presented it to Pope 
 PiusV.f 
 
 The year before Cellini's death he made two small models 
 for a Juno, which he intended to cast in bronze for Francesco \ 
 de' Medici, and terminated his two treatises upon the goldsmith's | 
 art, and upon sculpture, which he dedicated to Cardinal Fer- 
 nando de' Medici (1569). 
 
 In his treatise upon the goldsmith's art, which is most valu- 
 able as a record of the several processes introduced by him, and 
 of those used in his day, Cellini discourses upon niello-work 
 and jewellery ; upon the nature of precious stones, their proper 
 setting, and of the foils to be used for coloured stones ; of 
 enamels ; embossed work in gold and silver ; and of the mak- 
 ing of rings, medallions and bracelets ; and in that upon sculp- 
 ture, he speaks of the art of casting in bronze, and of the 
 different qualities of marble. -^ 
 
 He began his Autobiography, which is by far the most im- 
 portant of his literary labours, when he was fifty-eight, and 
 carried it on to his sixty-third year. So highly was it esteemed 
 for expressive diction, and rich use of those forms of speech 
 peculiar to the Florentines, that notwithstanding its involved 
 style, and frequent misuse of words, it was placed by the Acca-^ 
 
 * Cellini demanded 1,500 golden scudi and received 700 for this work. 
 
 f Among the well-authenticated works of Cellini are three medallions 
 or Clement VIL, Alessandro de' Medici, and Francis I. ; a cup of lapis- 
 lazuli, with three handles, in enamelled gold, and the lid of a rock- 
 crystal cup, in the Bargello ; three cups and a flask of enamelled gold, 
 with dragon-shaped handles, in the plate-room of the Pitti Palace ; a salt- 
 cellar made for Francis I., and an oval medallion of Leda and the Swan, 
 in the " Cabinet d'Antiques" at Yienna ; a reliquary of enamelled gold, 
 with the Adoration of the Magi in alto-relie*', in the Kich Chapel of the 
 Royal Palace at Munich ; the cover of a " livre d'hcures" in the museum 
 of the Duke of Saxe-Coburg-Gotha; an antique cameo mounted by 
 Cellini, with chased and enamelled figures in relief, masks, and a figure 
 of Victory holding two prisoners in chains, in the medal cabinet of the 
 Imperial Library at Paris.
 
 334 Historical Handbook of Italian Sadptnre. 
 
 clemia della Crusca * among the books selected as authorities ; 
 an honour which would perhaps have astonished Cellini, who, 
 though esteeming himself perfect in every other art, confessed 
 
 r himself a "bad speaker and a worse writer." f 
 
 Popes, kings, cardinals, men of letters, artists and people of 
 every class figure in its pages, and above all the man himself, 
 with his libertinism, his swaggering, his indiscriminate amours, 
 which, like those of Don Giovanni, were " gia mille e tre " long 
 before his death ; his ceaseless quarrels, frequent assassina- 
 tions, and endless complaints of bad usage. All of these are 
 told without reserve, as are the few really good acts which graced 
 the life of one, who with a man's growth and strength lived like 
 a child, without self-control, and gave way to every impulse. 
 Among these we must not omit to mention how, after his 
 return from France, he took his widowed sister, Liberata Tassi, 
 and her six fatherless children into his house, gave them a 
 monthly allowance, and treated them with such kindness, that 
 the " pane d' altrui " lost its bitterness in their mouths. | 
 
 The letters, petitions and poems of this singular man 
 show us that he considered himself poorly paid for his 
 services, which indeed he habitually over-estimated. It is 
 true that the Duke often treated him coldly, delayed payments, 
 and disappointed his hopes, but at the same time he bestowed 
 upon him a pension of two hundred golden scudi a year, 
 made him a free gift of a house in the Via del Eosario,§i and 
 bought many of his works at the value set upon them by 
 good judges. 
 
 y^ Like so many of the great Italian artists, he wrote sonnets 
 and madrigals, as well as religious, artistical, amorous, lauda- 
 tory, and vituperative poems, among the latter of Avhich one 
 addressed to his enemy Bandinelli is especially remarkable, 
 on account of its extraordinary argument, that he is less to be 
 blamed for his homicides than Bandinelli for the marbles 
 which he has broken and defaced, since his victims are put 
 
 * Founded eleven years after Cellini's death. 
 
 t Letter to B. Varolii, written in Jan. 1546. Trattato, p. 273. 
 
 ;J: " I can only say that my return to Italy was solely caused l)y my 
 desire to assist my six poor nephews, children of my sister, all of whom 
 I endowed," Gaye, vol. iii. p. 598. 
 
 § Doc. 70, p. 578.
 
 Benveiiuto Cellini. 
 
 335 
 
 out of sight, while those of Banclinclli remain above ground^ 
 to his eterual disgrace. 
 
 Early in December 1570, Cellini, becoming seriously ill, 
 made a will, in which he divided his property between his wife 
 and his three children ; signified his wish to be buried in the 
 church of the Annunziata ; and bequeathed a wax model of 
 Neptune (intended for the before-mentioned fountain) to Don 
 Francesco de' Medici, to whom he wrote shortly before his 
 death, " If I had not been hindered by a most dangerous ill- 
 ness, I would have cast my Juno for you in bronze, as it is 
 nearly finished. The disease which has laid me low has baffled 
 my physician, and many other able men ; nevertheless, 
 although I am seventy years old, I still fight against death." * 
 
 A month and a half later (Feb. 13th, 1571), death gained 
 the victory ; and after ten days, as we read in the account of 
 his obsequies recorded in the archives of the Accademia delle 
 Belle Arti, " Messer Benvenuto Cellini was buried with great 
 funeral pomp in our chapter-house at the Annunziata, in tho 
 presence of our Academical body and the Company."f 
 
 Among the artists who figure in the pages of Cellini is 
 Niccolo di Raffaelle Braccini (b. 1485, d. 1550), commonly 
 called II Tribolo, most probably because he was the butt of 
 those of his companions who were less timid than himself. 
 He studied with Nanni Unghero, wood-carver, and Jacopo 
 Sansovino, and brought himself into notice by a bronze group 
 
 * Sonnet 59. 
 
 t Appendix to Yita, No. 65, p. 569, dated Dec. 20, 1570.
 
 336 Historical Handbook of Italian Scnlpture, 
 
 of two boys and a dolpbiu cast for Lorenzo Strozzi to adorn a 
 fountain at the Yilla Casarotta {see cut). In 1525 he must have 
 attained considerable reputation, as he was invited to superin- 
 tend the works then in progress about the church of St. 
 Petronius at Bologna, and to sculpture twelve bas-reliefs about 
 its portals to supplement those of Jacopo della Quercia. Taking 
 II Solosmeo and Simon Cioh (II Moscha), his fellow-pupils in 
 Sansovino's studio, as his assistants, he proceeded to Bologna 
 and executed the reliefs of subjects from the Old Testament, 
 with angels (sec cut, p. 335) and sibyls, in a style which, 
 
 while it plainly shows tho 
 influence of Michelangelo, 
 is far less exaggerated than 
 that of his other imitators. 
 In 1529, Tribolo is said 
 to have sculptured the 
 four statuettes of Virtues 
 upon the monument of 
 Adrian VI. by Michel- 
 angelo da Siena, in the 
 church of S. Maria dell' 
 Andrea at Rome, and in 
 1533 to have gone to 
 Loreto to work under An- 
 tonio di Sangallo upon the 
 bas-reliefs of the miracu- 
 lous transportation of the 
 Santa Casa to Italy and 
 of the Marriage of the 
 Virgin. The ultra-pictorial 
 treatment, the clumsy sky-scape, and the ill-proportioned and 
 badly-arranged figures in these reliefs show that Tribolo, who 
 had done such good work at Bologna, where he was under 
 Jacopo della Quercia's influence, was very dependent upon his 
 surroundings for inspiration. Michelangelo, however, thought 
 so well of his ability that he commissioned him to model two 
 statues for the Chapel of the Medici ; but poor Tribolo was 
 attacked with fever on his return to Florence, and did not 
 recover until the death of Pope Clement (1534), when all work 
 at San Lorenzo was suspended. He then accompanied Cellini
 
 // Triholo. '^^-^'j 
 
 to Venice, hoping to obtain employment from his old master 
 Sansoviuo, but as he was disappointed in this he returned to 
 Florence in time to assist in the preparations for the trium- 
 phal entry of Charles V. (153G), and the decoration of the 
 palace of Ottaviano de' Medici for the reception of Margaret of 
 Austria, natural daughter of the Emperor, and bride of Ales- 
 sandro de' Medici. In the following year, after the Duke's 
 assassination, II Tribolo designed two fountains, decorated with 
 *' putti," syrens and dolphins, for the Ducal villas at Castello 
 and Petraja ; and in 1539, when Cosimo 1° married Eleonora 
 da Toledo, he erected a triumphal arch at the Porta al Prato, 
 superintended the decorations of the Medici Palace, and 
 modelled an equestrian statue of the Duke's father. After 
 giving up sculpture for hyJraulics, in which he proved his in- 
 capacity, he died on the 7th of Sej)tember, 1550. Gifted with 
 remarkable talent and great facility of invention, II Tribolo was 
 one of the best sculptors of his day, and, leaving Michelangelo 
 out of the question, not surpassed by any of his contemporaries 
 save Gian Bologna, who, though not an Italian, may be classed 
 as such since he owed his education, advancement and success 
 to the many years which he spent in Tuscany. 
 
 Born at Douai (1530), then a part of the Low Countries, and 
 therefore called II Fiammingo, Giovanni or Gian Bologna or 
 Boullogne showed his natural love of sculpture at a very early 
 age. and was placed by his father under the care of a sculptor 
 named Bench, whose account of the wonders of art to be seen 
 at Kome so inflamed his imagination that he soon left him 
 and made his way thither, to spend two years in study, after 
 which, while passing through Florence on his homeward way, 
 he fell in with Bernardo Vecchietti, goldsmith and bronze- 
 caster, v/ho, struck with the talent shown in his sketches, 
 offered him shelter at his villa, II Pdposo, where he had a forge 
 and workshop. Here the young sculptor had every facility for 
 work, and made astonishing progress during the next three 
 years. The patronage of Prince Francesco de' Medici, who 
 bought his marble Venus and gave him an annuity, encouraged 
 him to compete with Cellini and Ammanati, in 1559, for the 
 fountain in the Piazza dclla Signoria, and he would have carried 
 off the prize had not the judges, who acknowledged the 
 Euperiority of his design, thought it imprudent to entrust so
 
 33S Historical Handbook of Italian Sculpture. 
 
 important -a task to one who had but little experience in 
 working marble. The Neptune, which formed a part of his 
 design, ^as afterwards cast by himself and Zanobi Portigiani 
 for a fountain on the great piazza at Bologna. The two artists 
 bound themselves by their contract, dated August 20, 1563, to 
 model and cast the colossal statue, which was to be nine feet in 
 height, four " putti," an equal number of sirens, and the arms 
 of the city, within ten months, but they did not complete their 
 work until three years had elapsed. Compared with Amma- 
 
 nati's Neptune at Florence, Gian 
 Bologna's statue is a masterpiece 
 which no other sculptor of his 
 time could have produced ; but 
 his reputation rests on two later 
 works— the \\orld-renowned bronze 
 Mercury attheBargello {see wood- 
 cut), which until the middle of 
 the last century graced a foun- 
 tain in the gardens of the Villa 
 Medici at Borne, and the marble 
 group known as the Rape of the 
 Sabines, in the Loggia de' Lanzi. 
 Skilfully composed, and modelled 
 with the kno\vledge of an accom- 
 plished sculptor, this work was 
 hailed with an enthusiasm which 
 found vent in a volume of lauda- 
 tory effusions in prose and verse, 
 and gave its sculptor a reputation 
 which brought him many pupils. Among these were Pietro 
 Francavilia, sculptor of the Four Seasons on the Ponta Santa 
 Trinita, and Pietro Tacca, who made the monument to Duke 
 Ferdinand at Leghorn, and cast the equestrian statue of the 
 Bame prince at Florence from a model made by his master in 
 the latter part of his life. Some of the more important among 
 the many works of Gian Bologna are an equestrian statue 
 of Cosimo I. in the Piazza della Signoria (1594); a group of 
 Hercules and Cacus in the Loggia de' Lanzi (1599) ; a Victory 
 at the Palazzo Vecchio (1602) ; a stucco giant or genius of the 
 Appenines at Pratolino ; a bronze statuette of Veuus at Petraja
 
 Gian Bologna. 
 
 339 
 
 {ste woodcut) ; a statue of St. Mark at San Micliele, and a 
 colossal group of Samson killing a Philistine, at Hovingbam 
 Hall, Yorkshire, the seat of S. W. Worseley, to whose grandfa- 
 ther it was presented by George III. Gian Bologna's bas-reliefs, 
 like those of so many other able sculptors, are very inferior in 
 merit to his statues. This is so often the case that it seems to 
 prove the superior difficulties of bas-relief over figure sculpture, 
 and to indicate that the union of qualities necessary for the 
 proper treatment of relief is more rarely met with. The Floren- 
 tine sculptors of the fifteenth century excelled in it, and made it 
 their peculiar field ; but it was a lost 
 art to those of the sixteenth century, 
 with the qualified exception of Cellini, 
 and remained so in Italy as in other 
 countries, until the nineteenth, when 
 Thorwaldsen revived it with a remark- 
 able measure of success. This was 
 more than Gian Bologna did, though 
 he had an admirable opportunity to 
 distinguish himself when he was called 
 upon to cast bronze gates for the 
 Cathedral at Pisa in 1595, after those 
 made by Bon anno in the twelfth cen- 
 tury had been destroyed by tire. His 
 work proved a conspicuous failure in 
 all but the casting, which was done by 
 Domenico Parti giani,* the son of the 
 Maestro Zanobi who had been associated 
 with him at Bologna. f Crowded, con- 
 fused, and unmeaning, the reliefs are 
 
 but a tangle of lines, owing to the indistinctness of the planes. 
 The same may be said of those upon the base of the equestrian 
 statue of Cosimo I., and of those in the chapel of the Madonna 
 
 * A Dominican monk in the Convent of St. Mai-k at Florence. He 
 was an accomplished architect and bronze-caster. After his death, in 
 1601, the Pisan gates and the statues and bas-reliefs, designed by Gian 
 Bologna for the chapel of St. Anthony at San ]\Iarco, were finished by 
 Zanobi, nephew and pupil of Domenico, and his fellow-scholar Angelo 
 Serrano. 
 
 t The contract for these gates bears date April, 1-597. Marchcsi Mem. 
 &c., vol. ii. lib. iii. p. 30G. 
 
 z 2
 
 340 
 
 Historical Handbook of Italian Sctilpture. 
 
 del Soccorso at the Annunziata. Gian Bologna had prepared a 
 place of sepulchre for himself and for such of his compatriots 
 as might chance to die at Florence under this chapel, and he 
 was huried in it August, 1608, at the ripe old age of eighty- 
 four. 
 
 Among his contemporaries were Stoldo Lorenzi (1534-1583), 
 whose statues of Adam and Eve upon the fayade of the church 
 of San Celso at Milan shine chiefly hy force of contrast with 
 the " baroque " sculptures of Annibale Fontana in their neigh- 
 bourhood, and Paul Ponzio Trebatti (b. about 1500), who spent 
 nearly forty years of his life in France, and worked for Prima- 
 ticcio and II Rosso at Fontainebleau. The bronze effigies 
 of Alberto Pio of Savoy, formerly in the church of the 
 Cordeliers ; of Charles de Magny, captain of the guard ; and of 
 Andre Blondel de Rocquencourt, comptroller-general of finance 
 under Henry II., by this artist are now kept in the Renais- 
 QEEce Museum at the Louvre.
 
 341 
 
 CHAPTER III. 
 
 NON-TUSCAN SCULPTORS AND THEIR WORKS FROM 1500 TO 1600. 
 
 There were sculptors in Lombardy, as in Tuscany, whose 
 works link the Early with the Later Renaissance, or in other 
 words the school of Omodeo and the Mantegazza, with that of 
 Michelangelo. Among these Cristoforo di Bartolo Solari,* 
 called il or del Gobbo, i.e., the hunchback, or the son of the 
 hunchback, holds a high place. f The year of his birth is not 
 known, but in 1490, when Omodeo was appointed head archi- 
 tect to the Cathedral, he must have stood high in his profes- 
 sion, as he competed for that important position, and was so 
 piqued at his defeat that he left Milan with his brother Andrea, 
 and resided at Venice for several years, during which he sculp- 
 tured a St. George for a chapel in the church of La Carita,J 
 and a statue of Eve mentioned by Lomazzo.§ 
 
 On the death of Antonio Mantegazza (1495), Solari was 
 appointed Ducal sculptor || and recommended as such to the 
 prior of the Certosa, though it is doubtful if he ever worked at 
 Pavia. By virtue of his ofBce he received the commission 
 (1497) for the monument which Lodovico il Moro determined 
 to raise to the memory of Beatrice d'Este soon after her death, 
 
 , ' * Yasari, xi. 272, praises him as one of the best Lombard sculptors of 
 his time. INfentlonecl also at xii. 171, ibid., aud by Gauricus, Do Sculp- 
 tit,ra, p. 77, ed. Flor. 1544. 
 
 t As his brother Andrea the painter is also called '' del Gobbo," it 
 seems more likely that their father was the hunchback. 
 
 J Vide I'Anoninio, p. 86. • 
 
 § Grotteschi e Focaie. Lomazzo also speaks of him iu hia Trattato delta 
 Pittura, vol. ii. ch. xlvi. p. 325. 
 
 |{ His salary was 280 lire a year.
 
 -^ 
 
 42 Historical Handbook of Italian Scidptw'e. 
 
 and having completed bis design presented himself in the 
 Duke's name before the directors, asking them to nominate 
 five sculptors from among those attached to the "Fabbrica" 
 to assist him in carrying it out. This was granted on condition 
 that they should not be employed elsewhere, and the monu- 
 ment when finished was set up in the apse of Sta. Maria 
 delle Grazie, whence it was afterwards removed to one of the 
 side aisles.* A little more than half a century later (1564), 
 it was broken up- and sold to the highest bidder, and the 
 sepulchral effigies, purchased for the Certosa by Oldrado da 
 Lampugnano for the trifling sum of thirty-eight scudi apiece, 
 were first placed against the wall near the monument of Gian- 
 Galeazzo, and then upon marble bases in its left transept.! 
 They are especially interesting as faithful portraits, and careful 
 records of costume. The Duchess wears a closely-fitting hood, 
 and her hair is curled in small, elaborate ringlets, which fall 
 upon her neck and about her somewhat heavy features. The 
 lids of her closed ej'es are fringed with thick lashes sharply cut 
 out in the marble, and her figure is completely enveloped in 
 the folds of a rich dress covered with a corded net-work deco- 
 rated with jewels and tassels. Her arms are crossed upon her 
 breast and partially concealed under her robe, and her feet are 
 encased in very thick solid shoes. Her husband, the Duke, 
 spent the night before he fled from Milan on the approach of 
 Louis XII. (1499) in watching by the tomb of this brave and 
 lo3'al woman, who had been his support in pre\dous hours of 
 danger, and who had she lived might have saved him from the 
 loss of his kingdom and from those eight years of imprison- 
 ment in the castle of Loches which preceded his death (May 
 27th, 1508). As he survived her eleven years, and her monu- 
 ment was finished some time before his flight, it is probable 
 that his own sepulchral effigy, which represents him in the 
 costume of the period, then lay as now beside hers, and 
 
 * The five sculptors nominated were Ambrogio Ghisolfi, Lentino 
 Ferrario, Biagio Vairone, Giuliano Pasifico, and Benedetto dell' Onago. 
 
 t Anonimo Certosino, MS. Bib. Brera, cited by Calvi, pt. ii. p. 223. 
 Verri and Corio say that the monument cost 15,000 gold scudi. We 
 liave no record of its general design. Vasari, xiii. 118, says these statues 
 of the Duke and Duchess were to have been placed upon a tomb 
 designed by Giov. Giacomo della Porta.
 
 Cristoforo Sol art. 343 
 
 that it was ever present in his mind as a " memento mori," 
 during the time of his captivity.'" 
 
 Oristoforo Solari was one of the many artists in the employ- 
 ment of the Duke who left Milan when it was occupied by the 
 French, and went to Rome, where he remained until February, 
 1501, when he was recalled to Milan by the directors of the 
 works at the Cathedral and engaged in their service under 
 exceptional conditions, which show how highly they esteemed 
 him. Unlike his associates, who even when men of superior 
 ability as sculptors were treated on very much the same footing 
 as the stone-cutters employed in the " Fabbrica," Cristoforo 
 was not placed under the control of the head architects, but 
 had full liberty to select blocks of marble, to carve statues 
 according to his fancy, to work when he liked, and dine when 
 he was hungry. Furthermore, he was to be paid by the month, 
 and not like a workman by the day ; and should he fall ill, was 
 to receive his full salary for a year, and half the amount 
 afterwards until his recovery. In his contract he is spoken of 
 as a great honour to Milan, both as architect and sculptor.f 
 Of his architectural labours little need be said, further than to 
 point out the fact that he successfully laboured with Andrea 
 Fusina to supplant Omodeo as head architect of the Cathedral, 
 and was appointed to the coveted position in 1520, with Ber- 
 nardo Zanobi as his colleague. Together they prepared a new 
 model for the Cupola, in connection with Avhich Cristoforo's 
 name appears for the last time in the register of the " Fab- 
 brica," Lhough he survived until after 1523, as in that year he 
 signed his daughter-in-law's act of dower. | 
 
 His best works in sculpture, the sepulchral effigies of Beatrice 
 and Ludovico II Moro at the Certosa, are naturalistic, carefully 
 studied portrait statues in the early Renaissance style, but the 
 few which he sculptured after his return from Rome to Milan 
 are conceived altogether in that of the later Renaissance. The 
 Michelangelesque statue of Christ bound to the column, in the 
 Sacristy of the Cathedral, is a coarse muscular figure without 
 
 * Calvi, p. 225 of his Notizie, expresses a doubt whether thti efGgy of 
 the Duke was in its place so early as 1499. 
 
 t Bossi, MS. cartella ix. p. 251 ; and Albuzzi, MS. quoted by Calvi, 
 op. cit. pt. ii. p. 225. 
 
 J Calvi, op. cit. p. 230.
 
 344 Historical Handbook of Italian Sculpture, 
 
 elevation, and the Adam on the roof of the Sacristy, though 
 more refined, has hut little individuality,'^^ Many statuettesf 
 attributed to Solari are lost among the thousands which cluster 
 about the roof and pinnacles of the Cathedral. J 
 
 Among the scholars of "II Gobbo " were Giovanni Dentonc 
 of Padua, Giovan Giacomo della Porta, Girolamo da Novara, 
 who made a monument to the iVrchdeacon Melchior Longhi for 
 the porch of the Cathetlral at Novara, and Andrea da Fusina, 
 sculptor of the tomb of Francesco Birago in the Cliiesa della 
 Passione at Milan, a tasteless and clumsy work, in whicli ho 
 had the assistance of a Milanese sculptor, Biagio Vairone, who 
 figures in the records of the Cathedral as a constant applicant 
 for advanced pay. It was perhaps on this account that the 
 directors, becoming tired of his importunity, caused his name to 
 be stricken from the list of artists attached to the " Fabbrica," 
 in 1496. A bas-relief of the Last Supper, at the Certosa, is 
 ascribed to him by some writers. 
 
 The famous goldsmith, medallist and sculptor, Ambrogio 
 Foppa, called Caradosso and Del Mundo, who was born at 
 Pavia about 1470, and spent much of his life at Rome, was 
 declared by no less competent a judge than Cellini to be the 
 most skilful goldsmith he had ever met.§ A letter written to 
 
 * The companion statue of Eve is not by Solari, but by Angelo 
 Marini detto II Siciliano. 
 
 t Among them are SS. Helena, Sebastian, Judith, Lucia, Peter, John 
 the Evangelist, Eustace, also Longinus and Lazarus. 
 
 X The Cathedral at Milan possesses a very fine work of art, which may 
 here be mentioned — the bronze candelabrum, whose tree-like shape has 
 caused the chapel in which it stands to be called the " Madonna dell' 
 Albeio." It was the gift of Archbishop Trivulzio in 1557, but its date 
 -s 'juknown and has been much disputed. Some writers assign it to the 
 twelfth century, others, such as the late eminent architect Mr. Street, to 
 the thirteenth, with a doubt if it be an Italian work, and others, struck 
 with its general resemblance to the so-called Gloucester candlestick at 
 South Kensington, an English work of the early part of the twelfth cen- 
 tury, believe it to be of that time. To these contlicting hypotheses another 
 may be added, that it is possibly a pseudo-archaic work of the fifteenth 
 century. A description of it and some reasons for adopting this view are 
 given in the Appendix to " Italian Sculptors," pp. 271 and 272, to which, 
 for want of space, I must refer the reader. 
 
 § lEow genuine this admiration was on his part is proved by his 
 refusal to accept any payment for a chiselled cap-button from a gentle- 
 man who declared it to be superior to those for which Caradosso received
 
 Cava do s so, 345 
 
 Francesco Binasco at Milan, by Bishop Lorenzo Gonzaga of 
 Mantua asking for a list and some pencil sketches of certain 
 marble figures and heads by Caradosso which were offered for 
 sale proves that he worked in marble, and that he was a skilful 
 modeller in clay is evident from a terra-cotta " mortorio," a 
 group of life-size figures standing about the dead body of our 
 Lord, in the church of San Satiro at Milan, which, like similar 
 works by Guido Mazzini at Modena and Naples, produces the 
 effect of a tableau vivant in a ModiiEval Mystery. The forms 
 and draperies are coloured ; the action is arrested at a moment 
 of great feeling on the part of the Apostles and Marys, and tho 
 treatment throughout is thoroughly naturalistic. It cannot bo 
 classed as the work of a sculptor, but rather as that of an ablo 
 "plasticatore," or modeller in clay. 
 
 Paolo de' Garviis, one of the Milanese sculptors who wan- 
 dered from home, was employed at Atri, in the Abruzzi, by 
 Isabella Piccolomini, wife of MatteoIIL, Acquaviva, to sculpture 
 an altar for the Cathedral, which he had vowed to dedicate to 
 the Virgin and St. Anne when he should be liberated from tho 
 prison into which he had been thrown, for his share in the con- 
 spiracy of the forty Barons against Alfonso of Naples. Before 
 the altar was finished (1506), Maiteo was set free, so that his 
 wife had faith that her anticipated fulfilment of his vow had 
 found favour in the Madonna's sight.* Besides this altar, 
 which stands under a ciborium supported upon four pilasters 
 adorned with the Ducal arms, leaves, festoons, and arabesques, 
 Paolo de' Garviis made a font (1503) for the Cathedral, sheltered 
 by a canopy resting on carved pilasters. 
 
 Among the Milanese sculptors of the first half of the six- 
 teenth century, Agostino Busti, surnamed Bambaja, certainly 
 holds the first rank.f Nothing is known of the place or dato 
 
 a hundred scudi apiece. "Such pi-aise," said Celliai, "is payment 
 enough for me, since the highest reward that can be given me for my 
 labour is to be assured that I have a|)proached in excellencB the works of 
 so great an artist." — Celhni, Vita, pp. 50, 56. A gold pax, made by 
 Caradosso (1527) for the Cardinal de' Medici (Pius IV.), and presented by 
 him to the Cathedral at Milan, is his only extant work as a goldsmith. — 
 See Franchetti, II Dnomo di Milano, plate xxx. and pp. 84, 85. 
 
 * (See Andrea Matteo iii. ^ulla Capella degll Acquaviva, l>y G-. 
 Cherubini, Mem. St. Art, Pisa, 1859. 
 
 •f Called also Bambara, Zambaja, and Zambagli.a.
 
 346 Historical Handbook of Italian Snilptnre. 
 
 of his birth or of his early education, but the first was probably 
 Milan, and the second about 1490, while the third is shown to 
 have been thorough by his one great unfinished work whose 
 parts are scattered all over Europe. After the battle of 
 Marignano (1515), which gave Milan to the French for the 
 second time, Francis I. determined to erect a splendid tomb 
 to the memory of Gaston de Foix, nephew of Louis XII. and 
 governor of Milan, who fell on the battle-field of Kavenna, 
 April 11th, 1512, from which time his body reposed in a 
 leaden coffin, suspended between two columns in the Cathedral, 
 until the expulsion of the French, when it was exposed by the 
 victorious Swiss on the ramparts of the castle, and thence 
 removed by reverent hands to the church of Sta. Marta.* 
 There, after the re-occupation, the king commissioned Bambaja 
 to give it a final resting-place. A drawing in the South Ken- 
 sington Museumf is our only clue to the general design of the 
 tomb, which the sculptor left incomplete! after working upon 
 it for eight years. ^ In this design the sides of the sarco- 
 phagus are adorned with bas-reliefs, separated from each 
 other by projecting pilasters upon which stand statuettes, 
 and the curved base is supported upon foliated lions' feet, 
 and decorated with a rich cornice. The mortuary couch 
 is surrounded by candelabra, and the whole structure raised 
 from the ground upon a flat basement resting upon double 
 pilasters, on which stand figures of the Virtues, and below 
 which sit others of apostles and prophets. The tomb was 
 
 * MS. by Andrea da Prato, cited by Franchetti, op. cit. p. 90, note 1, 
 iind by Verri, ii. 119. 
 
 t Vide Illustrated Catalogue by J. C. EoLinson, Esq., pp. 170 et seq. 
 The drawing, ascribed to Lionardo da Vinci, was purchased at the Wood- 
 barn sale. 
 
 X This is disputed. Lattuada, Lese. di Milano, v. 56, in proof of his 
 opinion that it was set up at Santa Marta, cites the following inscription 
 from a tablet placed upon the wall below the statue of Gaston de Foix 
 when the old church was restored : — "Cum in vcde MarthaB restituenda 
 ejus tumulus dirutus sit hujusce coonobii virgines .... hoc in loco 
 collocandum cui-avere," a.d. 1674. 
 
 § See Vasari, xi. 271, and viii. 183, Vita di R. da Montelupo; also 
 Cicognara, lib. v. ch. v, and Biondelli's article on Bambaja in the 
 PoVUcciico di Milano, no. iii. pp. 222 et seq. for notices of Bambaja and 
 his works.
 
 Banihaja. 347 
 
 intended to stand in the middle of a chapel whose walls were 
 to have been ornamented with bas-reliefs, many of which still 
 exist. Those meant to fill the flat spaces of the pilasters, 
 composed of arms, trophies, instruments of music, and horses 
 almost detached from the background by deep cutting, are 
 marvels of skilful workmanship, but the statuettes and reliefs 
 intended for other parts of the tomb are wanting in style and 
 purity of outline.* Of all the fragments belonging to it 
 none is so impressive as the mutilated effigy of the young 
 soldier, which was taken to the Brera when the convent of 
 Sta. Marta was suppressed by the French. Clothed in armour 
 and wearing a helmet wreathed with laurel upon his head, 
 he lies with his arms crossed upon his breast " quasi tutto 
 lieto nel sembiante, cosi morto per le vittorie avute." Were 
 it not for this one statue, we should think Bambaja overrated, 
 notwithstanding his really great skill as an ornamental sculptor. 
 The details of his small monument to Lancinus Curtius in 
 the Renaissance Museum at the Brera are excellent, but the 
 general design is meagre and in bad taste, f Upon a tablet 
 
 * Fragments are to be seen not only at jMilan, but also in Spain and 
 England. Those in the Ambrosian Library, consisting of three pilasters 
 covered with trophies and military emblems, wei'e bequeathed to it by 
 Cesare Piatli, nephew of the Cardinal Flaminio Pitti, who purchased 
 them for 200 gold scudi when the convent of Santa Marta was restored. 
 At Castellazzo, the villa of the Marchese Busca near Milan, there are 
 seven bas-reliefs, three pilasters, and six seated figures, which were 
 bought in the early part of this century by the Count Giuseppe-Maria 
 Arconati. Three seated statuettes are at the Brera, and four others at 
 the church of Chiaravalle in the neighbourhood of the city; in the 
 museum of the Academy at Turin there are four i:)ilasters, and in the 
 museum at Madrid two unfinished reliefs, one of which represents a pro- 
 cession of soldiers barely sketched out in the marble; lastly, there are 
 two statuettes of Fortitude and Charity, and three important reliefs in 
 the South Kensington Museum. The first (1515) represents a warrior 
 leading a horse, and is inscribed with the motto " Nunqnam tentes aut 
 perfice ; " the second (1518), men shooting ux:) wards, standing on either 
 side of a truncated column with the device " llIa;so luniine solem." In 
 the third, a warrior crowned by Apollo sits upon a triumphal car above 
 which Jupiter and the Eagle appear in the clouds. This relief bears the 
 latest date (1523) connected with the monument, but it is probable that 
 Bambaja continued to work upon it until the defeat of the French at 
 Pavia in 1525. 
 
 f Originally in the cloister of the church of St. Mark at Milan. It
 
 1 
 
 48 Historical Handbook of Italian Scnlpturc. 
 
 below the recumbent effigy is an inscdption lauding this 
 eminent man of letters, who wrote Latin poems and epigrams, 
 and made an excellent Latin version of the poems of Calli- 
 machus. A second tablet sustained by winged horses, emblems 
 of poetical genius, and volute-shaped flaming torches, typical 
 of the light which it sheds, is placed above the sarcophagus, 
 and contains a bas-relief of the three Graces. The monument 
 is surmounted by a crowned female genius, below which are 
 winged figures of Victory with a palm branch, and of Faith 
 with a torch flanked by " putti " with candelabra.* Bambaja 
 was attached to the " Fabbrica " from 1537 until his death in 
 1548, t during which time he made the mediocre monuments of 
 the Cardinal Marino Caracciolo, governor of Milan, and of the 
 Canon Giovanni Andrea Vimercati for the Duomo. Nothing 
 could well be more cold and bald than the architectural design 
 of these tombs, or more uninteresting than their accessories. 
 In 1548 Vimercati commissioned him to sculpture a bas-relief, 
 representing the Presentation of the Virgin, for an altar in 
 the left transept. I Here again he failed to produce a work 
 worthy of his reputation, for the composition is poor, the 
 figures are inordinately long in proportion and wanting both in 
 expression and in elevation of style. Bambaja's name appears 
 in the list of artists who worked upon the facade of the 
 Certosa, but we look in vain among its many bas-reliefs for 
 such internal evidence as we find in those upon a tomb 
 in the family chapel of the Borromei on the Isola Bella, 
 representing the Agony in the Garden, the Flagellation, and a 
 warrior marching in triumph surrounded by a crowd of soldiers 
 and people. § These, as well as the birds, masks, festoons, and 
 
 13 inscribed : — " Opus Augnstini Busti . a.d. 1513 . absolut. e. cocnobio. 
 S. Marci . Mediol. translat." 
 
 * Engraved by Cicognara, vol. ii. tav. 79. 
 
 t Franclietti, p. 77, nota 1, says Bambaja was attached to tlie 
 Veneranda Fabbrica July 16, 1537, and remained so till his death iu 
 1548. 
 
 X October 23, 1543, Vimercati deposited 2,200 ducats in the hands of 
 the treasurer to pay for these works. See Franchetti, 0^. cit. p. 77. 
 
 § It is true that those upon the side pilasters of the portal, which 
 represent the history of the edilice, resemble the bas-reliefs ot the Presen- 
 tation at Milan, in the extreme length of the figures, and the compositions 
 upon the tomb of Gaston de Foix in the combination of basso- with
 
 Bamhaja, 349 
 
 arabesques upon the sarcophagus, need no signature or docu- 
 mentary evidence to prove their authenticity. Like Bunibaja's 
 other works they have great excellences, coupled with grave 
 defects characteristic of the art of his time. Even in ornament 
 as excellent as that upon the pilasters of the tomb of Gaston 
 de Foix, the laws of sculpture are violated by the introduction 
 of drums, banners, and other objects unfit for representation in 
 marble, while in bas-relief the bounds which should limit sub- 
 ject in sculpture are repeatedly disregarded. 
 
 Among Bambaja's contemporaries were Antonio di Domenico 
 (1508) da Ligorno or Ligiuno (a province of Como), who is 
 styled " egregius sculptor" in a document of the time;^ 
 Bernardino da Milano (1521), who assisted Giacomo da Ferrara 
 in sculpturing the frieze of the Palazzo Castelli at Ferrara 
 after the designs of Baldassar Peruzzi ;f .Galinus da Cozteno, 
 a native of the Yaltelline ; j Antonio di Santo, Avho long lived 
 and worked at Reggio, where he adorned (1503) the portal and 
 staircase of the palace of Count Borso Sforza ; § Cristoforo da 
 Milano, who worked at Ferrara (1509) ; 1| Bernardino da Milano 
 or Lugano, a noted bronze-caster, who assisted Eustici to cast 
 the figures of St. John disputing with a Levite and a Pharisee, 
 for the baptistry at Florence,^ and Marco Ferrari, called from 
 his native town near Milan, da Gra or d' Agrate, whose statue 
 cf St. Bartholomew in the Cathedral at Milan hardly needs 
 the warning inscription upon its pedestal — 
 
 alto-relievo, but these are not distinctive marks, and we are the less 
 inclined to accept them as such, because the said reliefs are very much 
 superior in style and composition to any of Bambaja's known works. 
 The draperies are simply treated, and fall in straight-lined well-arranged 
 folds, whereas those in the statuettes and bas-reliefs belonging to the 
 tomb of Gaston de Foix are fluttering and cut up. The architectural 
 backgrounds are also purer in style than those of Bambaja. 
 
 * Cittadella, op. cit. p. 661. 
 
 t Ihidi. p. 318. 
 
 X Bossi, MS. cartella viii. 
 
 § Campori, Art. Est. p. 316, op. cit. In a filza from the Arcldvio di 
 "Parma cited by Gualandi, Mem. &c., 6th series, 31, 33, this artist is 
 styled " Mo Antonio di Domini Sancti ; habitat in civitatis Regii in vio. 
 Scti. Eaphaelis." 
 
 II Cittadella, op. cit. pp. 318, 423. 
 
 ^ See Giornale, Bcrjli Arch. Toscani, iv. G3, anno 1860, and p. 1D9 
 this volume.
 
 350 Historical Handbook of Italian Sculpture, 
 
 " Non me Praxiteles, sed Marcus fuixit Agrates."* 
 
 Other works by this sculptor are a bas-relief of the marriage of 
 Cana in the Cai^ella del Albero, and the monument of Bartolo- 
 meo Martini in the Cathedral at Parma, neither of which rise 
 above mediocrity.-j- This is unfortunately the case with the 
 greater part of the sculpture of his time in the Milanese terri- 
 tory. It shuns the Scylla of nullity and bad taste only to fall 
 into the Charybdis of Michelangelism. Among those who were 
 swept into the latter whirlpool were Guglielmo della Porta, 
 Brambilla, Fontana and Leone Lioni. Guglielmo was the 
 nej)h3w and pupil of Cristoforo Solari's scholar Giovan Giacomo 
 della Porta, whom he accompanied to Genoa (1531), to assist 
 in erecting a ciborium over the altar of St. John the Baptist in 
 the Cathedral.]: The Prophets in alto-relief upon the pedestals 
 of its porphyry columns, and the mannered statues and bas- 
 reliefs in the chapel of SS. Peter and Paul, were sculptured 
 by Guglielmo during his six years' residence there, together 
 with a poor statue of St. Catherine on the stairway-landing at 
 the Academy. Leaving Genoa in 1537 he went to Rome with 
 a letter from his uncle to Fra Sebastiano del Piombo, who 
 presented him to Michelangelo, through whom he obtained 
 occupation, and admission to the Pope's service. In 1547 
 he w^as appointed to the office of " piombatore," and when 
 Paul III. died (1550) was commissoned by Cardinal Farnese 
 to make his monument at St. Peter's. Its prototype is to be 
 found in the tombs of the Medici at San Lorenzo, so far as the 
 tripartite arrangement of a seated statue looking down upon 
 two reclining allegorical figures is concerned, but whereas in 
 Michelangelo's tombs the material is homogeneous, and the 
 figures are symbolic of abstract ideas, in this of Guglielmo 
 della Porta both bronze and marble are used, and the reclining 
 figures are portraits in allegorical guise ; the Prudence, an old 
 woman looking into a mirror, of the Pope's mother, Giovanna 
 Gaetani da Sermoneta, and the Justice, of his sister-in-law 
 Giulia Gaetani. Her nude statue was considered so scandal- 
 ously out of place in a church that Guglielmo's son, Teodoro, 
 
 * St'c Cicognara, vol. ii. plate 80; and Vasari (ed. lie Monniei') vol. xi. 
 p. 273, note 6. 
 
 t Franchetti, op. cit. p. 107; and Bossi, MS. vol. i. no. 78. 
 
 I It cost 1,000 goklen scudi, Banchero, II Duomo di Genova, p. 178.
 
 Gtiglicbno dclla Porta. 35 J 
 
 was directed to drape it in a tunic of bronze (1590), which, 
 however decorous, is very unplcasing in effect. * The tomb as 
 a whole and in detail strikingly illustrates the decadence of 
 monumental art in the sixteenth century, as it epitomizes 
 those defects of mannerism, want of significance, absence of 
 individuality, sensualism, and unrest, which mar so much of 
 its best sculpture. There is so little satisfaction in studying 
 it that we hasten on to the close of our task, like the belated 
 traveller who, after traversing a land of plenty, has yet to cross 
 a desert strip of country before reaching his journey's end. 
 
 The most famous Lombard artist of this period was Leone 
 Lioni, goldsmith, medallist, sculptor, and bronze-caster, called 
 II Cavaliere Aretino, though born at Menaggio in the district 
 of Como,f and " II Scultore Cesareo," because he made so 
 many statues, busts, and medals of the Imperial family. In 
 1552 Charles V. lodged him in the palace at Brusst^ls, 
 knighted him, and after taking him to Spain, where many of his 
 works still exist, | pensioned him, and on his return to Milan 
 gave him a house in the Contranda degli Omenoni,§ known as 
 
 * See Gualandi, 6th series, pp. 123, 125, for documents concerning 
 father and son. Melchiori in his Guida di Eonia says this tomb cost 
 24,000 scudi. Other artists of the della Porta family were the Cav. Gian 
 Battista della Porta, Tommaso (d. 156S), Paolo, and a second Tommaso 
 who cast the statues of SS. Peter and Paul for the Trajan and Antonine 
 columns, and died in 1618. (Bossi, MS. cartella x.) 
 
 t Campori, Art. Est. p. 283, and Morigia, lib. v. ch. v. p. 470, both 
 speak of him as a native of i\l(.-naggio. Guilliot, Les Artistea Italiens en 
 Espagne, ]•>. 23, and Vasari, vol. xiii., say he was bom at Arezzo. The 
 editors of Vasari, xiii. 3, nota 1, account for this differeuce by supposing 
 that his father was an Aretine residing at Menaggio when his son was 
 born. But in a contract made by Leone for the Melegnano monument, 
 he is called Leone Aretino son of Giovanni Battista Milane.=?e. 
 
 + Such as the statues of the emperor and empress in the Academia 
 di S. Ferdinando, and the bust of the emperor in the new palace at 
 Madrid ; two large bronze medallions of Charles V. and the Empress 
 Isabella at Buen Retiro, and several busts of the Imperial family; and 
 bu^ts of Charles V., Philip II., and the Duke of AK-a in his palace at 
 Madrid. He also projected an equestrian statue of the emperor (Campori, 
 op. cit. p. 249). 
 
 § So called from the colossal terminal figure? of prisoners on the 
 fa(;ade (Vasari, xiii. p. 115), made by Antonio Abbonuio called TAscona. 
 Battista called I'Asconino made several statues for the Cathedral at 
 Milan. One of Leone Lioni's scholars, Martino Pasqualigo (1521-1580)
 
 352 Historical Handbook of Italian Sculpture. 
 
 the Casa Aui-eliaua, from a cast of the statue of Marcus Aureliua 
 in the court^'ard. 
 
 The best example of Leone's corrupt and mannered style is 
 the bronze statue of Don Ferrante Gonzaga, Viceroy of Sicily 
 and Governor of Milan, which was removed from that city to 
 Guastalla by Don Ferrante II.* To understand its allegorical 
 si"-nificance it is necessary to know that Don Ferrante gave so 
 much discontent by his administration that Charles V. sum- 
 moned him to Madrid to give an account of it, and that ho 
 succeeded in justifying himself in the eyes of his master, who 
 loaded him with honours. To illustrate this history, Leono 
 represented his hero in the costume of a Roman general, 
 standing with one foot upon a prostrate satyr who grasps a 
 triple-headed snake, typical of envy, and holding three apples 
 in his hand, like a Hercules fresh from the gardens of the 
 Hesperides. Skilfully cast, and ably composed, the group is 
 '* baroque" and pretentious in style, as is the monument to 
 Giovan Giacomo de' ]\Tedici, Marquis of Melegnano, in the 
 Cathedral at Milan, which Leone cast as it is said after a 
 design by Michelangelo. The Marquis clad in armour, the 
 seated allegorical figures of Peace and military Eenown, and 
 the personifications of Prudence and Fame, make up what 
 the world calls a fine tomb, that is to say, a huge mass whose 
 effect is due to scale and costliness of material rather than to 
 artistic excellence.f Pompeo Lioni, the son and scholar of 
 Leone, who was both sculptor and medallist, imitated his 
 style so closely that their works are hardly distinguishable. 
 After living many years at Madrid where he made no less than 
 thirteen bronze statues of members of the Imperial family, j 
 Pompeo returned to Italy in 1582, to work under his father 
 upon certain statues designed by Giovanni de' Herrera for the 
 High Altar of San Lorenzo, in the Spanish capital, and in the 
 space of four years he modelled and cast ten figures larger than 
 life,§ for which he was paid 3,000 ducats, and, in consideration 
 
 lived long at Yenice witli Jacopo Sansovino and Pietro Arctino, and was 
 painted by Titian. 
 
 * Engraved in Litta's Famiglie Celchre, fasc. xxxiii. pt. ii. 
 
 •f It was ordered by Pius IV., who gave seven marble columns and 
 spent 7,800 gold ecudi upon it. The contract is dated September 12, 1560. 
 
 X Giulliot, Lcs Artistes en Espagne, p. 60. 
 
 § He also made niae staiucsibx ths Church of St. Eilippo Realo. Foi
 
 Pompeo Lioni. 353 
 
 of bis thirty years' service, received a pension of GOO. As 
 the statues gave entire satisfaction to his employers, we may 
 presume that they rated quantity of greater importance than 
 quaHty. 
 
 Among Leone's contemporaries were Antonio Font^na (1540- 
 1587), who decorated the fa9ade of San Celso at Milan with 
 many vicious statues* and has-reliefs, and Francesco Brambilla, 
 long head master of the '■' Yeneranda Fabbrica" of the Cathedral, 
 whose two pulpits, resting upon bronze symbols of the Evange- 
 lists and the .Doctors of the Church, were cast after his designs 
 by his pupil, Andrea Biffi.f All other sixteenth-century 
 sculptors employed at Milan | and in the cities and towns of 
 its territory, may be dismissed in a few words. Tommaso 
 Lombardo, from Lugano, a scholar of Jacopo Sansovino and 
 one of his assistants in decorating the facade of the Library 
 at Venice, who flourished in 1547, was a skilful workman in 
 stucco, a material greatly in favour for decorative purposes 
 in that part of Italy, and eminently suited to the "baroque" 
 style of the period. His heavy and mannered marble group of 
 the Madonna and Child with St. John, in the church of St. 
 Sebastian, is a close imitation of Jacopo Sansovino's group of 
 
 these works and the nineteen gilded bronze statues which he made for 
 the Escurial, he received 23,000 ducats. The quality of the latter may 
 he judged of by the fact that their draperies ai'e of marble enriched with 
 precious stones ! 
 
 * One of them, the Madonna, now within the church, over the left side 
 door, was declared by the deputies to be the work of an angel. The St. 
 John the Evangelist, in a niche over the tomb of Fontana at San Celso, 
 is considered one of his best works. 
 
 t Biffi also cast the bronze tempietto over the high altar and the 
 angels which separate the bas-reliefs about the choir, designed by 
 Brambilla. Pietro Antonio Daverio, who worked at the Cathedral, and 
 Ruggiero Basgape or Bescape, were scholars of Andrea Biffi. 
 
 X Such as Lionardo, who made the statues of SS. Peter and Paul in 
 the chapel of Cardinal Riccio da Montepulciano at Rome ; the brothers 
 Jacopo and Tomaso Casignuola, who cast the baroque bronze statue of 
 Pope Pius IV. for his monument in the CarafTa chapel at the Minerva; 
 Ambrogio Buonvicino (d. 1590), who sculptured the monument of Pope 
 Urban VII. in the same church, the bas-reliefs upon the tombs of 
 Clement VIII. and Paul V. at St. Andrea della Valle, and a bas-relief of 
 Christ's charge to Peter at St. Peter's. Giacoino Scilla Longhi, of Milan, 
 carved the six mediocre bas-reliefs upon the sarcophagus of S. Silvestro 
 in the abbey church at Nonantola 
 
 A A
 
 354 Historical Handbook of Italian Satlptnre, 
 
 the same subject in the Loggietta, and his statuette of St. 
 Jerome in the same church is altogether insignificant. Another 
 artist from Lugano, Maestro Galeazzo, worked upon capitals, 
 architraves, &c., for the chapel of St. Anthony in his Basilica at 
 Padua (1500-1502), together with an Alessandro from Saronno 
 (1502-1516), a decorative sculptor of ability. From Bergamo 
 came Pietro, who worked at Ferrara (1551) and Naples ; Gio- 
 vanni Castello, called II Bergamasco, who sculptured the poor 
 statue of Hope in the Lercaro Chapel in the Cathedral at Genoa ; 
 and Pietro di Bonomo de' Maffeio (1526-1579), who carved 
 many animals in w^ood for the choir of Sta. Maria Maggiore at 
 Bergamo. At Como there were no worthy successors of the 
 brothers Piodari already spoken of, or at Cremona of the 
 Giovanni Gaspari Pedoni, whose works in the municipal palace 
 have been mentioned. His son Cristoforo, who sculptured the 
 Area di San Arcaldo (1533-1538) in the crypt of the Cathedral, 
 the brothers Jacobus and Galeatino de' Cambi, who worked at 
 Bergamo, and the brothers Campi, one of whom, Bernardino, 
 painted frescoes in the Church of St. Sigismond (1550), com- 
 plete the list of Cremonese sculptors known to us. The Pietro 
 of Pavia, who sculptured the life-size statue in fig-tree wood of 
 Christ bound to the column, in the church of San Giovanni a 
 Monte at Bologna, was evidently a follower of Michelangelo. 
 The head is expressive, and the body shows careful anatomical 
 study. Simone of Pavia, one of Pietro' s contemporaries, com- 
 menced an "ancona" of gilded bronze with niches, columns, 
 cornices, and chiselled silver figures two feet in height, for the 
 confraternity of Sta. Maria della Misericordia at Bergamo, but 
 died at the end of the century, leaving it unfinished. 
 
 VENICE. 
 
 In a previous chapter we gave some account of Pietro 
 Lombardo's works at Venice, Piavenna and Treviso, and men- 
 tioned his sons Tullio and Giulio. Tullio has been called 
 the best of Venetian sculptors, though his style is cold and 
 monotonous, and his compositions are rarely felicitous. One 
 of his two large bas-reliefs in the Capella del Santo at Saut' 
 Antonio at Padua, of a youth who was healed by St. Anthony
 
 Tullio Lomhardo. 355 
 
 after ha had cut off the offending foot with which he had kicked 
 his mother in a moment of anger, shows ten unmoved spectators 
 in a row, looking at the equally unmoved sufferer whose body, 
 stiffly stretched across the composition, produces a series of 
 awkward and disagreeable lines. The other relief which 
 illustrates the scripture text, "where a man's treasure is, there 
 will his heart be also," represents St. Anthony finding the 
 heart of a miser lying in his money chest. We have but to 
 cross the church to the high altar to feel the hollowness of 
 Tullio' s style, as we see how Donatello has treated the same 
 subject with point, vigour, and clearness, never distracting the 
 eye from the main centre of action — true to nature and senti- 
 ment in every line and detail, and incomparable in style. None 
 of Tullio's works at Venice justify his great reputation. The 
 angels which support an altar at San Martino are without 
 expression, and monotonously uniform in drapery and action, 
 and the Christ with the Twelve Apostles in relief at San Giovanni 
 Crisostomo, though carefully draped and smoothly Avorked, are 
 wanting in life and stiff in arrangement. The bas-relief on 
 the facade of the Scuola di San Marco, which represents St. 
 Mark baptizing S. Ansano, is said to be one of Tullio's works, 
 but the composition is so good, the treatment so sculptural, 
 and the gradation of relief so well managed that we hesitate to 
 attribute it to him. His hand is, however, clearly recognizable 
 in other equally unauthenticated marbles, as for instance in 
 some of the bas-reliefs from the Palazzo Suffiolo, near Modena, 
 which are said to have been sculptured by him and his brother 
 Antonio for the Duke Alfonso d'Este, to decorate the Palazzo 
 Belriguardo at Ferrara.* Though four of them, representing 
 classical subjects, are in the same cold and unsympathetic style 
 as Tullio's bas-reliefs in the Capella del Santo, they are more 
 highly finished. The others, which consist of griffins, eagles, 
 tritons, and arabesques, are excellent examples of Renaissance 
 
 * When the dukes of the house of Este left Ferrara they brought with 
 them many precious works of art, including these bas-reliefs, and placed 
 them in the Palazzo di SufBolo, which eventually passed into the posses- 
 sion of Count d'Espagnac, who brought the marbles to Paris, where they 
 now are in the Spitzer collection. The Cav, L. N. Cittadella, director of 
 the public library at Ferrara, states that nothing is known of their 
 history at Ferrara, and that no mention is made of them in the Bos- 
 chini MS. 
 
 A A 2
 
 356 Historical Handbook of Italian Smlpture. 
 
 ornament, and worthily represent the school of Pietro Lom- 
 bardo. We have yet to mention the uninteresting monument 
 to the Doge Giovanni Mocenigo, which Tullio sculptured for 
 San Giovanni e Paolo, and the coarse and vulgar statues of 
 Adam and Eve in the Palazzo Vendramin Calergi, from the 
 monument to the Doge Andrea Vendramin in the same church.* 
 A few years before his death at Venice, Nov. 17, 1530, Tullio 
 worL-ed with his father at Treviso, and sculptured the very beauti- 
 ful eagle upon the sarcophagus of Bishop Zanotti's monumeut.f 
 His brother Antonio (d. 1516) is chiefly known to us by a 
 large bas-rehef (1505) in the Cappella del Santo, at Padua, :|: 
 of an infant bearing witness to the innocence of its mother, 
 who had been unjustly accused of infidelity. This work is 
 altogether second-rate, the figures are clumsily proportioned, 
 stiffly posed, and without expression. § One of the best anony- 
 mous marbles at Venice, which is classed as belonging to the 
 school of the Lombardi, is a bas-relief over a doorway in the 
 museum of the Ducal Palace. It represents St. Mark with 
 a bishop and a saint, in the act of presenting the Doge Lionardo 
 Loredano to the enthroned Madonna, who by her impassive 
 countenance and dignified presence recalls Giovanni Bellini, j] 
 The Divine Child standing upon one knee bends forward to 
 
 * See p. 359. 
 
 t Tullio was buried at Venice in tlie church of San Stefano. See the 
 Eegistri di San Stefano, MS. Cod. delta Bib. Marciano, quoted by Morelli 
 in his notes to rAnonimo, note 102, p. 193. 
 
 + Gonzati, oj3. cit. vol i. doc. 101. Antonio received 2,480 lire for this 
 bas-relief [ihld. p. 170). 
 
 § It is certain that the two pretended families of Lombardi at Venice 
 and Ferrara were in reality one and the same. Antonio di Pietro, who 
 was the founder of the Ferrarese branch, came to Ferrara in 1505, waa 
 still in the Duke's pay in 1515, and as we know from his widow's will 
 was dead in 1516. His sons Aurelio, Lodovico, and Girolamo were all 
 under age at the time of his death. Aurelio and Lodovico were in 
 Ferrara in 152?. In 1530, or 1531, Girolamo went with his brothers to 
 Loreto, and worked there. They afterwards married and settled in 
 Kecanati. Aurelio died in 1563. Girolamo left several sons, among 
 whom were Antonio and Paolo, sc\ilptor3. and Pietro, sculptor and 
 painter (Letter from the Cav. L. N. Cittadella). 
 
 II Loredano seems to have especially cultivated the worship of the 
 Virgin, for we find him again represented as kneeling before her, upon 
 the "quattrino," a square coin which was struck during his reign 
 (I Uorji di Venezia).
 
 The Gmstiniani Chapel. 
 
 157 
 
 f?Tss»sssssssissssssmsS8S^S&~sss\'^;\s-s\\«x\«-s^^ s. 
 
 listen to the aged suppliant, whose expressive face and clasped 
 hands are full of character and truth. The long trailing folds 
 of his ducal mantle are disposed with great skill, and worked 
 out w4th great care. If it be difficult to believe any of the 
 Lombardi capable of so admirable a work as this, it is equally 
 difficult to credit them with the marbles of the Giustiniani 
 chapel at San Francesco delle Vigne, which is said to have 
 been built by Agnesina Badoaro after the death of her husband 
 Girolamo Giustiniani, and 
 decorated by Tullio, Anto- 
 nio and Santi Lombardo'''^ 
 (1532). The marbles are 
 evidently by three different 
 artists, but not by Tullio, 
 as he was dead at the time, 
 or Antonio, who though 
 alive had not the requisite 
 capacity, or Santi, who was 
 an architect. The earliest 
 and best of them, perhaps 
 executed before the chapel 
 was built, f consist of a 
 delicately- sculptured bas- 
 relief of the Last Judg- 
 ment, an excellent statuette 
 of St. Jerome (see wood- 
 cut), and of statuettes of 
 the Archangel Michael, 
 SS. Agnes, Anthony and 
 
 James, \ which have much more spontaneity and freedom than 
 the cold but highly-finished alto-reliefs of the Evangelists upon 
 the walls of the chapel. 
 
 * Zanotti, Ginda di Venezia. 
 
 t Cicognara, Storia della Scultara, vol. iv. p. 338, ed. in 8vo, and 
 Selvatico, op. cit., both ascribe these works to the fourteenth century. 
 The latter, at p. 381, says Jacopo Sansovino built the church in 1534. 
 Sansovino, Venezia Descritta, p. 48, says the church was rebuilt in his 
 day. 
 
 j Selected by Agnesina Badoaro because their names were the same 
 as those of certain members of her own family and of that of her 
 husband.
 
 35S Historical Handbook of Italian SculptiLve. 
 
 The transition period at Venice between the Gothic and tho 
 Renaissance, is well represented by the bas-reliefs upon the 
 marble parapet around the choir of the church of Sta. Maria 
 de' Frari, whose flat spaces are adorned with half-figures of 
 prophets and saints. One of these is supposed to be a portrait 
 of the unknown sculptor (1475), whose motto, " Soli Deo Honor 
 et Gloria," is engraved upon the cartel which he holds in his 
 hand. Another anonymous sculptor (1484) made the monu- 
 ment of Jacopo Marcello at the Frari,* which is one of the 
 first examples of that use of incongruous elements in monu- 
 mental art which gradually destroyed its solemn character. The 
 statue of the deceased, with a banner in his hand, stands above 
 the highly-ornate sarcophagus, which is supported by male 
 figures in Venetian costume. The tomb of the Doge Nicolo 
 Tron, a towering overcrowded pile, shows still more plainly the 
 decay of taste. It has three niches with statues of the Doge 
 and the Virtues in the first story, an epitaph and bas-reliefs 
 of children with vases of fruit in the second, a sarcophagus 
 with recumbent effigy and three statuettes in the third, seven 
 niches with as many symbolical statuettes in the fourth, and 
 at the top a lunette, containing a relief of the Resurrection of 
 our Lord, surmounted by a God the Father, with the Madonna 
 and the Angel of the Annunciation. f We need not dwell 
 upon this monument, whose confused eff'ect proves that no rich- 
 ness of detail can compensate for the absence of simplicity and 
 unity of design. Other Renaissance monuments at the Frari, 
 in which the skilful hand vainly strives to hide the want of 
 pure taste and correct sentiment, are those of Melchiorre Tre- 
 visan (1500), general of the Venetian republic, of Benedetto 
 Brugnolo, and that of Pietro Bernardo, an ornate casket flanked 
 by two seated lions, crowned by a statuette, and supported upon 
 a fluted cornice held up by consoles. Below them is a sar- 
 cophagus resting upon consoles shaped like Doric capitals, 
 between which an eagle spreads his wings. 
 
 The peculiarl}^ North Italian fashion probably first set in 
 the monuments of the Scaligers at Verona, of surmounting 
 tombs with equestrian statues of the deceased became so 
 
 * A brave Venetian captain who perished under the walls of Gallij)oli 
 during the war between Venice and Eicolo, Duke of Ferrara. 
 f Perhaps designed by Antonio E-izzo.
 
 Venetian Momtmdnts. 359 
 
 identified with the Venetian school that tombs so decorated arc 
 said to be " alia veneziana." This and other innovations led 
 to a time when the curtain-drawing angels, the still, straight- 
 lined effigy, and the sarcophagus storied with Scripture scenes 
 and decorated with simple statuettes of the Virgin and the 
 Angel became things of the past. The tomb of Jacopo Suriano* 
 at San Stefano, which is much better in style than the tombs 
 of which we have been speaking, consists of an arch, supported 
 by Corinthian columns, and raised upon a richly-ornamented 
 base, with a bas-rehef of the devotee presented to the Madonna 
 by his patron saint. Below it is a sarcophagus with the recum- 
 bent effigy of the deceased resting upon griffins, between which 
 stand two genii with torches in their hands, on either side of a 
 memorial tablet. Some writers consider the crowning glory of 
 Venetian monuments to be that of the Doge Andrea Vendramin 
 in the church of San Giovanni e Paolo, f Here the later 
 Eenaissance displays all its borrowed splendours ; Corinthian 
 columns supporting a triumphal arch ; pilasters and a broad 
 frieze covered with arabesques ; a mortuary couch resting upon 
 eagles, a sarcophagus adorned with niches and ornamented 
 pilasters, wreaths, sculptured panels, and to crown all a medal- 
 lion, supported by syrens. This abundance of pagan elements 
 is poorly balanced by statuettes of Christian Virtues, placed 
 about the recumbent effigy of the doge and in the niches of his 
 sarcophagus, virtues which, according to history, Andrea Ven- 
 dramin did not possess. He belonged to one of those Venetian 
 families which were ennobled for services rendered to Venice 
 during the Chioggian war, owed his election rather to his 
 influential connections than to any personal merit, and his 
 magnificent monument to his great wealth. The already-men- 
 tioned statues of Adam and Eve| by Tullio Lombardi, origi- 
 nally in the larger niches outside the columns, are now replaced 
 by personifications of military prowess. The general design 
 
 * An eminent physician from Rimini. 
 
 t Cicognara speaks of this tomb as " il vertice a cui le arte veneziane 
 si spinsero al ministerio dello scalpello." Selvatico and others are 
 equally extravagant in their praises, but Ruskin shudders at it and find^j 
 satisfaction in the thought that the man who designed it (Leopardi) was 
 impure in spirit as in art. 
 
 X Now iu the Vendramiu-Calcrgi palace.
 
 360 Historical Handbook of Italian Sctilpttire, 
 
 for this tomb is said to have been given by Alessandro Leopardi, 
 the most eminent bvonze-caster of his time.* The date of his 
 birth is unrecorded, but we know tliat he lived at Venice in 
 the Contrada of Sta. Maria dell' Orto, that his studio was situ- 
 ated in the Piazza del Cavallo, adjoining San Giovanni e Paolo, f 
 and that in the year 1487 he was banished from the Venetian 
 territory for forgery. | In the following year Andrea Verrocchio 
 died at Venice, 18th Sept., while working upon the equestrian 
 statue of the great condottiere Bartolomeo Coleoni, and the 
 Senate knowing no artist so capable of completing it as Leo- 
 pardi, allowed him to return with a safe-conduct for six months, 
 which they afterwards prolonged indefinitely. We have already 
 adduced our reasons for giving him a chief part in the divided 
 authorship of this noble work (p. 135). If Verrocchio left behind 
 him sketches in clay and pencil embodying his general concep- 
 tion of the group, as seems probable, they were doubtless placed 
 in the hands of his successor to use as he saw fit, but from 
 such beginnings to their full realization there is a wide step. 
 In his will Verrocchio refers to the horse as commenced, but he 
 makes no mention of the rider, who may therefore be altogether 
 by Leopardi. This noble cavalier of the stern countenance (sec 
 woodcut, page 361) and noble bearing, is Venetian in his pictu- 
 resque media3valism, and in treatment quite unlike the dry 
 precision of the realistic Verrocchio, whose training in the gold- 
 smiths' workshop shows itself in his sculpture. Whatever may 
 be concluded as to the authorship of the group, there can be 
 but one conclusion about the pedestal on which it stands, namely, 
 that it is wholly by Leopardi. Adorned with six Corinthian 
 columns, and an elaborate frieze of marine animals and tro- 
 
 * Zanotti, O'p. cit. p. 291, says perhaps the monument was designed by 
 Leopardi. Temanza and Selvatico consider it probable that he was its 
 author. 
 
 t " Elogio di A. Leopardi del Cav. P. Zandoraenighi, Atti del. Eeg. 
 Accad. in Yenezia a.d. 1858." 
 
 t Selvatico, p. 221, saj's that documents prove that Leopardi forged 
 the name of a sailor called Marino Bernardo. The Cav. Zandomenigbi 
 in the above-cited eulogium, p. 18, endeavours to explain away the guilt 
 of Leopardi, by rej^resenting him as the victim of a dissolute nobleman 
 who employed him to make facsimiles of certain documents without 
 telling him to what use he meant to j)ut them, and who when discovered 
 left him to bear the consequences.
 
 Alessandro Lcopardi. 
 
 361 
 
 phies, it lifts the horse and his rider up against the blue sky to 
 a height just sufficient to give it full effect. When first exposed 
 to view on the 21st of March, 149G, it met with the admiration 
 which still greets it, and the delighted Signory deliberated upon 
 commissioning the sculptor to cast bronze gates for the Porta 
 della Carta. As the scheme was abandoned they directed him 
 to cast the three standard bases of bronze which staud before 
 the portals of St. Mark's. Each one is supported upon winged 
 lions, and decorated with figures and emblems tyj)ical of the 
 wealth and power of Venice, and a special interest is given to 
 the middle one by the 
 profile head of the Doge 
 LeonardoLoredano (1501- 
 1506). These bases, as 
 well as the Coleoui group 
 and the three richly-orna- 
 mented bronze candelabra 
 at the Academy, show 
 that as a bronze-caster 
 Leopardi surpassed any 
 other artist of his time. 
 Distinguished also as an 
 architect, he built the 
 church of Santa Giiistina 
 at Padua after the plana 
 of Antonio Rizzo (1507), 
 and made an accepted de- 
 sign for the Scuola della 
 Misericordia, at Venice. 
 The date of his death is 
 uncertain, but as he is 
 
 spoken of by a native writer in 1541, as the *'new glory of our 
 age who shines like a star in the Venetian wonders," it must 
 have been much later than is generally supposed. He had 
 several contemporaries who were not destitute of talent, such 
 as Lorenzo Bregno, Zuane Zorzi, called Pyrgoteles, Antonio 
 Dentone, and Vittor Camello or Gambello * (14G0-1539), 
 sculptor, bronze-caster, and medallist, who counterfeited antique 
 coins so perfectly that they deceived even the most expert. 
 * Zani, Enc. Met. vii. 176, says that Camello was a Vicfcutine.
 
 362 Historical Handbook of Italian Scnlpttire. 
 
 Sometimes, as in the two portrait medals of himself (1490), 
 he adopted the antique style, and then again, as in that of 
 Gentile Bellini (1500), followed, though he never rivalled, the 
 great Italian medallists.* "With little individuality, he had a 
 tendency to imitate the most opposite styles. Thus, for 
 example, his statuettes of the Twelve Apostles at San Stefano, 
 and those of the Virgin, St. John the Baptist, and the Apostles 
 at the Frari, are in a quiet simple style resembling that of 
 the IMassegne, while the two battle scenes in relieff at the 
 Academy are violent and exaggerated in action, j "We learn 
 that rhyming was one of his accomplishments from the verses 
 of Cornelio Castaldo, whose extravagant praises may be partially 
 ascribed to gratitude for the medallion portrait which Camello 
 made of him. The verses are, however, mildly laudatory com- 
 pared with others addressed by Italian poets to artists far less 
 eminent than Camello, § such as those of the poet Guarino upon 
 a group of Venus and Cupid sculptured by Pyrgoteles, who was 
 an artist of but very mediocre talent. The group which the 
 noet declared superior to the works of Apollo and Praxiteles 
 does not exist, but we may judge that it cannot have been 
 a very wonderful work of art from the sculptor's feeble group 
 of the Madonna and Child (1513) in the lunette over the door 
 of Sta. Maria dei Miracoli, and his insignificant statuette of 
 Sta. Giustina on the holy-water vase in the Church of Sant' 
 Antonio at Padua. || 
 
 * Among tte medals of Gambello are those of Galeotto, marzo 1483; 
 Pope Sixtus IV., 1484, an allegorical subject, 1490 ; the Doge Agostino 
 Barbarigo, 1486 ; the Doge Andrea Gritti, 1523; Francesco Fasaolo and 
 Cornelio Castaldo, jurisconsults. 
 
 t Made for the tomb of a Captain Biiamonte. 
 
 X Other works attributed to him are two figures which sustain a 
 chimney-piece in a chamber of a Ducal Palace, a God the Father with 
 angels and statuettes of SS. Anthony and Francis over the altar of the 
 sacrament of St. Mark's, the Gobbo del llialto on the Piazzo del Rialto, 
 a statuette of Mars over the great window of the fa9ade of the Ducal 
 Palace towards the Lagoon, a Justice on the Piazza at Murano, and the 
 Slaves of the Contarini monument at Sant' Antonio di Padua. 
 
 § Camello had a son named Domeuico, who was the sculptor of a bas- 
 relief, dated 1571, over an altar in the church of Sau Giuseppe at 
 Venice. 
 
 II The record of payment for this statue published by Gonzati, op. at. 
 doc. 130, iu which the artist is mentioned as M. Zuane Zorzi " dicto
 
 Pyrgo teles. 363 
 
 Antonio Dentone, a sculptor of some note at the end of the 
 Qfteeutli century, made a group of the Admiral Vittore Cappello 
 kneeling at the feet of Sta. Elena, in which the figure of the 
 saint is not devoid of grace, nor the head of the admiral of 
 truth to nature. It originally stood ahove the door of her now 
 destroyed church, and is now placed high up against the tran- 
 sept wall of San Giovanni e Paolo, near the door of the 
 sacristy. Dentoue made a now destroyed monument to Orsato 
 Giustiniani at Santa Eufemia,* and also a Pieta for the 
 sacristy of Sta. Maria della Salute, which shows complete 
 ignorance of the rudimentary principles of bas-relief. The 
 face of the Virgin is distorted by a grimace which looks as 
 much like laughter as grief; the lines of the figures and 
 draperies are hard and angular, and the rocky landscape back- 
 ground belongs to the worst sort of pictorial sculpture. f 
 Lorenzo Bregno, who worked at Venice in the early half of the 
 sixteenth century, designed the monument above the door of 
 the sacristy of the Frari to Admiral Benedetto Pesaro, who 
 stands on the top of the sarcophagus with a banner in his 
 hand, as well as the statue of Dionigi Naldo da Briseghella 
 (1510) at San Giovanni e Paolo, and the statuettes of SS. 
 Andrew, Peter and Paul above an altar in the church of Sta. 
 Maria Mater Domini. 
 
 At the beginning of the sixteenth century there was no 
 sculptor at Venice strong enough to found a school, | and 
 
 Pyrgotele," first revealed his real name. Zanotto, p. 305, note 2, errone- 
 ously speaks of him as Gio. Ettore Maria Lascari, -who died of the 
 plague in lo28. 
 
 * Both Vittore Capello and Orsato Giustiniani, touched by the grief of 
 the unfortunate Doge Francesco Foscari, vainly endeavoured to obtain 
 pardon for his son Jacopo when banished for the second time from Venice. 
 Both distinguished themselves in the conduct of the Venetian fleet 
 against the Turks. Giustiniani, after filling many civil and military 
 offices with great honour, was so cast down by his defeat at Metalino 
 that he retired to Modena, whei-e he shortly after died (Romanin, iv. 318). 
 
 t This relief was formerly in the Cappella Giustiniani at the church 
 of the Certosini (Cicognara, vol. v.). 
 
 X Note — containing names and notices of sixteenth- century Bculptora 
 at Venice of little repute : — 
 
 Bernardino Quatrini, tajapietra, contracted for certaia works in the 
 cloister of S. Antonio, a.d. 1503 (Cicogna, i. 364).
 
 .364 Historical Handbook of Italian Sctdpture. 
 
 Jacopo Sansovino,* who did so about 1527, Avas not an artist of 
 sufficiently fixed principles to keep himself in the right path, 
 or bring others back to it. Born and bred in Tuscany and 
 nourished upon the antique, his arrival at Venice promised the 
 most beneficial results to art, but instead of stemming the 
 current, which was running in the wrong direction, he yielded 
 to it, and by his teaching and example continued to encourage 
 license in style, and contempt of tradition during the forty 
 years of his acknowledged headship of the Venetian school of 
 architecture and sculpture. His scholar, Alessandro Vittoria, 
 dragged art down in the mad extravagances of the "baroque," 
 a style, if style it can be called, which declared war against the 
 straight line, erased logic in construction from its grammar 
 of art, and overloaded buildings with meretricious ornament. 
 Following the lead of the architects, sculptors twisted the 
 limbs of their statuettes into the most impossible positions, 
 hollowed out the folds of their draperies like chance furrows in 
 broken rocks, and aiming altogether at novelty for novelty's 
 sake, indulged in caprices of the chisel, false to nature and 
 to taste. We do not propose to enter at any length into an 
 account of this corrupt period, concerning which enough may 
 
 Francesco Quatrini, ditto, a.d. 1548, June 29, agreed to complete 
 
 the facade of this church {{hid.). 
 Stefano di Cortero or Cortesi, tagliapietra, in April 14, 1592, buried 
 
 at R. Marghci'ita (Cicrgia, no. 14, p. 284). 
 Sebastiano, tajapietra, 15u6, contracted for work about the church 
 
 (ibUL). 
 Bernardino Canozzi, sculptor and architect, belonged to the Genesini 
 
 family of Eovigo, 1501 or 1502, contracted to make the stalls of 
 
 the Duomo di Ferrara adorned with intaglio and iutarsia work, 
 
 died about 1507 (Cittadella, 025- cit. p. 58). He was son of Lorenzo 
 
 Canozzi called " del Coro" {see Gonzati, ii. 141-2). 
 Daniele di Bernadino Canozzi, D" M° Daniele da Landinara, " M" 
 
 d'intarsia e di prospettiva, negli anni 1509-12 e 13," also worked 
 
 in choir of duomo di Ferrara {ibid. p. 59). 
 Giovanni Giacco or Giachino, sc. Ven. fl. 1537 (Zani, x. 271). 
 Cristofoi-o del Legname, 1505, sculptured a bust of Matteo Piovano 
 
 for the church of San Gimiguano, of which he was architect 
 
 (Cicognara, iii. 110). 
 Niccolb Roccatagliata received 160 ducats for bronze statue of SS. 
 
 George and Stephen {ibid. p. 344). 
 * For an account of Jacopo Sansovino's career in Venice, see book ii. 
 ch. iv.
 
 Alessandj'o Vittoria. 365 
 
 be gathered from a sketch of the life of its leader, who is the 
 type of his school. 
 
 Alessandro Vittoria, the sou of a respectable citizen of Trent 
 named Virgilio Vittoria della Volpe, who was born in 1525, 
 came to Venice when he was a very young man and entered the 
 studio of Jacopo Sausovino, which was well furnished with casts 
 and other materials requisite for study, and greatly frequented 
 by young artists of the day. With a mind quick in its concep- 
 tions, extreme facility of hand, and an undisciplined taste, he 
 spent the years which he should have devoted to severe study 
 in modelling ornaments for public and private buildings in 
 stucco, a material which allowed of rapid free handling, and 
 was therefore peculiarly adapted to his habits of work. Even 
 Sansovino was at last shocked with the license of his pupil, and 
 reproved him so severely that he left Venice for Vicenza, 1549, 
 and worked during four years with Palladio, who availed himself 
 of his talents as a decorator, although his style must have dis- 
 pleased this rigid follower of Vitruvius. When the friendship 
 between Sansovino and his pupil was renewed through the inter- 
 vention of their mutual friend Pietro Aretino, Vittoria returned 
 to Venice to decorate the buildings which his master erected, 
 with rich stucco ornaments, such as the leaves, trophies and 
 grotesques on the ceiling of the Library, and those upon that 
 of the " Scala d'Oro " at the Ducal Palace. After Sansovino's 
 death Vittoria took his place as director of all art enterprises, 
 and no artist could succeed at Venice without his favour. He 
 rebuilt the Cappella del Rosario at San Giovanni e Paolo (1571), 
 and decorated the spaces between its pilasters with colossal 
 prophets and sybils, extravagant and mannered in style. The 
 Scuola (li San Girolamo, and the Palazzo Balbi (1582-1590) 
 on the Grand Canal, whose facade is full of vicious detail, are 
 also his works, as are the gigantic Caryatides on either side of 
 the doorway leading to the old Library ; the Evangelists in tho 
 church of San Giorgio Maggiore ; the marble statues of St. 
 Jerome at the Erari and San Giovanni e Paolo ; the busts of 
 Tommaso and Gaspare Contarini, and his own bust over his 
 tomb at San Zaccaria. He died in his house at San Giovanni 
 in Bragora, in 1513, at the age of eighty-five, and left a large 
 sum of money to the poor and to the convent of San Zaccaria. 
 
 Among his scholars, who even surpassed him in extravagance
 
 366 Historical Handbook of Italian Sculpture. 
 
 of style, were Tiziano Aspetti, of Padua,* Niccolo di Conti and 
 Alfonso Alborgbetti, of Ferrara,f as well as the unknown bronze- 
 casters of the candelabra at San Stefano, the Salute, and San 
 Marco. 
 
 NAPLES, 1500-1600. 
 
 Giovanni Merliano da Nola, son of a leather merchant, and by 
 far the most distinguished Neapolitan sculptor of the first half 
 of the sixteenth century, was born about 1475, the natal year 
 of Michelangelo.! Under his first master, Agnelo, or Aniello 
 di riore§ (b. 1465), sculptor of the tomb of Francesco 
 Caraffa in the chapel of the Crucifix at San Domenico,]] 
 Merliano must have made rapid progress if, as is said, he 
 carved the wooden bas-reliefs from the history of our Lord, 
 and the statuettes of Prophets in the sacristy of the Anun- 
 ziata, before he was twenty ; but as the latter especially are 
 decidedly Michelangelesque in style, we are disposed to believe 
 that they were sculptured after he had studied the works of 
 
 * Among whose works are a holy-water vase in S. Antonio at Padua, 
 the mannered statues of Moses and St. Paul in the facade of S. Francesco 
 delle Vigne, the " baroque " colossus in the passage way leading to the 
 Zecca, as well as the busts of Marcantonio and Agostino Bragadino, and 
 that of Seb. Vencrio at the Academy. 
 
 t These artists made the wells in the cortile of the Ducal Palace. 
 
 + The annotators of Vasari, ed. Le Monnicr, vol. ix. p. 19, note 6, say 
 that Merliano first studied under Aniello and then under Michelangelo. 
 According to de' Dominici, Merliano was born in 1478 and died in 1560, 
 though Vasari, ix. 21, gives 1558 as the date of his death. 
 
 § He cannot have been the son of the painter Colantonio del Fiore, as 
 stated by de' Dominici, as he died in 1444, or the pupil of Andrea Ciccione, 
 who died in 1465. 
 
 II The statuettes of Prudence and Fortitude, and the two Saints in 
 niches belonging to this monument, are weak, but the bas-relief in the 
 lunette of St. Dominic presenting a kneeling devotee to the Madonna, 
 is superior to any Neapolitan work of the time. Other works by Aniello 
 in the same chapel are the tombs of a Caraffa opposite that of Francesco, 
 and of Alagni da Bucchianico (d. 1477). De Dominici also ascribes to 
 him a bas-relief of St. Jerome doing penance at the foot of the cross in 
 the left transept of San Domeuico (1515), and a wooden bas-relief of St. 
 Hubert at Sta, Maria la Nuova.
 
 Mcrliano da Nola. . 367 
 
 the great Tuscan at Rome, and perhaps come into personal 
 contact with him. The churches at Naples contain many 
 works by MerHano, of varied quahty. x\mong the best are an 
 altar-piece at S. Aniello, of the Madonna della Misericordia, 
 in which the Virgin sits gracefully upon a crescent moon ; 
 another at S. Pietro ad Aram, with nude figures of the dead 
 rising from their tombs ; a group of the Madonna and Child 
 in the sacristy of San Pietro ad Aram ; a relief of the Virgin 
 and Child over an altar at San Domenico, Avith statuettes of 
 SS. John and Matthew ; a statue of St. Sebastian at San 
 Pietro a Majella, and one of St. Michael at San Pietro ad 
 Aram. The group of the Madonna with the infant Christ and 
 St. John by Merliano, over the Ligorio monument in the 
 church of jNIonte Oliveto, shows the favourable influence of 
 Antonio Rossellino and Benedetto da Majano upon him, and 
 this is also visible in his bas-belief of the Baptism of our 
 Lord at San Giovanni Maggiore, the only one of his reliefs not 
 thoroughly vicious in style. Among the worst are the over- 
 crowded, ill-composed pictures in stone upon the sides of the 
 tomb of the Viceroy Don Pedro da Toledo (d. Feb. 12, 
 1553) at San Giacomo de Spagnoli, with their troops of 
 soldiers on foot and on horseback, backed by hills, towns, 
 harbours, and skies dotted with clouds. His reliefs upon the 
 tomb of the three brothers Jacopo, Ascanio and Sigismondo di 
 Ugo San Severino, in the church of that name at Naples, are 
 less objectionable, though of little merit. These ill-fated 
 brothers, whose life-size statues seated upon the sarcojihagus 
 represent them w'itli heads thrown back and contracted limbs, 
 as if dying from the effects of poison, were the sons of Ugo, 
 Count of Severino and Ippolita de' Monti, whose brother Don 
 Geronimo poisoned them (Nov. 5, 1516) at the instigation 
 of his wife Donna Lincia, out of revenge for Ippolita's revela- 
 tion of her shameless intrigues.* It is unnecessary to com- 
 ment upon the corrupt taste of a time which tolerated melodrama 
 in monumental art, but we are bound to say that, considered 
 
 * This story is related in a MS. in the possession of the Cav. Tito 
 (I'Albono of Naples, entitled, "La Verita svelata," written by Silvio and 
 Ascanio Corona. Don Raimondo da Cordova caused Geronimo and hia 
 wife to be imprisoned at Castelnuovo. Though condemned to death, 
 they were eventually pardoned by Isabella of Aiijou.
 
 368 Historical Handbook of Italian Scnlpture. 
 
 apart from the place which they occupy, the statues are effectivo 
 and well executed works. 
 
 In technic Merliauo was surpassed by his compatriot and 
 rival Girolamo Santacroce (b. 1502, d. 1537?), pupil of a 
 certain Matteo, who studied sculpture and architecture at Kome, 
 and on his return to Naples sculptured the Pezzo Altar at 
 Monte Oliveto, which forms a "pendant " to the Ligcrio Altar 
 by Merliano. The group of the Madonna and Child, and tho 
 
 Statue of Jacopo di San Severino by Giovanni da Nola. 
 
 statues of SS. John and Peter on either side of the niche 
 which is decorated with a gable resting upon double Corinthian 
 columns, attest the influence of Michelangelo's earlier works 
 upon Santacroce. This shows itself rather in the attitudes, 
 the treatment of the hands, and the cast of the draperies than 
 in the anatomical disjjlay and muscular exaggeration which 
 we generally find in imitations of the master's latter style. It 
 is also in the marking of the muscles, and the position of the 
 hands, that Michelangelo's influence upon Santacroce is seen
 
 Gh'olamo Santacj'oce. ^^,69 
 
 in liis best work, the Arcadian bas-relief upon the tomb of the 
 Neapolitan poet Giacomo Sanazzaro (b. 1458, d. 1532). In the 
 life of Fra Giovan Angelo Montorsoli* we mentioned this monu- 
 ment as the joint work of Montorsoli and Santacroce, who 
 died while it was in progress (1587 ?), after completing tho 
 relief which, unlike any other work of the Neapolitan school, 
 shows that the sculptor had studied the antique as well as 
 Michelangelo. The classical subject, Apollo's Victory over 
 Marsyas, is represented in an ingenious composition, made up 
 of the triumphant Sun-god playing upon the lyre (/ci^apcoBos), 
 dressed in the long robes which belong to him as leader 01 
 the Muses, f and attended by Pan, a satyr of the true antique 
 t}-pe playing on the syrinx, Neptune with his trident, while 
 the unhappy Marsyas 
 
 " Drawn out of tbe scabbard of those limbs of his," 
 
 writhes in the background, his body bent backwards like that 
 of a Mcenad in a Bacchanal. The surface of the marblo 
 is highly polished, the accessories are elaborated with great 
 care, and the work, though not pure in style, is that of an 
 accomplished sculptor. 
 
 Santacroce's other works at Naples, among which it will 
 suffice to mention two bas-reliefs of the *' Taking Down from 
 the Cross," one at San Pietro ad Aram and the other at the 
 Annunziata, and an Incredulity of St. Thomas at S. Maria 
 delle Grazie, are so inferior to the Arcadian bas-relief that wo 
 must regard them as "juvenilia," of which the sculptor may 
 himself have lived to be ashamed. 
 
 Other sculptors of his century were Naccarini, who made the 
 tombs of FerdinandoMajciea and Porzia Camilla at San Severino, 
 and bis pupil Domenico d'Auria (d. 1575), sculptor of the 
 poor monuments of Niccolo di Sangro and Bernardino Piota at 
 San Domenico, and the bas-rehef of the Conversion of St. Paul 
 at S. Maria delle Grazie ; and Annibale Caccavello (1515-1596), 
 author of the tomb of Fabriccio Brunaccio in the same church, 
 and of a coarse and unmeaning bas-relief of the Beheading of 
 St. John at San Giovanni Maggiore. 
 
 -00 
 
 * Book iii. cli. ii. p. 322. 
 
 t Fijthius in longa carmina vcste scnaf^ — Prop. ii. isx. 1(>. 
 
 B U
 
 370 Histo7'ical Handbook of Italian SatlJ>tnre, 
 
 ROME, 1500-lGOO. 
 
 In the sixteenth century, as in the centuries which preceded 
 it, foreign artists produced great works at Rome without any 
 stiQiuIating effect upon native genius. In vain did Andrea and 
 Jacopo Sansovino, Michelangelo, Cellini, and other distinguished 
 Tuscan sculptors make it their home and adorn it with their 
 works, so far as the Romans were concerned, judging by the 
 fact that but two native sculptors of the sixteenth century 
 are recorded, Giovanni Battista and Andrea Romano,* both of 
 whom worked at Mantua. The tombs at Ara Caeli of Pietro di 
 Yincenzo (d. 150-1), Cardinal Ludovico Lebretti (1581) and 
 Ludovico Grati, and a bas-relief at Sta. Francesca Romana,f 
 representing the entrance of Pope Gregory XI. into Rome on 
 his return from Avignon (1377), are anonymous, and probably 
 foreign works. 
 
 VERONA, CARRARA AND VICENZA, 1500-1600. 
 
 In the sixteenth century Verona produced one able sculptor, 
 Girolamo Campagna (b. 1522), who was the pupil of Danese 
 Cattaneo of Carrara, poet and sculptor, of whom we shall first 
 speak. Son of an honest tradesman who settled at Carrara 
 shortly before his birth, Danese went to Rome at an early age 
 to study sculpture under Jacopo Sansovino, and thence followed 
 him to Venice to assist in decorating the facade of the Library, 
 the Zecca, and the Loggietta of the Campanile. A statuette 
 of Apollo in the cortile of the Zecca, and a mannered figure 
 of St. Jerome, with busts of Andrea Dolfin and his wife 
 Benedetta Pisani by Danese, do not give us any very high 
 idea of his capacity, and lead us to believe that Temanza is 
 right in saying that he practised sculpture rather as a means 
 of gaining a livelihood than for love of the art, and that poetry 
 may have been his vocation. | This belief is strengthened by the 
 
 * II Conte d'Arco, o^i. cit. p. 13. 
 
 t Erected by the Roman Senate in 1584. 
 
 J Torquato Tasso, in h\t ainaldo, speaks of Cattaneo as an equally
 
 Danese Catfaneo. 371 
 
 insipid statue of Christ which he made (15Go) for the Fregoso 
 altar in the church of Sant' Anastasia at Verona, whose only 
 recognizahle merit is the modelling of the arms and hands. 
 Ahout 1552 Danese went to Pad a to assist Tiziano Minio in 
 casting hronze gates*' for the Cappella del Santo, and returned 
 there some twenty years later to sculpture a bas-relief for the 
 same chapel, upon which he had made little or no progress at 
 the time of his death (1573). The commission was then given 
 to his scholar Girolamo Campagna da Verona, who is first 
 heard of at Venice (1542) as working upon the statue of the 
 Doge Loredano, for a very mediocre monument designed by his 
 master Cattaneo. At what period he made the bronze statues 
 of the Madonna with the Angel of the Annunciation for the 
 faQade of the Palazzo del Consiglio at Verona, and that of the 
 Virgin for that of the Collegio dei Mercatanti is not known, 
 but they are so mannered in style, affected in attitude, and 
 "baroque" in drapery, that we cannot doubt them to have been 
 modelled under the influence of Vittoria, with whom he must 
 have come into contact at Venice. Some better influence 
 prompted him at Padua in his masterpiece, the bas-relief iu 
 the Cappella del Santo, which was assigned to him after tho 
 death of Cattaneo. Its subject is St. Anthony's resuscitation 
 of a murdered man who, according to the legend, was miracu- 
 lously transported from Padua to Lisbon that he might testify 
 to the innocence of his father, who had been falsely accused 
 of having murdered him. The bas-relief is well composed and 
 carefully executed, and though somewhat conventional in style 
 is superior to the bas-reliefs by the Lombard!, Sansovino, and 
 other sculptors of note in the same chapel. f After complet- 
 ing it he returned to Venice and married, but on the death 
 of his wife (1580) he came again to Padua to make tho 
 
 illustrious poet and sculptor, while Bernardo Tasso in his Armadigif 
 places him on the mountain of glory, and calls him, — 
 
 Spirto alto ed egregio, 
 
 E poeta, e scultor di sommo pregio. 
 
 Two MS. volumes of Cattaneo's poems exist in the Chijri Iiit;rar\r at 
 Home. 
 
 * Eventually melted down. 
 
 t Completed in 1577, and signed " Hieronymus Campagna, Veronen. 
 Sculp." 
 
 B B 2
 
 372 Histo7'ical Handbook of Italian Sculpittre. 
 
 elaborate and mucli-ovcrloaded bronze tabernacle which deco- 
 rates the altar in the chaiDel of the Holy Sacrament at Siint* 
 Antonio. During the remainder of his life he lived at Venice, 
 and produced many works, among which are small statues of 
 Sta. Chiara (1591) (see tailpiece), and St. Francis at Sta. 
 Maria de' Miracoli (1593), a bronze group of God the Father 
 with angels standing on a gilded globe,* and a heavy ill- 
 proportioned marble group of the Virgin and Child with angels 
 at San Giorgio Maggiore (1595), the figures in relief upon the 
 Ponte del Rialto of the Virgin and the Angel of the Annun- 
 ciation and the patron saints of Venice, a Sta. Giustina over 
 the door of the arsenal, as also statuettes of SS. Mark and 
 Francis, and a bronze crucifix in the church of the Redentore, 
 and the colossal figure of St. Sebastian at the Zecca. The time 
 of his death is unknown, but it has been assigned to too late 
 a date by writers who have confounded him with another artist 
 of his name, Girolamo the younger,f who sculptured (1604) 
 the very mediocre statue of Federigo, Duke of Urbino, on 
 the staircase of the Ducal Palace at Urbino, and was still 
 alive in 1G23.| The only other Veronese sculptors of 
 this period are Giulio di Girolamo della Torre, who having 
 in his youth read law at Padua with great applause and 
 gained some notice as an author, attained distinction as a 
 bronze-caster and medallist ; § Giovan Battista, who made a 
 crucifix for the Duomo at Mantua (1531) which is highly 
 praised by Vasari ; || and Alessandro Piossi, who made a statue 
 of San Bernardo Abate for the church of Sta. Maria at Car- 
 rara (158-4), and sculptured one of the ugly hunchbacks 
 
 * Cost 1,650 gold ducats. Girolamo was assisted in casting it by his 
 brother Giuseppe (Cicognara, vol. iii. p. 267, and doc. 239, p. 342). 
 
 t The suggestion that there were two Campagnas from Verona of the 
 same name was first made by the Abate Zani. Gualandi, oi^ clt. serie v. 
 pp. 75-78, gives the contracts which he thinks belong to Girolamo tho 
 younger. They are dated May 8 and April 27, a.d. 1604. 
 
 + Temanza. pp. 519-28. 
 
 § His treatise De Ftlicitate, publi.shed in 1531, was dedicated to his 
 Bister Paulina. Maffoi, op. cit. vol. iii. lib. iv., places hira among 
 Veronpse authors. In vol. iv. ch. vi. p. 301, he suggests that ho may 
 have made the bronze bas-reliefs on the Delia Torre monument at Saa 
 Fermo — but this is impossible, as they are known to be by Andrea Eiccio. 
 
 jl See Vasari, ix, 168,
 
 Veronese and Vicentlne Scniptors. 373 
 
 under a lioly-water vase in the church of Sant' Anastasia at 
 Verona.* 
 
 The beautiful marble candelabra in the Cathedral are first- 
 rate examples of Renaissance ornamental ^vork, and belong, 
 judging from the more rounded character of their salient 
 portions, rather to the sixteenth than to the preceding century. 
 A certain Paolo from Rome, called " delle Breze," is said to 
 have sculptured them, but the only Paolo Romano known to us 
 never practised ornamental sculpture so far as we are aware. To 
 the Veronese we may add the names of a few Vicentine sculptors 
 of the sixteenth century, such as those of Girolamo da Vicenzaf 
 (1517), who made the tomb of Pope Celestine V. in the church 
 of Sta. Maria Colleuaaggio, at Aquila in the Abruzzi ; his 
 contemporary Rocca, who executed certain unknown marble- 
 works for the Collegiata of Sta. Maria Maggiore at Spello ; \ 
 Vincenzo da Vicenza, a sculptor of ornament who worked at 
 Trent in the church of Sta. Maria Coronata;§ and Nicolo da 
 Cornedo, who made a marble " ancona " of little merit for a 
 church at Trissino. II 
 
 PADUA, 1500-1 GOO. 
 
 The impulse given to the art of bronz-e-casting at Padua in 
 the fifteenth century by Donatello bore some fruit in the works 
 of his Paduan scholar Bellano or Vellano, but it attained its 
 greatest result in those of Bellano's famous pupil, Andrea 
 Briosco, called Riccio or Crispo, from his closely curling hair. 
 Paduan by birth (April 1, 1470), he was the son of Ambrogio,ir 
 a Milanese goldsmith, who doubtless taught him the goldsmith's 
 art, and perhaps inspired him with that love of classical orna- 
 
 * Its pendant is said to be bj Gabriello Caliari, the father of Paul 
 Veronese. 
 
 t Leosini, p. 232. 
 
 X Ricci, oTp. cit. iii. 90. 
 
 § Ibid. iii. 337. 
 
 II Cicognara, ii. 159. Faccioli (Mus. Lap. Vic. iii. 147) mentions a 
 statue at Priabone by Nicolo. 
 
 % Mentioned as M. Ambrogio Briosco. M. Piero Briosco, who worked 
 about 1442 at Bologna with other scniptors employed to finish the 
 uncompleted bas-reliefs by Giacomo della Quercia, may have been his 
 grandfather.
 
 374 Historical Handbook of Italian SctdptiL7'e. 
 
 ment which marks his elaborate style. His earliest works, the 
 two bas-reliefs in the choir of Sant' Antonio (150G-1507), are 
 vastly superior to those of his master Bellano,* and in every 
 respect remarkable, f In the Translation of the Ark from the 
 house of Abinadabj which seems inspired by Dante's description, 
 the mountains, trees, and the far-off city, as well as the figures 
 on foot and on horseback are treated with great skill. | King 
 David dances before the Ark of the Covenant amidst a crowd 
 of singers and players upon musical instruments, while Ahio, 
 with a wreath upon his head, and clad in a Roman toga, 
 turns with an expression of horror to look at the lifeless 
 body of his brother Uzzah, who died because his sacrilegious 
 hand had touched the sacred ark. Among those who show 
 their fear and Avonder at the sight is Riccio himself, distin- 
 guishable by the curls which escape from beneath the round 
 cap upon his head. In his second relief, from the story of 
 Judith, Riccio represented the battle between the Bethulians and 
 their enemies, the death of Holofernes, and Judith showing 
 her victim's head to the exultant people. This triple action 
 reminds us of Ghiberti, and although it cannot be said that 
 Riccio attained an equal clearness and grace ol line, it will be 
 allowed that he here approaches that master, and deserves to 
 be regarded as the best follower of his school. 
 
 It was not, however, by these bas-reliefs, which, as an 
 eminent modern artist has said, " contain lessons sufficient to 
 form a sculptor, "§ that Riccio established his great reputation, 
 so much as by his magnificent bronze Paschal candlestick at 
 Sant' Antonio. ]| This noble work of art is divided by rich 
 
 * Bellano is spoken of as the master of Riccio by Gaurico, Da Sculp- 
 tura; by Morelli, p. 94, note 70; by Vasai'i's annotators, vol. iv. p. 112, 
 note 4; by Gonzati, i. 319 ; as well as by Piacenza and Cicognara. 
 
 t Gonzati gives tbe contract made with Riccio (doc. 83, vol. ii.). He 
 was to receive forty gold ducats apiece for them. 
 
 X Dante, Purgatorio, y. 55-66. 
 
 § M. le Baron H. de Triqueti. 
 
 II Riccio's contract is dated June 19, 1507. The price agreed upon, as 
 given by Gonzati, op. cit. vol. i. doc. 84, p. 91, was 3,270 lire, or 600 
 golden ducats. Riccio was allowed the sum of twenty-nine lire and 
 eighteen soldi for expenses incurred in the transportation of the candle- 
 stick with a euard of soldiers from and to his own house when it was 
 thrice occupied by troops during the war which followed the league of 
 Cambray.
 
 Andrea Bi^iosco. 375 
 
 mouldings into several parts, diminishing in size to the vaso 
 upon its summit, each one of which is enriched with ornament 
 whose significance, in some cases, (Edipus himself would find 
 it difficult to interpret. The bas-reliefs are allegorical and 
 scriptural so far as subject is concerned. The first category 
 includes reliefs of Music, History, Fame, Envy, Hatred, &c., 
 and the second the Adoration of the Magi, the Sacrifice of the 
 Paschal Lamb, the Entombment, and Christ's Descent to Limbo. 
 There are also four allegorical figures of Temperance, Courage, 
 Justice, and Prudence, and a multitude of wreaths, tablets, 
 masks, festoons, lucernes, genii holding lyres, sphinxes, fauns, 
 satyrs, marine deities and centaurs. The execution of this 
 elaborate work is free, clear, and energetic, the taste displayed 
 exquisite, and the richness of fancy shown surprising ; but 
 as much of the detail is unfit by its nature for the decoration of 
 a Paschal candlestick, it wants that perfect harmony between 
 the purpose and the material which can alone give satisfaction 
 to the mind as well as to the eye. Not only the allegorical but 
 the religious subjects are treated in classical guise, as, for 
 instance, the Sacrifice of the Paschal Lamb, which really 
 represents a Pagan rite in all its details, the festooned altar, 
 the men and maidens with off"erings, the musicians with pipes 
 and timbrels, the vases, torches, dresses, and coiffures. In his 
 other works, as we shall see, Piiccio used the same mingling of 
 Pagan with Christian forms, costumes, and ornaments ; showed a 
 like exuberance of fancy and love for richness of detail, and fell 
 into the same error of overcrowding space. He had, however, 
 abundant reason for being proud of his candelabrum, and 
 evidently regarded it as his masterpiece, for when he struck a 
 portrait medal of himself he mentioned it in the accompanying 
 legend,* and figured it in the one green shoot upon the broken 
 and withered laurel branch with which he decorated its reverse. 
 It is the only one of his works spoken of in his epitaph at San 
 Giovanni di Verdara, but the mausoleum of Girolamo and 
 Antonio della Torre, which he erected in the chapel of the 
 Torriani at San Fermo at Verona, is also mentioned in a 
 manuscript epitaph preserved in the archives of the Convent 
 of Sant Agostino at Padua. f The mausoleum consists of a 
 
 * Andreas Crispus Patavimis aeneum D. Aut. candelabrum F. 
 t L'Ationimo, Murelll, p. 94, note 8.
 
 ^yS Historical Handbook of Italian Sculpture, 
 
 sarcophagus resting on bronze griffins croucliing on a marblo 
 slab, pilasters adorned with arabesques, a bronze effigy of the 
 deceased, a frieze sculptured with arabesques and adorned with 
 circular slabs of porphyry and verde antique, and eight bas- 
 reliefs cast from the originals which were taken to France at 
 the end of the last century, and after long decorating the Porto 
 des Caryatides in the Galerie des Antiques at the Louvre now 
 adorn the Musee de la Eenaissance. Eiccio's love of cloth- 
 ing modern events in an antique garb here made his meaning 
 so obscure that these reliefs were supposed to relate to the 
 history of Mausolus, whereas they really figure the occupations, 
 illness, death and obsequies of Girolamo della Torre, and the 
 progress of his soul to the abode of the blessed after its 
 separation from the body. We do not propose to describe 
 the compositions in which, with many excellent points, a 
 prevailing monotony of general form is indisputable. The 
 figures introduced are so arranged as to form a parallelogram, 
 the upper line of the heads being never pyramidal or broken, 
 but uniformly horizontal, as in all Eiccio's bronze reliefs, so 
 that from a distance one may pick them out by their shape, 
 from the works of other masters. His habit, of overcrowding 
 space, which we have already pointed out as a defect interfering 
 with desirable clearness, is especially conspicuous in four bas- 
 reliefs in the Academy at Venice, relating to the history of 
 Constantino and St. Helena. Eiccio, who had some repute as 
 an architect, though the only building which he is known to 
 have designed (1516) is the church of Santa Giustina, died at 
 Padua, July 8th, 1522, and was buried in the cemetery of San 
 Giovanni di Verdara. 
 
 He founded no school, but signs of his influence are visible 
 in the works of the able sculptors of ornament, who covered 
 the pilasters of the Cappella del Santo at Sant' Antonio wdth 
 arabesques and graceful designs. Among these was the 
 Francesco di Niccola da Colle, who sculptured the marble 
 pedestal for Eiccio's Paschal candlestick, and adorned its panels 
 with the emblems of the Passion, the palm, the olive, &c. 
 This artist worked at Padua with Antonio Minello, Alessandro 
 da Saronno, Francesco da Porlezza, and Mastino di Giovanni 
 da Bergamo, under the superintendence of Maestro Giovanni 
 Minello de' Bardi, who presided over the marble-work executed
 
 N'oji-Ttiscan Sailptors and their TVor/cs. ^yy 
 
 for the Capi^ella del Santo, and sculptured the statuettes ot 
 saints, seraph heads, and arabesques in flat relief about tho 
 choir parapet, as well as the busts of the Evangelists -which 
 stand between the arches of the facade of this chapel. 
 
 Other Paduan artists of the time were Giovanni Carino, who 
 cast the busts of Andrea Navagno and Fracastoro for the 
 municipal palace;* Tiziano Minio di M° GuidoLazaro (1551), 
 who was employed with Danese Cattaneo da Carrara to cast 
 bronze gratings to fill the arches in front of the Cappella del 
 Santo ;f Tiziano Aspetti, already mentioned as the scholar of 
 Alessandro Vittoria ; Giovanni Maria Mosca (1520), an excellent 
 medallist, who went to Poland to make the tomb of Kincf 
 Sigismund II. ;| and Vincenzo de' Grandi, who with Giovanni 
 Dentone of Padua (1524) and a Florentine sculptor named 
 Giuliano, sculptured the second bas-relief in the Cappella del 
 Santo. 
 
 BRESCIA. 
 
 Brescian annals of the sixteenth century record the name of but 
 one native sculptor — Prospero Antichi, called Bresciano (fl. 1584), 
 who is unenviably renowned as the author of the worst colos- 
 sal statue in the world, the Moses of the Piazza de' Termini 
 at Ptome.§ There are, however, several excellent anonymous 
 works of this period at Brescia, which, in absence of proof 
 to the contrary, may be accredited to native artists, such as 
 the effigy of Nicola Orsini, Count of Pitigliauo, in the Museo 
 Patrio, II on a sarcophagus adorned with a bas-relief of the 
 
 * Cicogna, Isc. Yen. fasc. 22, art. v.; ibid. pp. 209, 302, 320, art. 
 "Kaniusio." 
 
 t Three were cast; two of which were afterwards melted down to 
 make a bell (Gonzati, vol. i. ch. xxii. p. 84, doc. 02 ; App. p. 64), 
 A.D. 1568. 
 
 + Gonzati, i. 169. 
 
 § Lionardo da Sarzana endeavoured vainly to better this figure when. 
 Prospero had finished it. 
 
 II This monument was originally in the Pitigh'ano Castle at Ghedi. 
 near Brescia. The Count died (1510) in consequence of the vigils and 
 fatigues which he underwent during the siege of Brescia, when he com- 
 manded the Venetian forces.
 
 37S Historical Handbook of Italian Sculpture^ 
 
 Madonna and Child with SS. Anthony and George, not un- 
 like Cimada Couegliano in style ; the tomh of ]\Iartinengo, a 
 Venetian captain (d. 1526), in the church of San Corpo di 
 Cristo, and the shrine of SS. Apollonius and Philasterius 
 (1510), in the Duomo Nuovo, which is decorated with statuettes 
 and bas-reliefs. 
 
 BOLOGNA. 
 
 Although Bologna can boast of but one notable sculptor in 
 the sixteenth century, that one was a woman — and of such the 
 world has seen but few — Properzia, daughter of Girolamo de' 
 Rossi.* Born at Bologna about 1490, famous for her beautv 
 as well as for her talents in music and sculpture, she seems 
 to have inherited a somewhat violent temper from her father 
 who had been condemned to the galleys for manslaughter 
 eighteen years before her birth, as her name appears in two 
 lawsuits instituted, in 1520 and '25 by aggrieved parties, one 
 of whom, a painter named Miola, charged her with assault and 
 battery, of whose violence the marks upon his face gave evi- 
 dence. Vasari's romantic storyf about Properzia's unrequited 
 passion for a handsome youth appears to be without foundation, 
 for we know that she was devotedly attached to and beloved 
 by Antonio Galeazzo Malvasia de' Bottigari, who survived her, 
 and did not marry until some years after her death. The 
 celebrated engraver. Marc Antonio Piaimondi, taught Properzia 
 how to draw, but we do not know who taught her to model. 
 Her early works are minute intaglios — a cherry-stone in the 
 cabinet of gems at the Uffizi carved with a glory of Saints ; 
 eleven peach nuts at the Palazzo Manili at Bologna, decorated 
 with busts of Sa-ints and Apostles set "a giorno " in the body 
 of an eagle in silver filagree ; j and a cross adorned with heads 
 of Our Lord, the Madonna, St. Paul and Santa Dorotea. Em- 
 boldened by her success in this limited field, Properzia addressed 
 herself to ornamental sculpture, and showed no little ability in 
 the lions, griffins, birds, censers, vases, eagles' heads, and scroll- 
 
 * Gualandi, Mem. clelle Belle AntL, second series, p. 7, IMo. 39. 
 f Vol. ix. p. 4, ed. Le Monnier. 
 
 J See C. Bianconi's Descrisione di alcuni minutiesimi intajli diviano 
 di Properzia de' Eossi. Bologna, 1840.
 
 Non-TtLscan Sculptors and their WorJcs. 379 
 
 work ^vitll which she decorated the flat spaces of the arch 
 over the high altar in the church of the Madonna del Barra- 
 cano. She also modelled the bust of Count Guido Pepoli now 
 in the sacristy of the basilica of St. Petronius, and enrolled 
 herself among the artists employed there to finish the reliefs 
 commenced by Giacomo della Quercia about its portals. Their 
 completion, which had been greatly hindered by artistic discus- 
 sions, was hastened in 1525 by the appointment of II Tribolo* 
 as director, and it was from him that Properzia received a com- 
 mission for the two bas-reliefs, now in the sacristy, represent- 
 ing Joseph and Potiphar's wife,j- and Solomon receiving the 
 Queen of Sheba, which, though fairly modelled, interest us 
 chiefly as the works of the one Italian sculptress. Her statue 
 of an adoring angel, in a chapel at San Petronius, is so far 
 superior to them, and so much in the style of II Tribolo, that 
 we suspect bim of having assisted her in it. In the year 1530, 
 when Bologna opened her gates to the Emperor Charles V., his 
 unwilling ally. Pope Clement VIL, who came to crown him in 
 the basilica of St. Petronius, asked to see Properzia de' Eossi, 
 of whom he had heard so much ; but his wish could not be 
 gratified, as only a few days before she had been buried in the 
 Spedale della Morte. 
 
 Little need be said about other Bolognese sculptors of the 
 sixteenth century, as none of them rose above mediocrity. 
 Lazzaro Casarij (b. 1542, d, 1593), made the clumsy ill-propor- 
 tioned figure of St. Proculus upon the Volta monument at San 
 . Domenico, and the late Renaissance tomb of Viannesio Alber- 
 gati (d. 1533), apostolic protonotary to Pope Leo X, in the 
 public cemetery ; Girolamo Coltellini (1508-1545) designed 
 the monument to Francesco Rauuzzi at San Domenico, which 
 has been attributed to Casan, and made the statuette of St. 
 John the Baptist at San Domenico, which stands upon one of 
 
 * See p. 336. 
 
 f This bas-relief is engraved in Cicognara's work, vol. ii. lav. lii., and 
 in the ScuJture delle Porte di San Petronio illustrate dal Marchese 
 Virgilio Davia. 
 
 X Casari, Casario or Cassari. In an inventory of his property dated 
 March 23, 1593, he is mentioned as dead. See Gualandi's Memorie, &c., 
 third series, p. 181, and the Guida di Bologna, by the same author, 
 pp. 30 and 53; also Eletta dei Monumenti del Cainpo Santo di Bologna, 
 vol. ii
 
 'y 
 
 So Historical Handbook of Italian Sculptttre. 
 
 the volutes above the " Area " of the Saint, as vi'ell as the bust 
 of Lodovico Bolognese. Other sculptors were Tiberio Meneganti 
 and his son Alessandro (1588), known by the apparently satiri- 
 cal names of " Michel-Angelo incognito" or " rifoimato."* 
 Domenico Aimo, detto Varignana di Bologna, who sculptured 
 the statues of the four patron saints of Bologna for the basilica 
 of St. Petronius, who worked at Loretof (1537), and was espe- 
 cially recommended to Albcrico, Marchese de Massa (1514), by 
 the Roman Conservatori when he went to Carrara to procure 
 marble for the statue of Pope Leo X., which he sculptured for 
 the Capitol at Piome;| Francesco Dozza, who assisted Mo. Mel- 
 chiore da Faenza to adorn the facade of the church of Corpus 
 Domini,^ and Giacorao Nava, who worked under Omodeo upon 
 the fa9ade of the Certosa at Pavia. 
 
 FERRAEA. 
 
 Alfonso Cittadella, alias Lombardi, by far the best of Fer- 
 rarese sculptors, born about 1-188, was the son of Nicolo, a 
 Lucchose, who married a lady of the Lombardo family to 
 which Pietro and his sons Tullio and Antonio belong. We are 
 inclined to think that Antonio, who worked for the Duke of 
 Ferrara from 1505 to 151G, was Cittadella's master rather than 
 Pietro, who so far as we know never went to Ferrara. || It is 
 said that when Michelangelo visited Bologna in 1507, he was 
 so much struck with the ability displayed in Cittadella's terra- 
 cotta mortorio at San Pietro, that he called him "II Dio della 
 terra," and employed him as an assistant in casting the statue 
 of Julius II. Be this as it may, the influence of Michelangelo 
 upon Cittadella is very evident in the " Mortorio della Ma- 
 donna," a number of colossal terra-cotta figures grouped around 
 the dead body of the Virgin, which he modelled in 1519 for the 
 
 * Gualiindi, third series, p. 182, and fourth series, p. 158, quotes 
 Meneganti's will under dates of January 27 and June 7, 1694. 
 
 "t" Orlandi, Abeccdario, p. 242. 
 
 X Campori, Artisti Estensi, p. 4, and Frediani, Bagionainenti Storici, 
 p. 71. 
 
 § Rioci, op. cit. ii. 559. 
 
 II Cicognara, iii. p. 365, says that Cittadella's mastei was Nicola dell* 
 Area.
 
 Alfonso CittadcUa. 381 
 
 Oratory of Santa Maria della Vita.* It is the work of an able 
 ** plasticatore," who had no comprehension of the requirements 
 of sculpture, and but a modicum of artistic feeling. InCittadella's 
 other works at Bologna we find as little proof of either. They 
 comprise a group of Hercules and the Hydra in the Palazzo 
 Pubblicof (1520), four figures in terra-cotta of the patron saints 
 of the city, in niches upon the pilasters which support the 
 arches under the Torre dell' Arengo (1525) ;| a group of the 
 Resurrection of our Lord in the lunette over one of the side 
 doors of St. Petronius, with figures of Adam and Eve inside 
 the church ; the terra-cotta busts of the Apostles in the church 
 of San Giovanni in Monte, § and the monument of the famous 
 condottiere Arraaciotto de' Piamazzotti at San Michele in Bosco. 
 The life of this free captain, who had performed many daring 
 feats of arms in the service of the Medici, the Bentivoglios, 
 and of Popes Julius II. and Leo X., by whom he was knighted, 
 and had taken part in the battles of Ravenna and IMontemorlo, 
 abounded in incidents offering abundant material for the re- 
 presentation in statuettes and bas-reliefs, || but Cittadella was 
 not the man to take advantage of them, as he showed by 
 restricting himself to the meagre programme of a weak, ill- 
 drawn figure in armour placed on the top of a plain sarcopha- 
 gus, in a position awkward in sleep and impossible in death. 
 In 1529 Cittadella decorated the portal of St. Petronius and 
 a triumphal arch, with statuettes for the coronation of Charles 
 v., of whom he modelled a wax medallion and sculptured a 
 bust while the Emperor was sitting for his portrait to Titian, 
 (1534). In 1533 he went to Carrara v*-ith Cardinal Cibo,^ and 
 there made a statue of the Bolognese poet Giraldi;** but his 
 
 * Commissioned in December 1519 ; completed and paid for June 30, 
 1522. 
 
 t Made in competition with Zaccaria da Volterra (Baruffaldi, i. 207). 
 
 X Yasari, vol. ix. p. 12, nota 2 ; and Ghirardacci, St. di Bologna, vol. i. 
 lib. vii. p. 215, and index, letter Q. 
 
 § Gualandi, Guicla di Bologna, p. 77. 
 
 II Memorie Storiche intonio alia Vita di Armacioito de' Ramazzotti, 
 in folio, Firenze, 1835. 
 
 ^ Marcliese Campori, Artisti Estensi, p. 154 
 
 ** Identified by Petrucci (vol. i. p. 22G, note 1, of BarnfTuldi) with that 
 in the University at Bologna. There is a bust of Pope Clement VII. 
 in the Riccardi Palace at Florence by Cittadella (Vasari, vol. ix. p. 15, 
 nota 1).
 
 382 Historical Handbook of Italian Sculpture. 
 
 best works are the delicately-sculptured, though somewhat over- 
 crowded bas-reliefs (1532), upon the predella of the "Area " di 
 San Domenico at Bologna, which represent several incidents in 
 the life of St. Domenic, and the Adoration of the Magi. He 
 died at Bologna about the year 1537. 
 
 Girolamo Usanza, called like Cittadella II Ferrarese, and 
 his reputed brother, though in no wise related to him, 
 has been often confounded with Girolamo Lombardi, the 
 son of Antonio di Pietro, who worked at Loreto with his 
 brothers Aurelio and Lodovico upon some of the mannered 
 and ill-proportioned Prophet-statues, which fill the niches 
 of the marble parapet around the Santa Casa. Girolamo is 
 said to have assisted the scholars of Jacopo Sansovino in 
 sculpturing the bas-reliefs upon the loggietta of the Campanile 
 at Venice,* to have lived for many years at Loreto and 
 Recanati, where he established a bronze foundry and cast a 
 font for the Cathedral at Prague (1553), and to have sculptured 
 the statue of St. Andrew over an altar in the church of 
 S. Andrea at Ferrara. The identity of this artist is difficult 
 to determine, and his existence has been called in question by 
 a competent authority, f 
 
 Several native sculptors of little note worked at Ferrara in 
 the fifteenth and sixteenth centuries, j and many foreign artists 
 were employed there by the princes of the house of Este, 
 whose palace, Belriguardo, is described as richer in statues, 
 bas-reliefs and pictures, than any other building of the kind 
 in Europe, § and whose splendid ducal residences of Belvidere 
 and Belfiore contained many treasures of art now dispersed or 
 wantonly destroyed. 
 
 * Selvatico, op. cit. pp. 309-10. 
 
 t Cav. L. K Cittadella. 
 
 X M. Arma da Kegenta, 1554; M. Giovanni, 1554; Ippolito d'Arento, 
 1574-77; M. Maffeo, 1503; Ercole Azzolino, 1574; Martino Burzoni, 
 1548; Alessandro Cagnone and Bart. Calabroso, 1554; Ottaviano, 1552 ; 
 Alessandro and Giorgio Cariboni, I5h'5; Gio. Ant. di Giacomo, 1552; 
 M. Ginlio. Lodovico Ranzi made many statues for the Palazzo Pubblico 
 at Brescia (see Cicognara, ii. 350); Alfonso Alberghetti, 1572 [ibid. 
 vol. iii. p. 343, nota 2); Cristoforo da Ferrara (Cicogna, Isc. Yen. vol. iii. 
 p. 361, no. 2). 
 
 § " Ut nulla alia esset in Europa cuncta, que cum hac sua conferri 
 posset."
 
 Bartolonico Spanu 383 
 
 KEGGIO. 
 
 The only Reggian sculptors of note are Bartolomeo di 
 dementi Spani (son of Giovanni da Cremona), and his grand- 
 son Prospero. Bartolomeo had three sons, Bernardino, the 
 father of Prospero ; Giovanni Andrea, a goldsmith ; and Giro- 
 lamo, who like his father ^Yas goldsmith, sculptor, and architect. 
 We first hear of Bartolomeo in 1494, as working upon a silver 
 cup for the Canon Bernardino Nigoni, upon two silver statuettes 
 of saints for the Duomo at Pteggio, and upon busts of SS. 
 Prosdocimo and Giustina for a church in Padua.* Some years 
 later (1518) he built the facade of the church of San Giacomo 
 and the door of the Pallazzo Donelli at Reggio, and sculptured 
 the marble columns of the cloister of San Pietro, the Malegazzi 
 and Arlotti monuments in the Duomo, and the tomb of Ptufino 
 Gabbinata in the church of San Prospero. The latter, which 
 consists of a sarcophagus with sepulchral effigy, supported upon 
 a sculptured base, is placed in a recess, whose architrave is 
 adorned with arabesques, and the lunette with a bas-relief of 
 God the Father. The design is good, and the style sober and 
 in good taste, but the general effect is marred by details wdiich 
 are singularly out of keeping with the monument of a Christian 
 prelate, such as the sphinxes supporting the roundel, and 
 Neptune with trident, chariot and sea-horses, in the bas-relief 
 upon the base. Such errors in taste, common in the monu- 
 mental art of the time, are manifest signs of the decadence 
 shown in the works of Bartolomeo's grandson and pupil Pros- 
 pero, who when a very young man studied at Pome. Thinking 
 to attain Michelangelo's grandeur of style by throwing his 
 statues into strained attitudes, and giving an unnatural de- 
 velopment to their limbs and muscles, he modelled those mon- 
 strosities the colossal Lepidus and Hercules before the Ducal 
 Palace at Modena, and the clumsy statue of Bishop Ugo 
 Rangoni in the Cathedral at Reggio, whose monument is con- 
 sidered Prospero's masterpiece. It consists of a white marble 
 sarcophagus upon a red marble base, at each end of which are 
 life-size genii, the one holding a crosier, the other a sword 
 and helmet. Above it, and out of all proportion with it, the 
 
 * Assisted by his son Giovanni Andrea (Yasari, vol. vi. p. 106, nota 1).
 
 o 
 
 84 Historical Handbook of Italian Satlpttire. 
 
 colossal bishop sits within a square recess crowned by a broken 
 pediment. The prelate's arms are introduced in black marble 
 shields upon the base of the monument, which is adorned with 
 two small seated figures in relief of Innocence symbolized by 
 a dove, and Self-devotion by a pelican.* Debased as it is in 
 style, ugly in combination of colour, and faulty in the relative 
 proportion of its parts, it is, if possible, surpassed in bad taste 
 by Prospero's monument to the Canon Cherubino Sfortiano in 
 the same church, which consists of a huge white marble hour- 
 glass, supported on a base of red marble, flanked by figures of 
 two Virtues, and crowned by a statuette of Christ.! We will 
 not trespass upon the reader's patience by describing any more 
 of Prospero's works, but to show that they have admirers, we 
 quote the following passage from a discourse delivered before 
 the Academy at Eeggio upon the two figures of weeping women 
 which form part of his monument to the jurisconsult Bartolomeo 
 Prati, in the crypt of the Cathedral at Parma. "In them," said 
 the orator, " the pathos of the Laocoon, the ' morbidezza ' of 
 the Venus de' Medici, and the grace of the Flora are combined, 
 any one of which excellences would entitle Prospero to rank 
 •with Glycon and Praxiteles." 
 
 MODENA, 1500-1600. 
 
 Antonio Begarelli, born at Modena in 1479, was the son of 
 a baker named Giuliano, and the reputed pupil of Guide Maz- 
 zoni,t whom he even surpassed in reputation as a " plastica- 
 tore " or modeller in clay. As Mazzoni went to France in 
 1495, and did not return until 1516, Begarelli must either 
 have studied under him before he was sixteen years old, which 
 is possible, or after he was thirty-seven, which is improbable. 
 Be tbe fact as it may, his works show no trace of Mazzini's 
 influence, whereas that of Corregio, with whom we know him to 
 have been intimate, is clearly manifest. The great painter, who 
 
 * This tomb cost 1,250 golden scudi (Pontanesi, Disc. Acadeinico sopra 
 Clement I, Reggio, 1826). 
 
 f Who was travelling with Cellini when he killed the postmaster near 
 Siena (see Cellini's Autobiography). 
 
 + See pp. 226-228.
 
 Antonio Begarelli. 385 
 
 was the younger of the two by fifteen years, is said to have 
 learned a great deal from Begarelli,* which at least proves an 
 intercourse between them, but the effect upon the sculptor was 
 not to his advantage as such, since the very qualities which 
 attract us in Corregio's works are unplastic. Great masses of 
 painted drapery may be so lightened by magical effects of 
 chiaroscuro as to give them a desirable lightness and flow 
 of line, but when modelled in clay their heaviness and bulk 
 asserts itself with crushing weight. In painting where the 
 artist has all the resources of the pallet at his command, he can 
 f3;ive rein to his fancy, and represent the human form draped or 
 undraped in every possible attitude, provided that he does not 
 sin against the law of grace, but in sculpture, where he la 
 fettered by the material in wliich he works, he must submit to 
 be controlled by it, and respect the limitations of his art. This 
 Begarelli did not do ; and although Michelangelo on seeing his 
 groups, when he passed through Modena in 1529 on his way to 
 Florence, is credited with having said, "Woe to the antique 
 statues, if this clay could be turned to marble,"! we cannot call 
 the man who made them a sculptor. It is only after dismissing 
 all true ideas about sculpture from our minds that we can do 
 justice to the facile handling, the powerful expression, and the 
 Corregesque conception of Begarelli's pictures in clay. 
 
 The most important among them is the " Taking Down from 
 the Cross " in the church of San Francesco at Modena, repre- 
 sented by the twelve life-size figures of Nicodemus and St. 
 Joseph of Arimathea, with two assistants, engaged in detaching 
 the body of our Lord, SS, Anthony of Padua, Jerome, Francis, 
 and John the Baptist standing or kneeling on either side, and 
 by a great central group of the Virgin swooning in the arms of 
 the two Marys. Robed in fluttering and complicated draperies, 
 they seem to have turned in haste towards her, and while 
 one supports her head the other holds up her drooping hands 
 as she sinks back in complete abandonment. Upon canvas the 
 group would be counted a masterpiece, but in clay it is a 
 tableau vivant. In Begarelli's Pieta at San I'jetro, the Madonna, 
 supported by St. John, kneels by the dead body of our Lord, 
 whose head rests upon the lap of Nicodemus. The draperies 
 are well arranged, the heads expressive, and the details carefully 
 * Yasari, ed. Le Monnier, vii. 95. f Ibid. xii. 281. 
 
 c c
 
 386 Historical Handbook of Italian Sctilpture. 
 
 worked out ; but the pictorial character is identical with that of 
 the " Taking Down from the Cross " and other works by this 
 artist at Mantua, such as the Magdalen Ijdng r.t our Lord's feet, 
 attended by SS. Peter and Paul and two unknown persons, in 
 a corridor leading from the church of San Domenico to the 
 Academy ; a Pieta at San Agostino (1526), in which the St. 
 Joseph is said to be a portrait of Begarelli ; a statue of St. 
 Mary Magdalen in the Belleardi chapel, Sta. Mai-ia del Carmine 
 (1531) ; a Madonna and Child with St. John in the Sacristy of 
 the Chiesa Votiva (1528) ; and two groups in the Academy at 
 Parma, of the Madonna and Saints, modelled in 1558 and 1561. 
 Begarelli died at Modena about 1565, after a long a:nd suc- 
 cessful career of unceasing activity.
 
 387 
 
 APPENDIX. 
 
 A, p. 3. 
 
 Tempesli (Ant. Tisance) attempts to prove that the Duomo at 
 Pisa was founded in 1005, but Tronci (Annali Pisani, pp. 37, 38), 
 Morrona (Visa Illustrata), and the inscription upon the Church 
 itself, say A.D, 1063, immediately after the taking of Palermo by the 
 Pisan fleet. Its architect was a Pisan, named Boschetto. (Vide 
 Roncioni, part i. p. 120, in vol. vi. of Arch. St. It.) 
 
 The burial of distinguished persons in pagan sarcophagi was 
 common during the Middle Ages ; e.g. Charlemagne, who was 
 buried in a Roman sarcophagus sculptured with a bas-relief repre- 
 senting the Rape of Proserpine ; and the French martyr, St. 
 Andreol, in one inscribed Tid. Jul. Valerianus. {Vide M'Farlane's 
 Catacombs of Borne, pp. 128, 129.) 
 
 The Abbate Tosti, in his life of the Countess Matilda, thus 
 refers to this fact (at pp. 1G7, 168): " Ne fu sola Beatrice che 
 andasse cosi a sconciare le ceneri dei pagani per locarsi nel loro 
 sepolcro, trovandosi nel anzidetto Campo Santo Pisano ed in altre 
 chiese le urne pagane." 
 
 The following is the inscription upon the sarcophagus of ths 
 Countess Beatrice: — 
 
 QUAMVIS PECCATRIX SUM DOMNA VOCATA BEATRIX, 
 lU TUMULO MISSA, JACEOQUE COMITISSA. 
 
 Morrona, Fisa III., vol. i. p. 295, nota 1. 
 
 B, p. 20. 
 
 The abbey of Tagliacozzo. According to Vasari, i. 268, Niccola 
 was called to Yiterbo in 1267 by Pope Clement IV., and having 
 restored the church and convent of the Preaching Friars, then 
 went to build that of Tagliacozzo for Charles of Anjou. As the 
 battle was fought in August 1268, and the buildings at La Scorgola 
 were, as we know by documents in the archives at Naples, com- 
 menced in 1274, Niccola may have stayed seven yeai-s at Vitcrbo. 
 In 1274 he certainly went to Perugia, as we may suppose after he 
 had designed and commenced the buildings at Tagliacozzo. There 
 is therefore no chronological ground for doiibting Vasari's state- 
 
 C 2
 
 388 Apj,<n:iix. 
 
 ment. Some doulDt, towever, is certainly thrown on it Ly tlie fact 
 that ^N^iccola Pisano's name is not mentioned in the documents 
 connected with the foundation of the buildings, published from 
 the Neapolitan archives by Schultz, op. cit. vol. ii. The first 
 document is a letter written by King Charles from Bari, January 
 1, li?^, in which he tells the magistri Jacopo and Pietro da Caul 
 (or Saul), Simone da Arganta and Pietro da Carelli (or Garelli) 
 that he wishes to build an abbey at Castnmi Pontis, and orders 
 them to go, with the Abbot of Casanova, to select building 
 materials and fix upon the site there, where the battle with Cor- 
 radino was fought. Four years later, February 21, 1278, the 
 king writes from Capua to his administrator Raynaldus Yillanus 
 to say that he has appointed a Frenchman, Henri dAssone (iu 
 Poitou), to be head-master of the building, and Giovanni da Mes- 
 sina to be overseer. As this was the year of Niccola Pisano's 
 death these appointments may have been made in consequence of 
 that event. From a third royal letter, dated December 30, 1281, 
 atOrvieto, written to the same Yillanus and an Abbot Guglielmus, 
 we learn that the work was then nearly completed (see Schultz, 
 ojp. cit. ii. 88). 
 
 C, p. 23. 
 
 Vasari (vol. i. p. 295) attributes it to a certain Fuccio, " scultore 
 fiorentino," who, he says, built the Church of Sta. Maria sopra 
 I'Arno, at Florence, in 1229, upon which he inscribed his name 
 thus, " Fuccio mi feci " {sic). The inscription possibly rsfers to a 
 person of that name who restored or rebuilt the church in 1300, 
 but cannot allude to any architect, as none such is known 
 (Yasari, vol. i. p. 296, ncta \). The only Fuccio of note in the 
 thirteenth century was the famous robber referred to by Dante 
 (Inf. 24) in the lines, 
 
 son Yanni Fucci 
 Bestia, e Pistoja mi fu degna tana. 
 
 This Yanni Fuccio despoiled the Sacristy at Pistoja of its 
 treasures, a.d. 1293, for which he and his accomplice, Yanni 
 Mironne, were hung, and their bodies afterwards dragged through 
 the streets, tied to horses' tails. 
 
 D, p. 24. 
 
 Margheritone of Arezzo (b. 1236, d. 131.S), architect, sculptor, 
 and painter, is said by Yasari (Ed. Milanesi, i. p. 363) to have 
 ameliorated his style under the influence of Arnolfo di Cambio's 
 works, and to have sculptured the monument of Pope Gregory X. 
 in the Cathedral at Arezzo. Previous to the year 1275 he had 
 sculptured as well as j)aiuted " Alia Greca," and yet Yasari would 
 have us believe that although in painting he continued to be a 
 rude follower of the Byzantines, and looked upon Giotto as a
 
 Appendix. 38^ 
 
 dangerous innovator, in sculpture he changed his manner and 
 followed the new school. Messrs. Crowe and Cavalcasel 18(2/1.?^. of 
 Fainting in Italy, vol. i. p. 189, and Sig. Milanesi, Ed. Vasari, vol. i. 
 p. 364, note), have shown how impossible it is to accept Margheritone 
 as the author of the Gothic tomb in question, on the strength of 
 Vasari's assertion, and the statement made in the modern inscrip- 
 tion on a slab under the sarcophagus. 
 
 Vasari also attributes to Margheritone the model of the ]\Iuni. 
 cipal Palace, and that of the church of San Ciriaco at Ancona, 
 ■with the sculptures about its portal. The first buildino- has been 
 completely rebuilt, so that no trace of its primaeval appearance 
 remains ; while the last is a work of the end of the tenth or 
 beginning of the eleventh century, in -which . Margheritone, who 
 lived in the thirteenth, can have had no hand. 
 
 E, p. 38. 
 Artists tvJio worTced upon the Facade erected lij Giotto. 
 
 Vol. IV. p. 591. Giovanni d'Ambrogio, Sc. and Arch., Decem- 
 ber 19, 1384, recorded as having been paid for statues, among 
 which was a St. Barnabas. December 28, 1396, paid three 
 months' salary. He was assisted by his son. 
 
 P. 522. Lorenzo di Giovanni, August 25, 1396, paid for statues 
 of the Virgin and two Prophets. 
 
 P. 524. Nanni di Bartolo (called Rosso), intagliatore ; " quis 
 recepit pro parte solutionis unius figurce marmoris mictende {sic) 
 in Campanile dictte Ecclcsite." 
 
 Pier Gio Tedesco vel de Bramantia, paid for an Angel, pro 
 opera (del Duomo) ; ditto for a Saint, and four crowned Saints ; 
 ditto for four Doctors of the Church, to be placed in four taber. 
 nacles of the fa9ade. 
 
 Pp. 529-531. Niccola di Pieri, called Augusto Nicolao Pieri 
 Lamberti, called Niccolo d'Arezzo (scholar of JNIoccio Sanese), 
 n. 1350, m. 1417, sculptured two statues for Campanile. 
 
 Pp. 451-456. Francesco di Neri Sellajo, or Sellari, fl. 1354; 
 sculptured a St. John, St. Peter, an Angel, and a Prophet for the 
 fa9ade. 
 
 Marco di Guccio and Lucia di Giovanni da Siena, also worked 
 at this period for the Duomo fa9ade. 
 
 (MS. Ricordanze dell' Provveditore Stieri, preserved in the 
 Duomo archives at Florence. Vide Baldinucci, con aggiunte di 
 Piacenza. Milan, 1811.) 
 
 F, p. 40. 
 
 "The Palace of Azzo Visconti," siiys Fiamma, **had a great 
 tower, several storeys in height, containing chambers, halls, and 
 corridors, adorned with paintings, baths, and gardens ; and many
 
 390 Appendix. 
 
 rooms at its liase decorated with paintings of unequalled beauty. 
 There were also nobly ornamented sleeping rooms, with double 
 doors guarded by porters, who allowed no one to enter without 
 special permission. Before the entrance to the first room stood a 
 great wire-netted cage, containing every variety of birds ; and 
 near by several other cages containing lions, bears, monkeys, 
 baboons, and an ostrich. Adjoining tlie Aviary there was a 
 very large and magnificent Hall, in which there was a painting 
 of Vain-glory, surrounded by ^neas, Attila, Hector, Hercules, 
 Charlemagne, and Azzo Visconti, made of gold and blue enamels, 
 put together with unsurpassed perfection. Lastly, two fountains, 
 fed by subterranean canals, impetuously cast their waters by 
 divers mouths into a square fishpond." — De Gestis Azsonis, Giuglini, 
 vol. V. pp. 236, 237. 
 
 Some of these paintings must have been by Giotto, who was 
 called to Milan by Azzo Visconti, to paint frescoes in his palace. 
 
 G, p. 49. 
 
 Both Gaye and llicci must be mistaken in saying that the 
 Loggia de' Lanzi was commenced in 1374 or 1376, as Orgagna, 
 according to the best authorities, died in 1308. The subjoined 
 mention of the artists who worked with him upon it fixes its com- 
 mencement at a much earlier date. 
 
 1367. Jacopo di Piero, whose works greatly resemble those of 
 his master Orgagna in style, sculptured four Theological Virtues 
 for the Losfsria de' Lanzi. 1384. "Una cum figura Fidei et alia 
 cum figura Spei proponendo ad Loggiam, Priorum, &c. et 10 auri 
 super Angelum quern celat (sic) pro Logii'ia dicta Flor." — Baldi- 
 nucc'i, vol. iv. p. 416, ed. Milnno. a.d. 1367. From the payment of 
 two florins made to Angelo Gaddi for designs for the figures to be 
 placed on the Loggia de' Lanzi, Baldinucci concludes that Gaddi 
 furnished these designs for Jacopo and others who sculptured 
 them. — B., vol. iv. p. 34i. ' 
 
 Giovanni Seti, who woi-ked in Giotto's style. Lib de Delib. 
 A.D. 1367, paid for a " Fortezza " to be placed over the Loggia 
 della Piazza de' Signori, and for a " Temperantia," which his 
 advanced age prevented him from terminating, 
 
 G II., p. 52. 
 
 The Padre della Valle's statement that Maitani Avatched over 
 the Cathedral at Orvieto from the year of its foundation (1290) is 
 not strictly true, as he was then but fifteen years old. As in 1310, 
 when he became capo-maestro, the building was in so ruinous a 
 condition that he had to reconstruct it, he may be regarded as the 
 architect of the existing edifice, and tradition be reconciled with 
 fact.
 
 Appendix, 391 
 
 G- III., p. 5G. 
 
 Ttelief Suljects upon the Tarlati Monument. 
 1. Bishop Tarlati takes possession of the Arcliiepiscopiil 
 Palace, 1312. 
 
 "2. Is elected General of the Aretines, 1321-. 
 
 3. The Commune of Arezzo, symbolized by an old man insulted 
 ty many persons, who pull his beard and hair. 
 
 4. The Installation of Tarlati. 5. He restores the city walls. 
 
 6. Takes the town of Lusignano, 1316. 
 
 7. Takes the town of Rocca di Chiusi ; 8. and Fronzola. 
 
 9. Receives suppliant prisoners beneath the walls of Focog- 
 nano. 
 
 10. Takes Castello di Rondine, 11 . and Buine, in Yaldambra, 
 12. and Caprera. 
 
 13 and 14. Destroys the Castles of Laterina and Monte S. 
 Sa-vino. 
 
 15. Crowns Louis of Bavaria at Milan, 1327. 
 
 16. Dies at the Castle of Montenero in the Maremma. 
 
 H, p. 67. 
 
 The Seventh Epistle of Dante is inscribed, " Sanctissimo 
 Triumphatori et Domino singular! domino Henrico, divina provi- 
 dentia Romanorum, Regi, semper augusto, devotissimi sui Dantes 
 Alighei-ius, Florentinus et exul immeritus, ac universaliter omnes 
 Tasci, qui pacem desiderant terrse, osculantur pedes." Epistola VII. 
 p. 46-4, ed. Barbera. 
 
 I, p. 60. 
 
 Dante and Cino. Epistola IV. is inscribed, " Exulanti Pistori- 
 ensi exul immeritus, per tempera diuturna salutem et perpetua? 
 caritatis ardorem." This letter was written by Dante in answer 
 to Cino's question, whether our nature can pass from passion to 
 passion, " utrum de passione in passionem possit anima trans- 
 formari ? " With his answer, Dante sent a piece of poetry to 
 Cino (according to De Witte, the canzone, " Voi che intendendo"), 
 and probably spoke to him of that purely intellectual love which 
 inspired him after the death of Beatrice. 
 
 • K, p. 76. 
 
 Vasari (iii. 39) says that he was made capo-maestro of tlie 
 Duomo at Milan, and that he sculptured several statues for the 
 " Fabbrica." Cicognara, who suggests that he may have made 
 the tomb of Maroo Carelli for the Milanese Duomo, doubts if ho
 
 3Q2 Appendix. 
 
 be the author of that of Pope Alexander V., now in the public 
 cemetery at Bologna. In 1403 the Signory of Venice sent an 
 envoy to Florence to request Lamberti to come to Venice and 
 Buperintend the Avorks then going on for the restoration of the 
 Ducal Palace, bnt he was obliged to refuse on account of his 
 numerous engagements. Gaye, Carteggio degli Artisti, i. 82, 
 publishes the answer sent by the Signory of Florence, dated 
 June 8, 1403, to the iJoge Michel-Angelo Steno, concerning 
 Lamberti. In 1407 or 1408 he went to Carrara with Giovanni di 
 Lorenzo di Ambrogio to procure marble for statues of the Evan- 
 gelists to be placed in the Duomo. One of these is Lamberti's 
 St. Mark, for which he was paid 130 florins. In 1390 he finished 
 six stone shields for the Loggia de' Lanzi, and in 1391 the arms 
 of the Guelphs. In 1405 he made a sepulchral slab for the 
 tomb of Leonardo Acciajuoli at Sta. Maria Novella. In 1407 he 
 was appointed Maestro della porta della chiesa di Santa Reparata, 
 and in the previous year he was paid ten florins for works executed 
 for the door of that church. In 1408 he was paid twenty florins 
 for works about the door of the Duomo which leads to Sta. Maria 
 de' Scrvi. 
 
 L, p. 92. 
 
 The entombment in the Ambras collection at Vienna is men- 
 tioned in Dr. Edouard, Freiherr von Sacken's Catalogue, at p. 96, 
 as : " P]in flaches Relief auf vergoldetem Grunde, der Grablegung 
 Christi vorstellend, mit vielen Figuren die ungemein ausdrucksvoll 
 und schon gruppirt sind ; der vergoldete Sarkophag, in dem der 
 Heiland gelegt wird, ist mit Siegeswagen und Kriegern geziert, eine 
 treffliche Arbeit." This admirable relief is certainly a Florentine 
 work of the fifteenth century, and as among the Florentine 
 sculptors of that period none but Donatello could have thrown 
 such intensity of expression into the heads and attitudes of his 
 figures, have grouped them with equal variety, or so skilfully have 
 made use of different kinds of relief to obtain a desired variety of 
 surface, we have little hesitation in ascribing it to him. None 
 other we may add could have caught the spirit of the antique so 
 completely, or used it with such unexampled ability as a foil to 
 the strong realism of his main subject, as is here done in the 
 small relief upon the fi'ont of the sarcophagus. 
 
 M, p. 118. 
 
 This saint is called Eloy, or Alo, in Latin, Eligius, i.e. chosen. 
 See Curiosites de VHistoire des Arts, par Jacob, bibliophile, pp. 
 193, 217, 219. Baldinucci, vol. i. p. 426, attributes this statue to 
 Nanni di Banco, as does a note-book belonging to the Gaddi 
 family, entitled Fragments of the Lives of the Painters. Vasari, 
 vol. iii. p. 67, speaks doubtfully, and it is not mentioned in a MS. 
 list of Nanni's works, preserved in the Strozzi Library. St. Eloy,
 
 Appendix. 
 
 393 
 
 who was born a.d. 688, and died a.d. 650, was first a goldsmith, 
 and then, without giving up his art, for the promotion of which 
 he founded a Conventual Academy at Solignac, became a preacher. 
 The miracle, which is represented in relief, below his statue at 
 Or San Michele, is thus related. One day, Satan, who persecuted 
 him under various disguises, entered into a horse, which had 
 been brought to the blacksmith to be shod, and caused him to 
 kick and plunge so violently that the bystanders fled in dismay. 
 Seeino- tliis, St. Eloy cut off the horse's leg, hammered on the 
 shoe, and then, after making the sign of the cross, replaced it, 
 sound as before. 
 
 In the twelfth century, three Latin hymns to be sung at 
 matins and lauds on the Saint's two fete days (one of which 
 commemorated the translation of his body to the Cathedral of 
 Noyon, a.d. 1157), were written. One of these we give below, 
 with a literal translation : 
 
 De fabri ministerio 
 Assumptus in pontificem, 
 Pastoris in officio 
 Renovavit aurificem. 
 
 Verbo potens in opere 
 Chiisti servire nomini, 
 Novo vasorum genere 
 Exornat templum Domini. 
 
 Manum misit ad malleura 
 Verbum exemplis astruens, 
 Sic vas format idoneum 
 Verbum vita non destruens. 
 
 Malleus verbi ratio, 
 Fumas zeli constantia, 
 Follis est respiratio, 
 Incus obedientia. 
 
 Sic faber in pontificem. 
 In montem crevit atomus ; 
 Lemovices aurificem, 
 Patrem jactat Noviomus. 
 
 From the rank of a workman 
 Raised to be a priest. 
 In the ofiice of a shepherd 
 He purified the goldsmith. 
 
 Strong in word and deed 
 
 To serve the name of Christ, 
 
 With a new kind of vase 
 
 He adorned the temple of the Lord. 
 
 He put his hand to the hammer 
 
 That he might exemplify his doctrine, 
 
 Thus he formed a fitting vase, 
 
 Nor contradicted his teachings by his life 
 
 His hammer is doctrinal authority, 
 His furnace constant zeal, 
 His bellows inspiration, 
 His anvU obedience. 
 
 Thus the craftsman was changed into a priest. 
 An atom grew into a mountain ; 
 Limoges boasts of her goldsmith, 
 Noyon of her father. 
 
 In the sixteenth century, Sebastian Rouillard wrote a French 
 hymn, of which we give two verses : 
 
 1. 
 
 Sainct Eloy, prelat insigne. 
 Pour te chanter un los condigne 
 Aux meriles de tes vertus : 
 Toi dont I'Eglise a tant de gages, 
 Et qui admire tes ouvrages 
 D'or et de perlos revestus. 
 
 Sous Dagobert* fut ta naissance. 
 Ton premier art eu la puissance 
 Sur lea plus riches des metaux : 
 Apres tes chasses et tes lames, 
 Tu vins regner sur les iimes 
 Des plus nobles desanimaux. 
 
 * St. Eloy made a golden chair for King Dagobert, supposed to be that preserved 
 in the Louvre, which has been regirJed as such since the twelfth century.
 
 394 Appejidix. 
 
 N, p. 127. 
 
 Opening of the Tomh of Isotta de Rimini, and of othor Tairibs 
 
 at S. Francesco di Rimini.^ 
 
 " II Padre Baccelliere Fran. Rigliini Imolese, Procuratore © 
 Consiglio di questo Convento de PP. Conventuali di S. Francisco, 
 senteBdo che da alcuni veniva asserito per proprio capriccio cha 
 ne' sepolcri che sono al di fuori e al di dentro della sua chiesa 
 spettanti alia cosa de' Sigg. Malatesti, non vi fossero i rispettivi 
 cadaveri ; quindi e clie invogliandosi di sincerarsi del vero sopru 
 tal effeto, rauno alcuni galantnomini suoi amici, fra i quali vi fu 
 anch' io : nomini quantunque di mente non superiore all' umana, 
 tuttavia erano uomini di bastante giudizio per distinguere i morti 
 dai vivi, e per distinguere i cadaveri dagli scheletti. Erano 
 ancora uomini onesti, per non imposturare sul fatto. La notte 
 per tanto del 15 Agosto venendo verso i 16 dell' anno scorso 
 1756, ci portammo ai monumenti che sono al di fuori della 
 mentovato cliiesa nella facciata laterale del Tempio, e coll' opera 
 di alcuni fabbri murari, s' apri il primo monumento di Basinio, 
 poi il 2do di Giusto de' Conti, <tc., &c. II giorno 16 dopo il 
 desinare, e non di notte come supponsi, si venne all' apertura del 
 Bepolcro d'Isotta, il quale s' apri della parte dei piedi alia presenza 
 degli altri sette mentovati. Si scosto il niarmo dell' area, cbe era 
 della parte dei piedi, quantunque potersi sufficentemente coll' 
 occliio ravvisare la positura del cadavere, Questo si vide tutto 
 coperto di fradiciume, e tutto sciolto nelle giunture, ma tutto in 
 sito, onde non resto persuaso cbe possa essere stato smosso in altro 
 tempo, perclie tutto 1' andamento del corpo e in un sito troppo 
 aggiixstato per autentieare la sua prima positura, conforme anche 
 puo vedcrsi al presente, non essendo stato toccato veruno. E 
 intanto tutto quel fradiciume ricuopriva il cadavere, percbe uno 
 dei pezzi dell' area era scostato dagli altri per essersi rotto un 
 legamento di ferro, onde 1' area ha potuto coadjuvare alia 
 putrefazione del cadavere e delle vesti." Upon this follows the 
 description of the opening of Sigismund's tomb, and the account 
 ends with the statement that this examination has been recorded 
 in the City Register bj the Public Notary of Rimini, Sig. Fran- 
 cisco Antonio Masi. 
 
 0, p. 133. 
 
 The ancients used clay and gypsum for modelling purposes, 
 and also made statues in both materials, but authorities differ as 
 to whether they knew how to take plaster casts in piece moulds. 
 A very obscure passage in Pliny {Nat. Hist. lib. xxxiv. ch. xii.) 
 relating to an invention of Lysistratos, the brother of Lysippos, 
 has been interpreted by Welcker, Brunn, and Overbeck to mean 
 
 • Novdle Letterarie di Firenze, A.». 1757, vol. xviii. col, 2G2,
 
 Appe7idJx.. 395 
 
 that it was that of taking casts in plaster from the life and from 
 the round. If this reading- be correct, as I believe (see American 
 Art Beoieio for ]\[arch and April, 18S0, for a full discussion of the 
 pa&aagu^>, it yotilcy tiie question in the aiFirmative. In modern 
 times I have been unable to find any evidence as to the use of 
 plaster for casting before Verrocchios time, though it is to be 
 noticed that Vasari in the passage quoted in the text says : — 
 *' Andrea was one of the first, hut not the first, as it appears that 
 the practice of casting the faces of the dead was more ancient ;" 
 and also that in describing the plaster used by Verrocchio for 
 casting hands, feet, &c., he says " it can be used for the casting 
 of entire figures," but does not affirm that Verrocchio did so use it. 
 A good reason for supposing that he did, is the fact that on his 
 return to Venice in 1488 (see p. 134) he began to restore the 
 model of the horse for the Coleoni statue which he had broken 
 in pieces nine years before (1479). Had the model been made 
 of clay this would have been impossible. We may also suppose 
 that Lionardo da Vinci's equestrian statue of Francesco Sforza 
 [see pp. 136-7) was a j^laster cast, as it existed from 1493 to 1501. 
 
 It is not, howevei', until the middle of the sixteenth century 
 that Ave find in the Comptes des Bdtiments royaux cle France, a 
 passage about the plaster casts, which admits of no discussion. 
 It records a payment made to " Jean le Koux, dit Picart, imager, 
 pour avoir, vacque a jetter en piastre la figure d'un grand cheval 
 sur les mousles, qui sent aussj/ cle piastre, qui ont ete apportes de 
 Rome audit Fontainebleau, et a jetter aussy en piastre, sur autres 
 mousles, aussy apportes de Rome a Fontainebleau, une grande 
 figure de N. D. de Pitie, dedans la haute chapelle du donjon dudit 
 chateau." (Quoted in M. H. de Jouy's article, entitled Les Fontes 
 du Primatice, at p. 11.) 
 
 The horse mentioned in this passage (called in accounts of the 
 time "Le Grand Cheval," or " Le Cheval Blanc," because it was 
 made of plaster), was a cast of the equestrian statue of Marcus 
 Aurelius, Avhich Catherine de Medicis set up in the courtyard of 
 the Palace at Fontainebleau (thenceforward called Le Cour du 
 Cheval Blanc), under a roof raised upon four pillars to protect it 
 from the rain, where it remained until the year 1626. 
 
 The figure of IS". D. cle Pitie was the Pieta of Michelangelo. 
 The moulds of both these works of art were made for Francis L, 
 who, in the year 1540, sent Primaticcio to Rome, to purchase 
 antique marbles. At the same time, says Vasari (vol. xiii. p. 3), 
 he (Primaticcio), caused Jacopo Barozzi da Vignuola, and others, 
 to make moulds* of the statue of Marcus Aurelius, of a part of 
 the Column (of Trajan), and of the ^atues of Commodus, Venus, 
 the Laocoon, the Tiber, the Nile, and the Cleopatra (Ariadne), 
 that they might be cast in bronze. This was accomplished three 
 years later (1543), by four French artists, viz., Francisquc Rybon, 
 Pierre Beauchesne, Benoist le Bouchet, and Guillaume Lurant 
 
 * The word used is "formare," often applied by sculptors to the process of 
 making the mould in which figures were to be cast. — Cellini, Vita, p. 354, nota 2.
 
 39<5 Appeiidix, 
 
 (see ia Henaissance des Arts, par M. Le Comte do LalDorde, vol. i. 
 pp. 424-427, 430), in the foimdrj at Fontainebleau ; and Les 
 Comptes des Bdtiments (says M. Jouy, p. 20) which prove this fact, 
 mention also payraents made to Pierre Bontemps, image maker, 
 for the models in wax, &c., for casting. 
 
 P, p. 221. 
 
 Among Alberti's scholars, Vasari (iv. 60-61) mentions Salvatore 
 Fancelli Piorentino, and Luca Piorentino. These artists were 
 in reality hut one and the same person, named Luca Fancelli, 
 " architetto e scultore ragionevole," the son of Jacopo di Barto- 
 lomeo da Settignano (see ihid. note 2, p. 60). According to Graye 
 he was living at Mantua in 1486. In 1490 Lorenzo il Magnifico 
 requested Francesco Gonzaga to send M° Liica to the Duke of 
 Calabria, who was in need of an architect on account of the death 
 of Giuliano da Majano, whom Fancelli succeeded as capo-maestro 
 of the Duomo at Florence in 1491. M. Armand Baschet tells us 
 in his " Recherchcs dans les Archives de Mantone " (^Gazette des 
 Beaux. Arts for April, 1866) that Fancelli was sent by the marquis 
 to Andrea Mantegna at Padua to persuade him to enter into his 
 service. In a letter dated April 15, 1458, to Mantegna, the 
 marquis mentions the return of his envoy, and expresses his 
 pleasure on hearing that the great painter has acceded to his 
 propositions. M Baschet furthermore tells us that an autograph 
 document discovered by him in the Mantuan archives proves 
 Luca Fancelli to have been Perngino's father-in-law ; that he was 
 attached to the service of the marquis in 1450, and was so still in 
 1492 and 1493. His business was to superintend the buildings 
 erected by the prince in and about his capital. 
 
 A Paolo di Luca da Fiorenza, perhaps the son of Luca Fancelli, 
 is mentioned by Cittadella {Notizie relative a Ferrara, p. 56) as 
 working at Ferrara in the latter half of the fifteenth century. 
 
 Q, p. 807. 
 Florentine Sculptors of the Fifteenth and Sixteenth Centuries. 
 
 1. Maso di Cristoforo Bracii Aurifex, b. 1883 ; free of the Arti 
 della Seta 1409 ; d. 1430, leaving a wife and four children. He is 
 proved by records to have been employed by Ghiberti, in 1407, on 
 the bronze gate of San Gioyanni at Florence (Crowe and Cav. 
 Hist. vol. i. p. 513) ; and Nicolo da Firenze worked at Padua in 
 1443 under ip Bartolomeo di Domenico, architect of the choir 
 and tribune of Sant' Antonio. (Gonzati, op. cit. i. 60.) 
 
 2. Simone Bianco. Cicogna, Isc. Yen. p. 218, mentions his bust 
 of Vinccnzo Bianchi, a Venetian man of letters (1583-1627) in 
 the Bih. Cesareu. Pietro Aretino {Lettere, lib. iv. p. 277, ed. 1609)
 
 Appendix. 397 
 
 praises his bust of the wife of Niccolo Molino. Vasari speaks of 
 him in his life of V. Carpaccio, vi. 105, and in his first edition 
 says that he resided at Venice. L'Anonimo, p. 60, speaks of a 
 marble foot upon a base in the house of M. Andrea di Odoni at 
 Venice (see also Morelli's note to this passage, No. 103, p. 194), 
 and at p. 63, of a marble statue of Mars naked and carrying a 
 helmet. 
 
 3. Paolo Fiorentino detto II Felucca, commissioned in 1554 to 
 make a bas-relief for the Cappella del Santo at Sant' Antonio, 
 which was given to Cataneo in 1572 and to Campagna in 1573. 
 (Gonzati, i. 165.) 
 
 4. Camigliani and Vagherino, Florentines, made the gate of a 
 villa belonging to Don Pedro di Toledo at Palermo in 1522, which 
 was afterwards sold to the city, and with added ornaments became 
 the Porta Felice. (Ricci, op. cit. vol. iii. p. 91, note 5.) 
 
 5. Antonio di Griusto lived at Cai-rara in 1508-14-16 in tho 
 house of his father, also a sculptor. He was attached to the service 
 of the King of France. (Campori, op. cit. p. 14.) 
 
 6. Donato Benci, fl. 1511, 1512. April 17, 1518, appointed by 
 Michelangelo to purchase marbles at Carrara and forward them to 
 Florence. (Campori, p, 60.) 
 
 Scidptors employed at Rome hy Pope Nicholas V. (1447-1455.) 
 
 7. Fi'ancesco di Domenico da Firenze and Righo d'Obriglia, 
 marmorairi or carpellatori. 
 
 8. Pietro di Giovanni da Varese worked at Arieto in 1450, 
 and built Tower of Capitol at Rome 1452-3. 
 
 9. Varro or Varrone, worked for Pius II. — real name Varrone 
 d'Aguolo del Belferdile, or Belferdino da Firenze, 1450-54, worked 
 in bronze and marble at Court of Pope Nicholas V., mentioned by 
 Filarete in his Truttato cVArchitettura. 
 
 10. M. Valentino da Viterbo, carved doors for the Vatican Palace 
 1450-1, assisted by his brother Lionardo and M° Nicolo da Firenze 
 (see 1). 
 
 11. Fra Antonio da Viterbo, mentioned in Papal registers in 
 1467, carved fauteuils and footstools for Pope Nicholas IV., and 
 wooden doors for Eugenius IV. (See La Renaissance a la Gour 
 des Rapes, by Eugene Miintz.) 
 
 E, p. 337. 
 
 Pier Francesco, called Pierino da Vinci, was the son of Barto- 
 lomeo di Ser Piero, the nephew of Lionardo da Vinci, and the 
 scholar of II Tribolo. He was born at Vinci (a castle near 
 Empoli) in 1520 (?), and M'hen very young was taken to Florence 
 and placed by his father in the studio of Baccio Bandinelli (see 
 Vasari, x. 291, note 1), whence, as he progressed but little, ho was 
 soon removed to that of II Tribolo. Here he made rapid progress,
 
 39 S Appendix. 
 
 and greatly assisted his master in decorating tlie dncal villa at 
 Castello. He modelled the graceful and carefully-studied " putti " 
 ■vvhicli lie upon the rim of the marble basin of the fountain behind 
 the Casino. They were cast in bronze by Zanobi Lastricati 
 (Vasari, x. 285). These are the only works executed by Pierino 
 while under the influence of II Tribolo. The following works are 
 in his second and Michelangelesque manner, which he adopted after 
 his second visit to Rome— a bas-relief of the Madonna and Child : 
 iSS. Joseph, John, and Elisabeth in the Museum of the Bargello ; 
 a Holy I'amily in flat relief at the Louvre, from the Campana col- 
 lection ; an allegorical representation of Pisa raised from her fallen 
 state by Duke Cosimo 1° at the Vatican (Vasari, vol. x. 289, 
 note 2), and the death of Count Ugolino and his sons by starva- 
 tion, a bas-relief in the palace of the Conte della Gherardesca at 
 Florence, mannered and pictorial in style, with figures violent in 
 action. Like a tarnished mirror this clever and second-rate 
 Bculptor dimly reflected the objects which came within his range. 
 
 S. 
 Monuments, Sfc, not mentioned in text. 
 
 1. Florence. Sacristy of Santa Trinita. Onofrio di Palla Strozzi, 
 b. 1345, d. 1417. (Gozzini, Man. Sep. de la Toscana, p, 92, pi. 40.) 
 This monument was raised to the memory of Onofrio by his son 
 Palla Strozzi (the younger), and sculptured by Piero di Niccolo, 
 as proved by an old book of accounts in the Archives, in which a 
 record of payment occurs dated Aug. 4, 1418. We are inclined 
 to think that this sculptor is identical with Niccolo di Piero Lam- 
 berti, called Pela (see pp. 72-3), one of the competitors for the 
 Baptisti-y Gates, who died after 1419. The sarcophagus, upon 
 whose front winged genii hold a shield, is almost identical in shape 
 with that at the Bargello, made by Lorenzo Ghiberti to contain 
 the bones of SS. Proteus, Hyacinthus, and I^emesius. It stands 
 under an arch springing from Corinthian capitals, and supported 
 upon a base with dentellated cornice and richly-foliated brackets. 
 The architrave is sculptured with " putti" and festoons. 
 
 2. Bronze Cassa or Reliquary of the SS. Proteus, Hyacinthus, 
 and Nemesius, by Lorenzo Ghiberti (1428) at the Bargello, for- 
 merly in the Monastero degli Angeli. The lid of the reliquary is 
 enriched with arabesques, and the front panel decorated with 
 flying genii, like those at the back of the Cassa di San Zenobio 
 (see p. 84), holding a laurel crown, within which is the inscrip- 
 tion. 
 
 3. San Pancrazio (Via dclle Arme, N° 10), rich little chapel of 
 the Holy Sepulchre, erected in 1467 by Leon Battista Alberti for 
 the Ruccellai family. (See Buckhardt, Cicerone, 4th ed., p. 90, 
 d. ; and Gozzini, Jllon. Sep. della Toscana, pi. 48, p. 95.) 
 
 4. Monument of Niccolo Ai-inghieri, d. 1374 in San Domenico at 
 Siena. Gozzini (pi. Ixiii. p. 127) attributes it to Gore Sanese, but
 
 Appendix. 399 
 
 crroneoTislj. The two Sienese sculptors so named, Goro di Cinccio 
 Ciuti, scholar of Niccola Pisano, and Goro di Gregorio (see ch. iv. 
 p 52), hoth died in the first half of the fourteentli century. The 
 monument consists of a sarcophagus with sepulchral effigy and 
 professorial bas-relief, raised upon three columns. The architrave 
 is decorated with lions' heads in relief. 
 
 5. Monument to Marco Antonio Albertoni (d. 1485) in Sta. 
 Maria del Popolo at Rome. Cappella Costa, unknown sculptor of 
 Florentine school. The effigy is that of a youth of a fair coun- 
 tenance, wearing a round cap upon his head, which rests on an 
 emhroidei'ed cushion. The body is clothed in a short tunic, and 
 the feet rest against a cushion. The hands are simply crossed 
 below the breast. 
 
 6. Monument to Cardinal Ortega, 1524. Sacristy of Santa 
 Maria del Popolo. Unknown sculptor. This is a very beautiful 
 tomb in a pure Renaissance style, consisting of a square recess 
 formed by a rich entablature (architrave decorated with cherubian 
 and dentellated cornice), supported upon pilasters adorned with 
 arabesqiies. The sepulchral effigy lies upcci a sarcophagus resting 
 on lions' feet. The base consists of a memorial tablet, flanked by 
 pane]s, in each of which is a winged genius, with a shield in high 
 relief. 
 
 7. Monument of Francesco di Simone Pazzi, d. after 1318. 
 Cloister of Sta. Croce. Attributed by Gozzini to Nino Pisano. 
 (/See pi. 26, p. 51.) Sarcophagus, without effigy, supported by 
 statues of the four Cardinal Virtues standing on pedestals. Not 
 unlike Bakluccio Pisano in style. 
 
 8. Gastone della Torre, Patriarch of Aquileja (d. 1317). Cloister 
 of Nuns of Sta. Croce, a.d. 1317. Attributed by Gozzini to 
 Agostino Sanese. Of this there is no documentary proof, nor 
 is there any resemblance of style to the reliefs of the Tarlati 
 monument (see ch. iv. p. 56) which would warrant the conclu- 
 sion. The bas-reliefs on the sides of the sarcophagus of the 
 Preaching of St. John, the Incredulity of St. Thomas, the Noli me 
 Tangere, the Resurrection of our Lord, and the Marys at the 
 Sepulchre, are remarkable for liveliness of action, flatness of sur- 
 face planes, and disposition of draperies. The figures of Prophets 
 in the round, placed between the reliefs, ai'e dignified and well- 
 draped, showing the study of antique models. The recumbent 
 effigy is inferior, short, and thick-set. It lies on the casket-shaped 
 lid of the sarcophagus, which rests on four ornate brackets. 
 
 9. Monument of Count Bonifazio della Gherardesca (1321) in 
 the Campo Santa at Pisa, formerly in the (now destroyed) Church 
 of San Francesco. It oi-iglnally had a triple canopy. The sarco- 
 phagus, which is bracketed against the wall, has a rich Greek 
 cross at each end, and nine shallow niches in front containing half- 
 figures of Saints, rather stiffly disposed, and with but little expres- 
 sion. The effigy lies on a second smaller sarcophagus under three 
 unmistakably Pisan statuettes of the Madonna and two Saints. 
 The brackets are richly ornamented. That this tomb is the work 
 of Tommaso Pisano is altogether dubious.
 
 400 Appendix. 
 
 10. Moniiment of Ulbertino de' Bardi in the Cappella Bardi, at 
 Sta. Croce. Gozzini (pi. 34, p. 37) attributes this Gothic tomb to 
 Tommaso " detto" Giottino. Following Vasari (ed. Milanesi, p. 624), 
 who describes the fresco of the Last Judgment over the sarco- 
 phagus from the top of which Bettino de' Bardi rises at the sound 
 of the last trump, Milanesi, in a note to this passage, shows that 
 the tomb contains the remains of Andrea de' Bardi (d. 1367), and 
 in note t p. 622, proves that Vasari made one painter out of two, 
 Maso di Banco, who died after 1350, and Giotto di Stefano, called 
 Giottino, who died after 1369. 
 
 The monument consists of a Gothic canopj, crocketed gable, 
 twisted columns, base formed bj sarcophagus with casket-like lid, 
 on front 'shields, figures, and an Ecce Homo. 
 
 11. Monument of Neri Capponi (d. 1457), bj Simone di Niccolo 
 de' Bardi, at Santo Spirito, Floi-ence. Gozzini (pi. 41, p. 81) attri- 
 butes this monument to Simon, the so-called brother of Donatello 
 (see p. 98). It consists of a sarcophagus shaped like a reliquary : 
 on lid, festoons; in front flying angels, supporting a medallion and 
 profile portrait of the (Jeceased. 
 
 12. Monument of the Cerchi family in the Church of San Fran- 
 cesco at Assisi. Gothic, fourteenth century ; somewhat heavy 
 gable with finial and crockets, resting on two slender twisted 
 columns, raised upon a base with ornate mouldings and cornice, 
 divided into spaces by richly-ornamented interlaced arches with 
 twisted columns and pendant heads, &c. The porphyry vase under 
 the canopy is said to have been given by Hecuba, Queen of Cyprus, 
 to the Convent, filled with ultramarine. 
 
 13 and 14. Tombs of Jacopo di Carrara, fifth Lord of Padua, 
 and of Ubertino di Carrara (d. 1354). These Gothic tombs, which 
 stand opposite each other in the Church of the Eremitani at 
 Padua, are interesting, as showing in the sarcophagi the gradual 
 tendency to accumulate ornament. The hood-like gables at the 
 corners project above niches containing statuettes, and central 
 niches containing groups of the Madonna and Child nre formed by 
 raising; the cornice and frieze into arches. The edio'ies rest on 
 inclined planes formed by the gabled roofs of the sarcophagi, 
 whose form is peculiar to Padua. 
 
 15. Tomb of Barbara Ordelaff (d. 1466) in the Church of 
 S. Girolamo at Forli. An excellent example of the Renaissance 
 style. 
 
 16. FeiTiando di Cordova, d. 1486. In the Church of Sta. 
 Maria di Monserrato at Rome, removed from S. Giacomo de' 
 Spagnuoli. 
 
 17. Pietro Cesi, Roman Senator. Tomb similar to No. 16 in 
 the Cathedral at Narni. 
 
 18. Diego di Valdez fd. 1506), at Sta. Maria di Monserrato, 
 Rome. Removed from S. Giacomo de' Spagnuoli. 
 
 19. Rhoderico Sanctio, Bishop of Oviedo and Palencia (d. 1471), 
 at Sta. Maria di Monserrato, Rome. Grave slab. Removed from 
 S. Giacomo de' Spagnuoli. 
 
 20. Castiglione di Olona. In the lunette above the architrave.
 
 Appendix. 401 
 
 of cTiief portal is a bas-relief " executed (say Crowe and 
 Cavalcaselle, Hist. vol. i. p. 500) with, the ease and breadth charac- 
 teristic of Florentine art," representing^ the Virgin enthroned, 
 wath the Infant Saviour in the act of giving the blessing to 
 Cardinal Branda, who kneels at the left supported by a Pope and 
 St. Lani'ence. To the right SS. Ambrose and Stephen are placed 
 in attendance, and on the marble at the side of the latter is carved 
 the date 1428. 
 
 Italian marlles at Paris, London, and Berlin: 
 PARIS. 
 
 The Louvrr — Renaissance Museum. 
 
 1. Bronze relief, " fond dore," Christ an Tombeau, fifteenth 
 century. 
 
 2. Statue, marble, Louis XII. Lorenzo da Mugiano, 1508. 
 Head, arms, and legs restored. 
 
 Salle Michel Ange. 
 
 3. Bronze plaque, profile, flat relief. L. B. Albert!. "Witlionf. 
 inscription or emblem. Fifteenth century. 
 
 (His de la Salle bequest.) 
 
 4. Bronze plaque. Madonna standing with child in her arms 
 nnder an arch, between angels ; below, four " putti " with wreaths 
 and musical instruments. Fifteenth century. 
 
 (His de la Salle bequest.) 
 The draperies seem too heavy and complicated for Donatello, 
 
 to whom it is attributed. (His de la Salle bequest.) 
 
 5-12. Bronze bas-reliefs, by Andrea Riccio (1480-1522), from 
 
 the tomb of Girolamo della Torre, at Verona (see p. 376). 1. 
 
 Illness ; 2. Sacrifice ; 3. Death ; 4. Obsequies ; 5. The Passage of 
 
 the Styx ; 6. Earthly Fame ; 7. Paradise. 
 
 13. Bronze plaque. The Flagellation. Donatello. Fifteenth 
 century (see p. 102*). (His de la Salle bequest.) 
 
 14. Galba, profile, " pietra serena," bas-relief. Sixteenth century. 
 
 15. Triumph of Petrarch, bronze relief. Andrea Riccio. 
 
 16. Medallion, bronze, wreath enclosing a group of man and 
 •woman seated. 
 
 17. Madonna and Child. N'orth Italian. 
 
 18. Bust of St. John the Baptist (see p. 150*). Mino da 
 Fiesole. 
 
 19. Beatrice d'Este. Fifteenth century. 
 
 20. Madonna and Child, marble. Mino da Fiesole. Halos 
 gilded. (His de la Salle bequest.) 
 
 21-2. Sides of a marble sarcophagus. Lions' heads at each end ; 
 
 D D
 
 402 Appendix. 
 
 "putti" witli a festoon and central head in high relief (see 
 p. 150*). Mino da Fiesole. 
 
 23. Bronze bas-relief, life-size Madonna and Child. Resembles 
 Michelangelo in the movement of the Madonna's head, and the 
 treatment of the shoulder. 
 
 24. Terra-cotta Virgin and Child. Louvre. Italian. Sixteenth 
 centiiry (see Athenaeum, No. 2,809, p. 283 ; also 2,811, Sept. 10, 
 1881). 
 
 25. Bust in marble. Unknown portrait, Milanese school. End 
 of fifteenth century. 
 
 26. Bust of Filippo Strozzi, dated 1491. From Palazzo Strozzi 
 (see p. 156). Benedetto da Majano. 
 
 27. Large bas-relief. Madonna and Child. Mino da Fiesole. 
 
 28. Nature. Statue by II Tribolo. Like Diana of Ephesus, 
 1485-1550. 
 
 29. Alto-relief. A warrior on horseback with two attendants. 
 Koberto Malatesta. Ariminensis. 
 
 30-31. Prisoners (see pp. 284-5). Michelangelo. 
 82. The Porta della Stanga, erected at Cremona iu 1490 (iee 
 p. 111*). 
 
 Peivate Collections at Paris. 
 
 M. Dreyfus. 
 
 I. Bust of St. John, by Desiderio da Settignano. An exquisite 
 ■work. 
 
 2-3. Charity and Faith. Mino da Fiesole. Perhaps for the 
 monument of Cardinal d'Estoutville at Sta. Maria Maggiore (see 
 p. 147). 
 
 4. Filippo Maria Visconti. Marble, profile. Resembles the 
 portrait head on the medal by Pisanello. 
 
 5. Diva Heleonora. Flat relief. Fifteenth century. Floren- 
 tine. 
 
 6. Beatrix Aragonia. Bust. Fifteenth century. Florentine. 
 
 7. Christ and St. John. Very flat relief. Fifteenth century. 
 Florentine (see p. 102*). DonateHo (?). 
 
 8. Fine bust in marble, with inscription. Fifteenth century. 
 Florentine. 
 
 9. Bust of Diottisalvi Neri, dated 1464. Mino da Fiesole (see 
 p. 147). 
 
 10. Leon. Battista Alberti. Bronze plaque. Signed L.B.A.P. ; 
 with a winged eye ; as on the reverse of Matteo de' Pasti's medal 
 of Alberti '(see p. 222§). 
 
 II. Madonna and Child. Luca della Robbia. 
 12.^ An admirable collection of " plaques." 
 
 M. Le Baron Rattier. 
 
 1. Publius Scipio. Marble relief; profile. Atti'ibuted to 
 Lionardo da Vinci. (Referred to in note f, p. 138.)
 
 Appendix. 40 '' 
 
 J 
 
 2. Medal Portrait of Francis I. Benvenuto Cellini. Signed 
 Benvenuto, F. 
 
 3. Luca della Robbia. Relief. 
 
 M. Spitzer. 
 
 Bas-reliefs from the Palazzo Suffiolo at Modena, by TuUio Lom- 
 bardo. (Referred to at p. 356.) 
 
 Royal Museum, Berliist. 
 
 I. No. 1,074. Terra-cotta (painted) statuette of David. The 
 sketch for the bronze statue of David, by Andrea del Verrocchio, 
 at the Bargello, Florence (see p. 133). 
 
 ii. No. 1,036. Painted terra-cotta bust of Filippo Strcazi. 
 Original study for the marble bust at the Louvre (see p. \h^*), 
 Benedetto da Majano. 
 
 3. N"o. 733. Marble bust of a young Florentine lady. Mino da 
 Fiesole. 
 
 4. No. 1,070. Statue of St. John (marble), made for Lorenzo di 
 Pier Francesco de' Medici, by Michelangelo Buonarroti (see 
 p. 259). 
 
 5. No. ^^1. Marble bust of a young Florentine. Desiderio da 
 Settignano. 
 
 6. No. 1,039. Bronze statuette of St. John the Baptist. Dona- 
 tello. 
 
 7. No. 1,037. Painted terra-cotta bust of Giov. Ruccellai. 
 Florentine, about 1450. 
 
 8. No. 674. Painted bust (" gesso duro ") of Lorenzo de' 
 Medici. Florentine. Second half of fifteenth century. 
 
 9. No. 646. Bust in marble of Marietta Strozzi, from the Palazzo 
 Strozzi ; one of the most beautiful works of the Florentine 
 Renaissance (see p. 119). Desiderio da Settignano. 
 
 10. No. 1,050. Marble bust of Niccolo Strozzi, 1454 (see p. 146). 
 Mino da Fiesole. 
 
 II. No. 640. Colossal marble bust of Pope Alexander VI. 
 Sculptor unknown. 
 
 12. Fine collection of bronze plaques, chiefly Italian, of tho 
 fifteenth and sixteenth centuries. 
 
 LONDON. 
 
 Kensington Museum. (Late additions.) 
 
 1. Sarcophagus — vised as a horse-trough. Female Saint in very 
 flat relief ; angels at each end. Cost £186 7s. 6d. Donatello. 
 
 2-3. Two superb bronze circular medallions. The Labours of 
 Hercules. Strangling the Serpents, and carrying off the Eryman- 
 
 D D 2
 
 404 Appendix. 
 
 tliian Boar. Ib carved wooden frames. Fourteen inclies in 
 diameter. Ascribed to Sperandio of Mantua. Bought for £2,000. 
 See Times, October 22, 1S81. 
 
 Private Collections. 
 
 Alex. Nesbitt, Esq. 
 
 1. Medallion. Head in relief. Close of the fourteenth or early 
 part of the fifteenth century. 
 
 C. Drury Fortnum, Esq. 
 
 1. Terra-cotta bust. Baccio Bandinelli. 
 
 2, Gesso Duro. Original design for the relief at the Bargello, 
 Florence. By Antonio Rossellino (see p. 123).
 
 INDEX TO TOWNS. 
 
 Alba Fucense. 
 8. Pietro. 
 
 Pulpit, cancellum, &;c. Co- 
 simati. xiii. cy. p. Ivii. 
 
 Alvernia. 
 Altars. Andrea dellaKob- 
 bia. XT. cy. 
 
 Amalfi. 
 
 Catliedral. 
 
 Bronze Gates. Staurachios. 
 1066-1087. p. xlv, li. 
 
 Anagrni. 
 
 Cathedral. 
 Exterior. 
 
 St. of Boniface VIII. xiv. 
 
 cy. 
 Interior. 
 
 Gaetani Tomb. xiii. cy. 
 
 p. 173. 
 
 Paschal Candlestick. Vas- 
 
 saletto. xiii. cy. p. 174. 
 
 Ancona. 
 S. Francesco. 
 
 Poital. Giorgio da Seben- 
 ico. 1455. 
 S. Agostino. 
 Portal. Giorgio da Seben- 
 ico. 1455. 
 
 Andria. 
 
 Porta Santa, xiii. cy. 
 Portal. Renaissance. X7. 
 cy. 
 
 Aquila. 
 
 La Madonna del Soccorsa» 
 Chapel Altarpiece. Salves- 
 
 tro Aquilano. (?) p. 165. 
 Fountain delia lliviera by 
 
 Tancredi, end of xiii. cy. 
 
 p. 163. 
 San Bernai-diuo. 
 
 Rence. Facade and Portal, 
 
 A.D. 1525. Nicola Filo- 
 
 tesio. 
 
 Interior. Shrine of S. Ber- 
 nardino. Sal vatore Aqui- 
 lano, 1440. p. 164. 
 Tomb of Jlaria Pereira. 
 Andrea dall' AquUa. xr. 
 cy. p. 164. 
 Vetuoti chapel. Altarpiece. 
 Luca delia Robbia. xv. 
 cy. pp. 143, 165. 
 Sta. Maria di Colemaggio. 
 Portal. Rom. xiv. cy. 
 Tomb of Pope Celestine V. 
 Gir. da Vicenza. xvi. cy. 
 Sta. Maria Paganica. 
 
 Portal. Rom. 
 Sta. Giusta. 
 
 Portal. Rom. 
 San Marco. 
 
 Portal. Rom. 
 San Giuseppe. 
 Tomb of Count Lalli and 
 his sons. Walter Ale- 
 manno, 1432. p. 164. 
 San Vittorino. 
 Pulpit, 1197. p. Ivi. 
 
 Arezzo- 
 
 Cathedral. 
 Mon. Gregory X. Pisan 
 
 school. App. D. 
 Tomb of Bishop Tarlati. 
 
 Agostino and Angelo Sa- 
 
 nesi. xiv. cy. pp. 56, 
 
 391. 
 Shrine of San Donato. Giov. 
 
 di Francesco and Betto di 
 
 Francesco, xiv. cy. p. 31. 
 Altar. Andrea delLiRobbia. 
 
 xv. cy. 
 Episcopal Palace. 
 
 B. R. Simon Ghini. xv. cy. 
 Fa<jade. Aladonna and 
 
 Saints and St. Lucia. 
 
 Niccolo Lamberti. xv. 
 
 cy. p. 76, note + 
 Tomb of Card. Beneven- 
 
 tano. Montorsoli. xvi. cy. ' 
 
 Santa M. delia Piev6. 
 Portals. Marchionne. 
 
 1216. p. Ixiv. 
 La Miscricordia (now 
 Museum). 
 Exterior. Madonna (Lu- 
 nette). NiccolbLamberti.? 
 1403. p. 76. 
 
 Assisi. 
 
 S. Francesco. 
 Mon. of Hecuba, Queea of 
 Cyprus. Lfipo(:). xiii. cy. 
 pp. 23, 3S8. 
 
 Atrani. 
 Cathedral. 
 
 Bronze Gates. Staurachio.s. 
 1066-10S7. p. xiv. 
 
 Atri. 
 
 Cathedral, a.d. 1252. 
 Portal Sc. M". Raimondo 
 
 de' Podio. 1288-1302. 
 
 p. xlviii. 
 Font. Paolo de' Garviis. 
 
 1503. 345. 
 Ciborium. 1506. 
 
 Bari, 
 
 San Niccolo. xi. cy. 
 Facade and Portal. B, R. 
 
 xi. cy. 
 Interior. Ciborium. xiL 
 
 cy. p. XXXV. 
 
 Gattedra. xi.cy. p.xxxvi. 
 
 Tomb of Archbishop 
 
 Elias. 1105. 
 Crypt. Capitals. Byz. 
 
 p. xxxvi. 
 
 Barletta. 
 Piazza. 
 
 St. of Emperor Ucraclius. 
 
 Byz. vii. cy. p. xlviii. 
 
 S. Andrea. 
 
 Portal Lunette. Si mon of 
 
 iiigusa. xiv. cy. p. x.vxv.f
 
 4o6 
 
 Interior. St. of St. John 
 Baptist, xvi.cy. p. xlix. 
 
 Beneventum. 
 
 Cathedral. 
 
 Bronze doors. Oderisius. 
 
 1119-1127. p. xlv. 
 Two Pulpits. 1311 circa. 
 Paschal Candlestick. 1311 
 
 circa. 
 Monte Vergine. 
 
 Chapel of Sacrament, r 
 
 Tabernacle. 1200-1301. 
 Four Tombs, xiv. cy. 
 Tomb of Berardus de 
 
 Sangro. 1335. 
 
 Bergamo. 
 
 S. Maria Maggiore. 
 
 Font and Tomb of Card. 
 
 Luigi. Hugo da Cam- 
 
 pione. 1341. 
 Colleoni Ch. 
 Fa9ade and Portal. Gio. 
 
 Ant. Amadeo. xv. cy. 
 
 p. 186. 
 Interior. Mon. of Bart. 
 
 Coleoni. Sisto and Lio- 
 
 nardo(?). p. 187. 
 Mon. of Medea Coleoni. 
 
 G. A. Omodeo. xv. cy. 
 
 pp. 185-186. 
 
 Near Bergamo. 
 
 S. Tommaso in Limine. 
 Lombard Sc. of viii. cy. 
 
 Bitetto. 
 
 S. Michael, a.d. 1136. 
 Portal Sc. xii. cy. 
 
 Bitouto. 
 
 S. Valentinian. p. xliii. 
 
 Portal Sc. xiv. cy. 
 
 Pulpits. Mag. Nicolaus. 
 A.D. 1229. 
 Palazzo Sylos. 
 
 Loggia. 1502. 
 
 Bologna. 
 
 B- Petronius. 
 
 Facade. Great Portal. 
 G. della Querela. 1425. 
 64. Side doors dec. II 
 Tribolo. 1525. 
 Statues. Alf. Lombardi. 
 xvi. cy. 
 
 Lunette, 1. s. p. Alf. 
 Lombardi. 1526. 
 3 B. R. Pilaster. Alf. 
 Lombardi. 1526. 
 
 Index to Towns. 
 
 Lunette, 2 p. Amico 
 Aspertini. 1526. 
 Plinth. Prophets and 
 Saints. Half figures. 
 M. Bonasuto. 1394. p. 
 208. 
 
 Interior. 
 
 Mon. Cereoli, H Tri- 
 bolo. 1526. 
 Madonna, 6 Ch, 2. Tri- 
 bolo. 1526. 
 4 Stone Crosses, viii. 
 or ix. cy. Petrus Al- 
 bericus. p. xl. and Ixi. 
 B. R. 11 Ch. r. II Tri- 
 bolo. 1526. 
 St. Anthony. 9 Ch. r. 
 Jacopo Tatti. xvi. cy. 
 
 (Sacristy.) Bust of Count 
 Pepoli. Proi^erzia de 
 Rossi. 1520 circa, p. 
 379. 
 
 2 B. R. Properzia di 
 Rossi. 1526. p. 379. 
 Adding Angel. II. Ch. 
 Properzia di Rossi. 1526. 
 p. 397. 
 8. Pietro (Cathedral). 
 
 Cri/pt. Mortorio. Alf. 
 Lombardi. xvi. cy. 
 Pub. Cemetery. 
 
 Porch. Mon. of Alexander 
 III. T. C. Lamberti. 
 XV. cy. 
 
 Mon. of Vicensio Alber- 
 gati. L. Casari. xvi. cy. 
 8. Dumenico. 
 
 Arcadi S. Domenico. N. 
 Pisano and Fra G. Ag- 
 nelli. 1265. pp. 14-18. 
 
 Upper portion. Niccola da 
 Bari. xv. cy. p. 17. 
 Ecce Homo, and angels. 
 II Tribolo. xvi. cy. p. 
 17. 
 
 Statuettes. Michelangelo (?). 
 G. Coltellini. xvi. cy. 
 p. 17 and note +. 
 
 Gradino Relief. A. Lom- 
 bardi. xvi. cy. p. 18. 
 
 B. R. Altar front. Carlo 
 Bianconi. xvii. cy. p. 
 18. 
 
 Angels on Altar. Niccola 
 dair Area and Michi^liin- 
 gelo. pp. 18 and 257. 
 
 Mon. Volta S. Proculus. 
 Lazzaro Casari. xvi. cy. 
 
 Mon. F. Ranuzzi. G. Col- 
 tellini. xvi. cy. 
 
 Bust of Lodovico Bolognese. 
 G. Coltellini. xvi. cy. 
 
 Mon. Tartagsi. Fr. dl 
 Sinione Ghini. 1477. p. 
 126 note. 
 Mon. of Taddeo Pepoli. Ja- 
 copo Lanfrani. 1337. 
 Cloister. 
 Mon. of Calderini. Jacopo 
 Lanfrani. 1337. 
 San Francesco. 
 
 Gothic Altar-piece. Jaco- 
 bello and Pietro Paolo. 
 1388. p. 205. 
 8an Giacom.0 Maggiore. 
 Tomb of A. Bentivo^lio. G. 
 della Querela, xv. cy. 
 p. 61. 
 Tomb of a Professor. Vin- 
 
 cenzo Onofri. xv. cy, 
 Eq. Relief of Giov. Benti- 
 viglio. Niccola dell'Arca. 
 XV. cy. 
 Rf. Portrait of Giov. Ben- 
 tiviglio. Fr. Francia (?). 
 xvi. cy. 
 San Giovanni inMonte. 
 Busts of Apostles. T. G. 
 Alf. Lombardi. xvi. cy. 
 Santa Maria della Vite. 
 Mortorio della iladonna. 
 A. Loaibardi. xvi. cy. 
 p. 380. 
 Madonna del Baracano. 
 Ornts. High Altar. Pro- 
 perzia di Rossi, xvi. cy. 
 p. 379. 
 San Martino Maggiore. 
 Madonna and Saints. Ami- 
 co Aspertini. xvi. cy. 
 San Mlchele in Bosco. 
 Mon. of Arm. de Ramaz- 
 zotti. A. Lombardi. xvi, 
 cy. p. 381. 
 Servi. 
 
 High Altar. Fra G. A. 
 Montorsoli. xvi. cy. p. 
 323. 
 Col. Relief. Vincenzo Ono- 
 fri. xvi. cy. 
 88. Pietro e Paolo. 
 
 Crucifix. Simon de Croci- 
 fissi. xiv. cy. 
 S. Trinita. 
 
 3 Ch. 2. Painted T. 0. 
 Group, xiv. cy. 
 San Vitale ed Agricola. 
 Porch. 
 
 Sarc. of Prof. Mondino 
 deLiucci. Rosa da Parma. 
 1320 circa, p. 229. 
 
 University. 
 Madonna and Child, with
 
 Angels. Gr. della Querela. 
 
 1435 (?) p. 65. 
 Br. St. of Boniface VIII. 
 
 Manno. 1300. p. Ixi. 
 Professorial Tombs. xiv. 
 
 cy. 
 Torre dell' Aren,2o. T. C. 
 
 Saints. A. Lombardi. 
 
 XV. cy. 
 Palazzo PuJjUco. 
 
 Hercules and the Hydra. 
 
 A. Lombardi. p. 3S1. 
 (Exterior). iMadonna. B. 
 
 R. Niccoladeir Arca(?). 
 
 xiv. cy. 
 
 Brescia. 
 
 San Salvatore. 
 
 Capitals. It. Byz. viii. 
 cy. p. xiii. 
 Catliedral. 
 
 Tomb of Bernardo Maggi. 
 Hugo da Canipione (?). 
 xiv. cy. 
 Shrine of SS. Appollonio 
 e Filasterio. 1510. p. 
 378. 
 S. Maria de' Miracoli. 
 Decorative Sculpture. 
 
 1480 circa. 
 Museo Patrio. 
 
 Men. of N. Orsini. Count 
 of Pitigliano. d. 1510. 
 p. 378. 
 
 Canosa. 
 
 S. Sabino (Cathedral). 
 Pulpit, 1200. 
 Cattedra. Romoaldus. 
 
 1080. p. xli. 
 Monte S. Angelo. 
 
 Bronze doors. Byz. xi. 
 
 cy. p. XXXV. 
 Cattedra. Romoaldus. xi. 
 
 cy. p. XXXV. 
 Grave Cbapel of Bohemond. 
 
 A.D. IIOS. p. xli. 
 EroDze gates. Roger of 
 
 Amalfi. xii. cy. pp. 
 
 xli and xiv. 
 
 Capua. 
 
 Porta Romana. 
 
 St. of Frederic II., a.d. 
 1234. 
 
 Carpi, 
 
 Oratorio della Sagra. 
 Sarc. of Manfredo Pio. 
 Sibilius Guarnieri. 
 
 1348. p. 224. 
 
 Index to Tozuns. 
 
 Caserta-vecchia. 
 
 Pulpit. 1200. 
 
 Castel del Monte. 
 
 Gothic Castle, p.xlvi. and 
 xlvii. 
 Between Ruvo and Andria. 
 A.D. 1244. Rosettes, 
 Corbels, Fireplaces, 
 
 Vaultings. 
 
 Casole. 
 
 Collegiate Ch. p. 58. 
 Tomb of Bishop Tommaso. 
 
 Gano. xiv. cy. 
 Tomb of Rauiero Porrina. 
 
 Gano. xiv, cy. p. 58. 
 
 Cesena. 
 
 S. M. del Monte. 
 
 Altar T. Lombardo. xvi. 
 
 cj. 
 3rd Altar T. Lombardo. 
 xvi. cy. 
 
 Chieti. 
 
 San Antonio Abbate. 
 
 Portal. A.D. IS 21. Petrus 
 Angelas. 
 San Benedetto. 
 
 Portal, xiv. cy. M° Nic- 
 colo da Ortcna. 
 Sta. Maria d'Arbona, a.d. 
 
 1208. p. xliv. 
 
 Tabernacle, xiii. cy. 
 
 Paschal Candlestick, xiii. 
 
 cy- 
 
 Civate. 
 
 San Pietro di. 
 
 Stucco ornts. and reliefs. 
 viii. cy. p. xiii. 
 
 Cividale. 
 
 Cathedral. 
 
 Font. p. xi. 737. 
 San Marti no. 
 
 Tomb of Pemone Duke 
 of Friuli. viii. cy. 
 p. xii. 
 Sta. Maria della Valle. 
 p. xii. 
 
 Atriura. It. Byz. frag- 
 ments. 
 Interior. Figures and Orna- 
 ments in stucco, viii. cy. 
 
 Civita Castellana. 
 
 Cathedral. 
 
 Facade. Cosimati. xii. 
 cy. 
 
 407 
 
 Como. 
 
 Cathedral. 
 
 Fa9ade. Statues of the 
 
 Elder and Younger Pliny. 
 
 Tommaso de' Rodari. 
 
 1498. p. 234. 
 Statuettes, &c. Tommaso 
 
 and Jacojo de' Rodari. 
 
 XV. cy. ibid. 
 Portal. R. Lunettes. Luc- 
 
 cbino and the Brothers 
 
 Rodari. xv. cy. p. 233. 
 Porta della Rana. Brothers 
 
 Rodari. 1507. ibid. 
 Altar of S. Lucia. Br. 
 
 Rodari. 1507. p. 234. 
 Pieta. 4. a. 1. Bi others 
 
 Rodari. 1507. ibid. 
 Altar of S. Apollonia. 
 
 Brothers Rodari. 1490. 
 
 ibid. 
 
 Corneto. 
 Sta. Maria di Castello. 
 p. Iv. 
 
 Ciborium. 1060. 
 Pulpit. Giovanni 
 Guido. 1208. 
 
 and 
 
 Cortcna. 
 
 Sta. Margherita. 
 Tomb of S. JIargaret, att. 
 to Cr. Pisano. xiv. cy. 
 p. 33. 
 
 Cremona. 
 
 Cathedral. 
 
 Fa9ade. xii. to xvi. cy. 
 Interior. 
 
 Pulpit Panels for Shrino 
 
 of Egyptian Martyrs. G. 
 
 A. Omodeo. xv. cy. 
 
 p. 188. 
 
 Altar of S. Nicholas. 
 
 T. Araici and Fr. Majo. 
 
 1495. p. 232. 
 
 Crypt. Sarc. SS. Pietro 
 
 and Marcellino. Ben. 
 • Briosco. pp. 1!?9, 232. 
 
 Arcadi S. Arcaldo. Cr. 
 
 Pedoni. xvi. cy. p. 233. 
 Municijial Palace. 
 
 Hall Portal. G. Pedoni (?). 
 
 1502. p. 232. 
 Sta. Maria. 
 
 St. of S. Bernardo. Alcs- 
 
 sandro Rossi. 1584. 
 
 Empoli. 
 
 Sta. Maria, f. c. 
 
 Altars, &c. Robbia. xT 
 cy. 
 
 1
 
 4o8 
 
 Index to Towns. 
 
 Pieve {CatliedraT). 
 
 St. Sebastian and two 
 Angels. A. Rossellino. 
 XV. cy. p. 123. 
 
 Madonna. Relief. Mino. 
 XV. cy. 
 
 Medallions, &c. Robbia 
 ware. xv. cy. 
 Misericordia. 
 
 Annunciation. B. Rossel- 
 lino (?). 1447. 
 
 Faenza. 
 
 Cafhedral. 
 Mon. of S. Savinus. B. 
 
 da JIajano. 1471. 
 
 p. 155. 
 Chiesa della Commenda — 
 
 or Library. 
 Bust of St. John B. Dona- 
 
 tello. 1456. p. 105. 
 Wooden St. of St. Jerome. 
 
 B. DonatsUo. 1456. 
 
 p. 105. 
 
 Ferrara. 
 
 Oathedral. 
 Facade. S. Romano. Eq. 
 
 X. 1. cy.(?) p. xxvii. 
 Romanesque parts of. Jlag. 
 Wiligelmus and Nicolaus. 
 xii. cy. 
 St. of Alberto d'Este. 
 Niche 2, gd. iiortal. 
 1391. p. 225. 
 Interior. 
 Crucifix. Antonio da Fer- 
 rara. xiv. cy. p. 225. 
 Busts of the Apostles. A. 
 
 Lombardi. xv. cy. 
 H. Altar— 6 bronz- st. 
 Niccolo and Gio. Baron- 
 celli. XV. cy. p. 108, 
 8. Antonio Ahhate. 
 
 Cloister-Mortorio. L. Cas- 
 tellani. 1458. p. 226. 
 S. Andrea. 
 
 St. of St. Andrea. G. 
 Usanza. xvi. cy. p. 382. 
 8. Domenico. 
 
 Bust of S. Hyacinth. A 
 Lombardi : 4 eh, 1. A. 
 Lombardi. xvi. cy. 
 S. Giorgio. 
 Mon. cf L. Roverella. Am- 
 brogio da Miiano. 1475. 
 p. 194. 
 S. M. della Eosa. 
 Mortorio. Mazzoni. xvi. 
 cy. p. 227. 
 
 Fiesole. 
 
 Cathedral. 
 
 Ancona. High Altar. An- 
 drea Ferucci. 
 
 Altar and Bust. Mino da 
 Fiesole. 1462. p. 147. 
 
 Mon. of Bishop Salutati. 
 before 1466. p. 146. 
 
 San Girolamo. Altarpiece. 
 Giov. della RobLia. 
 p. 144. 
 
 Fondi. 
 Pulpit. Nicolaus. xiii. cy. 
 
 Florence. 
 
 Cathedral. 
 
 1. Porta della Canonica. 
 Aladonna and 2 Angels. 
 Gio. Pifano. xiv. cy. 
 
 2. S. Side Portal. Dec. 
 Piero di Gio. Tedesco. 
 1398. 
 
 2. N. Portal. Dec. Piero. 
 
 Tco., Ant and Gio. di 
 
 Banco. 1408. 
 2. N. Portal. Madonna 
 
 della C ntola. Kanni di 
 
 Banco (?j. 1414. p. 118. 
 2. N. 2 Statuettes. Dona- 
 
 tello(?). 1406. p. 94. 
 2 N. St. Stephen (gable). 
 
 Ciufijgni. XV. cy. p. 126. 
 2. Tr. St. of Joshua. Doua- 
 
 tello(^). 1412. 
 2. Holy Water Vase. 
 
 Pisau. xiv. cy. 
 2. Tr. St. Matthew. St. 
 
 Ciutf,igni (?). XV. cy. 
 
 p. 126. 
 2. Tr. ]\[on of Bishop Ant. 
 
 d'Urso. Tino di Ca- 
 
 inaino (?). xiv. cy. 
 
 p. 57. 
 2. Tr. S. Jlatthew. Yin- 
 
 cenzo di' Roisi. xvi. cy. 
 
 Pieta. Micbelanjielo. 1555. 
 
 Tribune of San Zanohius. 
 
 St. of St. Mark. Kiccolo 
 
 Lambeiti (?). xv. cy. 
 
 p. 76. 
 St." of St. Luke. N. di 
 
 Banco, xv. cy. 
 " Cassa " of S. Zanobius. 
 
 L. Ghiberti. xv. cy. 
 
 p. 84. 
 St. John. Donatello(?). xv. 
 
 cy. 
 Old Sacristy. 
 
 E. R. Portal Lunette and 
 
 2 Angels. L. della Rob- 
 bia. XV. cy. 
 
 'New Sacristy. 
 
 Bronze doors, p. HO, and 
 
 B. R of Res' II. andAsc'n. 
 
 L. della Robbia. 1440. 
 
 p. 142. 
 Sc. in wood. G. da Ma- 
 
 jano(?). XV. cy. 
 Sc. in wood. Fiieze. Dona- 
 
 tello(?), XV. cy. 
 
 L. Transept. 
 
 St. Peter. B. BandinellL 
 
 xvi. cy. p. 311. 
 St. Thomas. Y. de' Rossi. 
 
 XV L cy. 
 St. James. J. Tatti. xvi. 
 
 cy- 
 L. Side wall, exterior. 
 St. of David. Ciuffagni (?). 
 
 XV. cy. p. 126. 
 North Portal. 2 statuettes 
 
 and heads of prophets, 
 
 1407 and 1422. Dona- 
 
 tello. 
 
 Opera del Duomo. 
 St. and Tombs of Pisan 
 
 sch. xiv. cy. 
 B. R. Putti. Donatello (?). 
 
 XV. cy. 
 Silver Altar. St. of St. 
 
 John. Michelozzo. 1452, 
 
 p. 110. 
 B. R. by Pollajuolo. Yerroc 
 
 chio, &c. XV. cy, ■ 
 Campanile. 
 Reliefs. Giotto and A, 
 
 Pisauo. xiv. cy. p. 37, 
 West side. Obediah, II 
 
 Rosso. David, Jeremiah 
 
 and St. John B. Dona- 
 tello {?). XV. cy. p. 100. 
 South siiJe. St. of Pisan 
 
 sch. Jleo and Uiottino. 
 
 xiv. cy. 
 East side. Abraham and 
 
 Habbakuk. Donatello. 
 
 XV. cy. 
 North side. L. della Rob. 
 
 bia. 1437-1440. pp. 37, 
 
 139. 
 
 S. Amhrogio. 
 
 Tabernacle. Mino du Fie- 
 sole. 1481. p. 150. 
 S. Annunziata. 
 
 Choir. Mon. of Marzi 
 
 Medici. Fr. da San- 
 
 gallo. xvi. cy. p. 246. 
 
 R. Tr. Pieia. B. Baudi- 
 
 nelli. xvi. cy. p. 314. 
 
 Ch. de' Pitfori. 
 
 St. of !Moses, Paul, and
 
 David. Montorsoli, 15S6. 
 p. '6-23. 
 
 St. of Prophets. Stucco. 
 1557. p. 324. 
 
 2nd Court. St. S. Jotn 
 Bap. T. C. Michelozzo (?), 
 1452. 
 
 Piazza. Eq. St. of Ferdi- 
 nand I. Glo. da Bo- 
 logna, xvi. cy. p. 338. 
 
 SS. Aiiostoli. 
 
 Tomb of Oddo Altoriti. 
 
 B. da Rovezzano. xr. cj'. 
 
 p. 246. 
 Jiadia. 
 Mon. of B. Giugni. Mino 
 
 da Fiesole. xv, cy. 
 
 p. 147. 
 Mon. of Count Hugo. Jlino 
 
 da Fiesole. 14S1. 
 
 pp. 147 and 148. 
 Jlon. of Gianozzo Pandol- 
 
 fino. Ren. xv. cy. 
 Altar. Jlino da Fiesole. 
 
 1466 ciica. p. 147. 
 
 Ch. dei Bacchettoni. 
 Marble bead ; choir 1. 
 Rassellino (?). xv. cy. 
 
 Baptistry (S. Giovanni). 
 North Portal. Bronze gates. 
 
 L. Ghibcrti. 1448. pp. 
 
 79-81. 
 Over Portal. St. John 
 
 preaching. Rustici. xvi. 
 
 cy. p 159. 
 East Portal. Bronze gates. 
 
 L. Ghiberti. 1424. p. 78. 
 Over Portal. Baptism of 
 
 Christ. A. Sausovino. 
 
 1500. p. 239. 
 South Portal. Bronze gates. 
 
 A. Pisano. 1332. p. 36. 
 Over Portal. Beheading 
 
 of St. John. V. Dauli. 
 
 xvi. cy. 
 Interior. Magdalen. Do- 
 
 natelio. XV. cy. p. 92. 
 Mon. of Pope John XXlIi. 
 
 Bonatello and Jlkhel- 
 
 02Z9. 1425. p. 95. 
 Font. 1371. 
 
 Bigallo. 
 
 Exterior. 
 
 B R. Madonna. Al- 
 berto Arnoldi. 1361. 
 p. 39. 
 
 Interior. 
 
 Madonna and Child and 
 2 Angels. Alberto Ar- 
 noldi. 1364. p. 39. 
 
 Index to Towns. 
 
 Carmine. 
 Tomb of P. Sodcrini. B. 
 
 da Rovezzano. 1500 
 
 circa, p. 246. 
 Cortosa. 
 Crypt. Tombs of the Acci- 
 
 ajuoli. Sch. of Orgagna. 
 
 XV. cy. p. 50. 
 Chapel. Grave Slab of 
 
 Bishop Bonafcde. F. da 
 
 .Saogallo. 1546. p. 245. 
 Sta. Groce. 
 
 St. St. Louis. Donatcllo. 
 
 p. 105. 
 Pulpit B. da Majano. 
 
 XV. cy. p. 154. 
 Mon'ts. of Jlichelangelo. 
 
 Vasari and Giov. dell' 
 
 Opera, xvi. cy. 
 Tomb of Fr. Neri. Madonna 
 
 relief. Ant. Rossellino. 
 
 XV. cy. p. 123. 
 Relief of tlie Annuncia- 
 tion. Donatello. xv. cy. 
 
 p. 94. 
 Tomb of Lionardo Bruni. 
 
 B. Rossellino. xv. cy. 
 
 p. 121. 
 Cap. Niccolini. Crucifix. 
 
 l)onaiello. xv. cy. pp. 
 
 92 and 9^. 
 Moil, of C. Marzuppini. 
 
 Besiderio. xv. cy. 
 
 p. 120. 
 Closter Court. St. of God 
 
 the Father. Bandinelli. 
 
 xvi. cy. p. 314. 
 Cap. Pazzi. Bee. L. della 
 
 Robbia. XV. cy. p. 142. 
 Cap. Pazzi. Frieze. An- 
 gels' heads. Bonatello. 
 
 XV. cy. 
 S. Felicita. 
 
 Porch. St. of Card. Rossi. 
 
 Moutelupo. xvi. cy. 
 
 S. Francesco di Paolo. 
 Tomb of Bishop Federighi. 
 L. della Robbia. 1454. 
 p. 140. 
 
 S. Jacopo a Eiiyoli. 
 
 Lunette. Robbia sch. xv. 
 cy. 
 
 Tnnocenti. 
 
 Five Medallions. And. 
 
 della Robbiiu xv. cy. 
 Pulpit, xii. cy. 
 S. Lorenzo. 
 
 Pulpits by Donatello and 
 Bertoldo. xv. cy. pp. 
 105, 117. 
 
 409 
 
 Tabernacle. Desidcrio. 
 
 p. 120. 
 
 Old Sacristy. 
 
 Fountain. Donatcllo and 
 
 Verrocchio. xv. cy. p. 
 
 132. 
 Bronze plato. Cosmo dc' 
 
 Medici. Verrocchio. xv. 
 
 cy. 
 Mon. of Piero and Giov. 
 
 de Medici. Verrocchio. 
 
 1472. p. 132. 
 Mon. of Giov. d'Averardo 
 
 de' Medici. Donatello (?). 
 
 XV. cy. p. 105. 
 New Sacristy. 
 
 Tombs of Giov, and Lor. 
 
 de' Jledici. Michel- 
 angelo, xvi. cy. pp. 286, 
 
 290-293. 
 Madonna and Child. 
 
 Michelangelo, xvi. cy. 
 
 p. 293. 
 St. of St. Damian. R. 
 
 du Montelupo. 1531. 
 
 pp. 294-321. 
 St. of St. Cosimo. ]\Ion- 
 
 torsoli. 1531. p. 321. 
 
 Cloister Court, 
 
 St. of Paolo Giovio. F. da 
 
 Sangallo. 1553. 
 Piazza. St. of Giov. de' 
 
 Medici. Bandinelli. 
 
 xvi. cy. p. 313. 
 
 S. Maria Novella. 
 Mon. and St. of Pisan sch. 
 
 xiv. cy. 
 Tomb of Beata Villana. 
 
 B. RosselUino. xv. cy. 
 
 p. 122. 
 Mon. of T. Aliotti. Tino 
 
 di Camaino. xiv. cy. 
 
 p. 57. 
 Madonna. Kino Pisano. 
 
 xiv. cy. 
 Mon. of Filippo StrozzL 
 
 B. da ilajauo. xv. cy. 
 
 p. 156. 
 Grave Slab. Lio. Stagi. 
 
 L. Ghibcrli. xv. cy. 
 
 p. S3. 
 C. Gondi. Crucifix. Bru- 
 
 nclk'sclii. XV. cy. p. 88*. 
 C. Gaddi. Altar reliefs. 
 
 Gio. dall Opera. x\i. cy. 
 Sacristy Fountains. Giov, 
 
 della Robbia. xv. cy. 
 
 Portico opi). oil. 
 
 Medallions and Lunette. 
 A. della Robbia. xv. cy.
 
 4IO 
 
 S. Maria Nuova. 
 
 Lunette. T. C. Lorenzo di 
 
 Bii.ci. XV. cy. p. 141. 
 
 Sac Shrine Br. door. 
 
 Ghiberti. xv. cy. 
 Tabernacle. A. della 
 
 Robbia. xv. cy. 
 jMuseum. 
 
 T. C. Relief. Madonna. 
 Verrocchio (?)• ^"^- cy. 
 8- Miniato. 
 Pulpit, xii. cy. 
 Mon. of Card, di Porto- 
 gal I o. Ant. Rossellino. 
 1460 circa, p. 121. 
 Misericordia. 
 
 St. of S. Sebastian and of 
 Madonna. B. da Ma- 
 jano. XV. cy. 
 Or San Michele. 
 Exterior. 
 
 Statuettes about win- 
 dows. S. Talent!, 1378. 
 p 49. 
 East side. 
 
 St. Luke. Gio. da Bo- 
 logna, xvi. cy. 
 Incredulity of St. Tho- 
 mas. Verrocchio. 14S4. 
 p. 135. 
 
 Niche. Donatello. xv. cy. 
 p. 105. 
 
 St. of St. John Bap. L. 
 Ghiberti. xv. cy. p. 82. 
 North side. 
 
 St. Peter. Donatello. 
 1415 circa, p. 94. 
 St. Philip. Nanni di 
 Banco, xv. cy. p. 118. 
 Four Saints. Nanni di 
 Banco, xv. cy. p. 118. 
 West side. 
 S. Eligius. Nanni di 
 Banco, xv. cy. p. 118. 
 S. Stephen. L. Ghi- 
 berti. XV. cy. p. 82. 
 S. Matthew. Ghiberti : 
 in. niche the Annuncia- 
 tion. N. d'Arezzo. xv. 
 cy. p. 82. 
 South side. 
 
 St. John Ev. Montelupo. 
 
 xvi. cy. p. 161*. 
 
 S. George. Donatello. 
 
 XV. cy. pp. 94-5. 
 
 S. James. Nanni (?). xv. 
 
 cy. 
 
 
 S. Mark. 
 
 Donatello. 
 
 1415 circa. 
 
 p. 94. 
 
 Interior. 
 
 
 Tabernacle. 
 
 Orgagna. 
 
 1359. pp. 
 
 47-8. 
 
 Index to Towns. 
 
 Altar group. F. da San- 
 
 gallo. xvi. cy. 
 S. Pierino. 
 
 Madonna and Child. L. 
 
 della Robbia. xv. cy. 
 S. Trinita. 
 
 Altar. B. da Rovezzano. 
 
 xvi. cy. 
 Mon. of Palla Strozzi, d. 
 
 1417. Sch. Donatello. 
 
 p. 398. 
 Magilalen (wooilen st.). 
 
 Dcsiderio and B. da 
 
 Majano. xv. cy. p. 120. 
 Cap. Sassetti. 
 
 Mon't. of the Sassetti. G. 
 
 daSaugallo. 1494 circa. 
 Santo Spifito. 
 
 Altar Corbinelli chapel. 
 
 Andrea Sansovino. 1492. 
 
 p. 238. 
 Accademia delle B. A. 
 C'ljurt. St. iMatthew. 
 
 Michelangelo. 1503. 
 
 p. 264. 
 David. Mifhelangelo. 
 
 1.501-4. pp. 263-4. 
 Reliefs. Sch. Robbia. xv. 
 
 cy- 
 Bargello. (Nat. Museum). 
 Ground floor. Helm and 
 
 Shield of Francis I. 
 
 B. Cellini, xvi. cy. 
 First Storey. Adaui and 
 
 Eve. Banliiielli. 1551. 
 Ten Organ Bal. Reliefs. 
 
 Luca della Robbia. 1433- 
 
 1440. pp. 100, 139, 
 
 140. 
 Four Orgm Bal. Reliefs 
 
 Donatello. 1440. p. 100 
 St. of Bacchus. Michel 
 
 angelo. 1536. p. 2ti0 
 St. of Adonis. Michel 
 
 angelo. After 1530 
 
 p. 285. 
 Victory. Michelangelo. 
 
 After 1530. p. 285. 
 Virtue and Vice. G. da 
 
 Bologna, xvi. cy. 
 David, marble. Donatello. 
 
 Before 1444. 
 
 1. Hall of Bronzes. 
 David. Donatello. Be- 
 fore 1444. p. 99. 
 
 Busts, &c. Donatello. 
 Bust of Anna Lena. II 
 Vecchietta. xv. cy. 
 
 2. Hall of Bronzes. 
 
 R. R. Crucifixion. Sch. 
 Donatello. xv. cy. 
 
 Bust of Cosimo I. Cellini, 
 xvi. cy. 
 
 Model of Perseus. Cel- 
 lini. 1548. 
 
 Cassa di S. Giacinto. Ghi- 
 berti. XV. cy. p. 398. 
 
 Battle relief. Bertoldo. 
 XV. cy. p. 117. 
 
 Effigy of M. Soccino. II 
 Vecchietta. 1451 circa, 
 p. 67. 
 
 B. R. Trial Plate. Brunel- 
 leschi. 1401-2. p. 77. 
 
 B. R. Trial Plate. Ghi- 
 berti. 1401-2. p. 77. 
 
 Ciucitixion. B. R. Ag. di 
 Duccio. XV. cy. 
 
 Child Bacchanal. B. R. 
 D. Cattaneo. xvi. cy. 
 
 Cupid. Donatello. xv. cy. 
 
 Mercury. G. da Bologna. 
 1564. 
 
 David. Verrocchio. 1476. 
 p. 133. 
 
 •2nd Storey. 
 
 2nd Hall. 
 
 Birth of Christ. B. R. 
 
 Giov. della Robbia. 
 
 xvi. cy. 
 Pieta, and Taking Down, 
 
 and Annunciation, xvi. 
 
 cy. 
 Noli me Tangere. Sch. 
 
 della Robbia. xvi. cy. 
 Two Tabernicles. A. della 
 
 Robbia. xvi. cy. 
 Bust. A. Pollajuolo. .xv. 
 
 cy. p. 114. 
 
 ,3rd Hall. 
 
 St. John. Donatello. Be- 
 fore 1434. p. 92. 
 
 B. R. Rovezzano. xv. cy. 
 
 B. R. Tomb of Fr. Pitti. 
 Verrocchio. xv. cy. 
 
 Bust of R. della Luna. 
 Mino. XV. cy. 
 
 Bust of M. Palniieri. A. 
 Rossellino. 1460. p. 123. 
 
 B. R. St. John B. Dona- 
 tello. XV. cy. p. 102. 
 
 Madonna, B. R. iMino. 
 XV. cy. 
 
 Bust of P. Mellini. B. da 
 j\Iajano. xv. cf. p. 154. 
 
 Madonna, B. R. Verrocchio. 
 XV. cy. 
 
 Female Bust. Verrocchio. 
 XV. cy. 
 
 Faith. B. R. M. Civitali. 
 1484. p. 152, 
 
 B. R. from Mon. of liana
 
 Index to Toiviis. 
 
 del Caretto. Queicia. 
 
 1413. p. C3. 
 B. K AdoFcttion. A. Ros- 
 
 sellipo. 14G8 circa. 
 
 p. 123. 
 St. of S. Giovannino, A. 
 
 Rossellino. 14dS circa. 
 B. 11. Crucifixioa and 
 
 Liberation of St. Peter. 
 
 L. della Robbia. 1438. 
 
 p. 139. 
 Bust of Brutus. Michel- 
 angelo. T 630 circa. 
 
 p. 295. 
 Madonna Relief. Michel- 
 
 anaelo. 1504 circa. 
 
 p. "^260. 
 Relief Cor. of Charle- 
 magne, xiv. cy. 
 Bust. Piero de' Medici. 
 
 Mino. XV. cy. 
 Bust of a Warrior. Mino. 
 
 XT. cy. 
 Madonna. Relief. Mino. 
 
 XV. cy. 
 St. John. St. B. da Ma- 
 
 jano. 1473 circa, p. 156. 
 Bacchus. J. Sansovino. 
 
 1511. pp. 242-244. 
 Apollo. Michelangelo, xvi. 
 
 cy. 
 
 Boboli Gardens. 
 
 Group. V. Danti. xvi. cj'. 
 Grotto, with four Statues. 
 
 Michelangelo. 1530 circa. 
 
 p. 285. 
 Fountain Groups. G. da 
 
 Bologna, xvi. cy. 
 Terrace. Abundance. G. 
 
 da Bologna, xvi. cj^ 
 
 Palazzo Pitti. 
 
 Bacchus. Bandinelli. xvi. 
 cy. 
 
 Palazzo Vecchio. 
 Court. 
 Child and Dolphin. Ve- 
 
 rocchio. 1460 circa. 
 
 p. 133. 
 Loggia de' Lanzi. Orgagna. 
 
 After 1368. p. 49. 
 Medallions of Virtues. Gio. 
 
 Seti and Jacopo di Piero. 
 
 1383-7. p. 49. 
 Perseus. B. Cellini. 1549. 
 Judith and Hoiofernes. 
 
 Donatello. xv. cy. 
 
 p. 101. 
 Rape of the Sabines. G. 
 
 da Bologna. 1564. 
 
 p. 338. 
 
 G. 
 
 Hercules and Nessus 
 da Bologna. 1590. 
 Palazzo Altoflfi. 
 
 Busts of renowned Floren- 
 tines. 1570, 
 Palazzo Buonarroti. 
 Battle of the Centaurs. 
 Michelangelo. 1489-91. 
 p. 255. 
 B. R. Madonna and Child. 
 1489-91. p. 254. 
 Palazzo Canir/iani. 
 
 St. of Abundance. Dona- 
 tello CO 
 Palazzo Martelli. 
 
 Coat of Arms. St. of 
 David. Bust and St. of 
 St. John B. Marble 
 bust. Dunatello. xv. cy. 
 pp. 99-101. 
 Palazzo QiiaratesL 
 
 Arms of the Pazzi. L. 
 della Robbia. xv. cy. 
 Palazzo Riccardi. 
 
 Court. R Med. Dona- 
 tello. p. 99. 
 Palazzo lioselll. 
 
 Chimney-piece. B. da 
 Rovezzano. p. 246. 
 Pos^gio Iniperiale. 
 
 Relief Marble. Sch.Verroc- 
 chio. 
 Villa Pratolino. 
 
 Colossal St. of the Appe- 
 nines. G. da Bologna, 
 p. 338. 
 House on the Via dell' 
 Agnolo. 
 Madonna and Child with 
 two Saints. L. della 
 Robbia. 
 Strozzi Gardens. 
 
 St. of Boniface VIIL 
 Andrea Pisano (?). xiv. 
 cy. p. 38. 
 
 Gargano (Monte). 
 
 S. Micliele. 
 
 Gothic Portal, xiii. cy. 
 p. x-^lxv., note f. 
 
 Grotto. 
 
 Bronze Gates. Staura- 
 chios. 1076. p. xiv. 
 Cattedra. xii.cy. p. xxxv. 
 B. R. St. Michael and 
 the Dragon, p. xxxv. 
 
 Dapthtrtj. Porch. Ca- 
 pitals, xiii.cy. p. xxxv., 
 note t. 
 
 411 
 
 Genoa. 
 
 Cathedral. 
 Facade. Sc. of xi.,xiii. and 
 
 xiv. cys. p. xxviii. 
 Interior. 
 
 Tomb, of Ciird. Fieschi 
 
 (Luca). After 1336. 
 
 p. 230. 
 
 Tomb of Card. Ficschi 
 
 (Ginrgio). After 1469. 
 
 p. 2:iO. 
 
 B. R. Crucifixion. 1443. 
 
 p. 230. 
 Ch. of St. Jolin. 
 
 Statues, &c. Civitali. 1490. 
 St. of JIadonna, of St. John 
 
 B. A. Sansovino. xv. 
 
 cy. p. 239. 
 Tabernacle. Go. della Porta. 
 
 Before 1537. 
 Prophet Reliefs. (Bases of 
 
 col.) Gio. della Porta. 
 
 Before 1537. 
 S. Matteo. 
 Pulpits and ceiling. Mon- 
 
 torsoli. 1539. p. 322. 
 St. of P. Doiia. Montorsoli. 
 
 1539. ibid. 
 Cloister. Saints, by Marcus 
 
 Yenetus. 1310. p. 196. 
 S. Tommaso. 
 
 Poich. Christ and St. 
 
 Thomas. Gio. della Porta. 
 ,S. Teodoro. 
 
 Two Tabernacles, xv. cy. 
 
 p. 231. 
 Alheryo de' Poveri. 
 
 B. R. Pieta. Michel- 
 angelo, xvi. cy. 
 
 San Gimigrnano. 
 
 San Agostiiio. 
 Tomb of San Kaitolo B. da 
 Majano. p. 157. 
 Cathedral. 
 
 Altar. Ch. Sta. Fina B. 
 du Majano. p. 158. 
 
 Gradara (Pesaro.) 
 Altar. T.C. A. della Robbia. 
 XV. cy. 
 
 Guastalla. 
 
 Piazza. 
 
 St. of Don. Fcrrante Gon- 
 zaga. Leone Lioni. 1590 
 circa, p. 352. 
 
 Isola Bella. 
 
 Chapel, p. l!>0. 
 
 Mon. of Gio. Borromeo. 
 Ant. Omodeo. 1480-9C.
 
 412 
 
 Mon. of Gio. (?) Borromeo. 
 
 Ant. Amadeo. 1430-90. 
 Tomb of Gio. Borroineo. 
 
 Ag. Busti. xvi. cy. 
 
 p. 349. 
 
 lianciano. 
 San Giovanni in Venere. 
 
 A.D. 1200. 
 Portal It. Byz. 1200. 
 p. xxxviii. 
 Cathedral. 
 
 Wheel Window. Pietro 
 FoUacrino. ] 412. 
 
 Leghorn. 
 
 Eq. St. of Ferdinand I. 
 P. Tacca. xvi. cy. 
 V. 338. 
 
 San liionardo. 
 
 Church and Monastery. 
 Portal, xi. cy. (?) p. xlvii. 
 
 Loreto. 
 
 Ch. delta Madonna. 
 
 Santa Casa. So. by A. 
 Sangallo, A. Sansovino, 
 &c. 1513. pp. 240,241. 
 
 liucca. 
 
 S. Martino (Cathedral.) 
 
 Facade. Giudetto. 1204. 
 
 Portal Lunette. Deposi- 
 tion. N. Pisano. 1248 
 circa, p. 10. 
 
 B.R. by cont. of N. Pisano. 
 xiii. cy. 
 
 Interior. Tomb of llaria 
 del Caretto and Holy- 
 water Vase. G. della 
 Quercia. xv. cy. p. 63. 
 
 Tomb ot P. da Noceto. M. 
 Civitali. p. 151. 
 
 Bust of Count Beriini. M. 
 Civitali. 1485. p. 152. 
 
 St. of St. Sebastian. M. 
 Civitali. p. 151. 
 
 Tabernacle with Angels. 
 M. Civitali. p. 151. 
 
 Regulus Altar. M. Civitali. 
 1484. p. 152. 
 San Frediano. 
 
 Font. Mag. Tlobertus. xii. 
 cy. p. Ixiii. 
 
 Font. M. Civitali. xv. cy. 
 
 Front Altar. Goth. G. 
 della Quercia. 1416. p. 
 03. 
 S. Ivonr.ano. 
 
 Mon. of S. Roraanus. M. 
 Civitali. xv. cy. 
 
 Index to Towns. 
 
 S. Salvatore. 
 Portal. Sc. Biduinus. xiii. 
 cy. p. Ixiii. 
 S. Trinita. 
 
 Madonna. B. R. M. Civi- 
 tali. XV. cy. 
 
 Liucera. 
 
 Cathedral, xiv. cy. 
 Portal, p. xlviii. 
 
 Effigy of Charles II. of 
 Aujou. p. 1. 
 
 liUg-ano. 
 
 S. Lorenzo. 
 
 Fa9ade. T. Eodari (?). xvi. 
 
 Eelitf. Prophets. Half fig. 
 T. Rodari (?j. xvi. cy. 
 
 Mantua. 
 
 S. Antonio. 
 
 B. R. 1450. 
 S. Andrea. 
 
 Bust of A. Mantegna. Spe- 
 randio(?). xv. cy. pp. 
 221-222. 
 Public Library. 
 
 T. C. busts of F. GoDzaga 
 and T. Folengo. xvi. cy. 
 Public Square. 
 
 St. of Virgil. 1220. p. xxvii. 
 Mnseo Patrio. 
 
 Busts of Virgil, B. Spagnu- 
 oli and F. Gonzaga. xvi. 
 cy. 
 Cupid. Michelangelo ('). 
 
 p. 259, note. 
 Tomb of Ruthno dei Landi. 
 
 1350 circa. 
 Grave Slab. Gonzaga. xv. 
 
 On the Quay. 
 
 Fountain. MontorsolL 
 Cathedral. 
 
 St. of SS. Peter and Paul 
 Montorsoli. 1550. 
 S. Domenico. 
 
 Madonna. Mon. Cicala, 
 Montorsoli. 1550. 
 
 xii. cy. 
 
 , XIV. 
 
 cy. 
 
 Pal. Marchionale di Ro- 
 ver e. 
 
 Porlal and Chimney-piece. 
 1460 circa. 
 
 Mass a. Maritima. 
 
 Cathedral. 
 
 Shrine of S. Cerbone. Goro 
 di Gregorio. 1323. p. 52. 
 
 Mensano (near Siena). 
 
 Church, 
 
 B. R. Bonusamicus. xii 
 cy. 
 
 Messina. 
 
 Piazza of Cathedral. 
 Fountain. Montorsoli. After 
 1547. pp. 322-323. 
 
 Milan. 
 
 Porta Bomana. 
 B. R. Anselmus. 
 p. xvi. 
 San Amhrogio. 
 Ciborium. ix. cy. 
 H. A. Gold-plate Reliefs. 
 Wolvinus. ix. cy. p.xv. 
 Cathedral. 
 Tomb of Otho Visconti, 
 xiii. cy. Campionesi (?) 
 p. xvi. 
 Sacristy doors, xiv. cy. 
 Gio. and Perrino de' 
 Grassi. xiv. cy. p. 178. 
 Tomb of Marco Carelli. 
 xiv. cy. F. dtgli Organi. 
 xiv. cy. p. 179. 
 St. of ]\Iartin V. Jacopino 
 da Tradate. xv. cy. p. 
 181. 
 Half fig. of God the Father 
 (roof of apse). Jacopino 
 da Tradate. xv. cy. p. 
 181. 
 Mon. of Card. M. Carac- 
 ciolo. Ag. Busti. xvi. cy. 
 p. 348. 
 Mon. of Canon G. Vimer- 
 cati. Ag. Busti. xvi. cy. 
 p. 348. 
 B. R. of Presentation of 
 the Virgin. Ag. Busti. 
 xvi. cy. p. 348. 
 St. of St. Bartholomew. 
 Marco d'Agrate. xvi. cy, 
 p. 350. 
 B. R. Marriage of Cana. 
 Marco d'Agrate. xvi. cy. 
 p. 350. 
 Pulpit. Bronzes. Fr. Bram- 
 
 billa. xvi. cy. 
 Tempietto. H. A. Fr. Bram- 
 
 billa. xvi. cy. 
 Choir. Angels. Fr. Bram- 
 
 billa. xvi. cy. 
 Console under St. of Pius 
 IV. Fr. Bnimbilla. xvL 
 cy. 
 Staircase. Med'n. Port, of 
 Ant. Omodeo. 1500 
 circa, p. 191.
 
 Index to Towns, 
 
 41. 
 
 Sacristy. Gold Pax. Cara- 
 dosso. 1527. p. 34.5t. 
 
 St. Christ bound. Cr. So- 
 lar!, xvi. cy. p. 343. 
 
 Eoof. St. of Adam. C. 
 Solari. xvi. cv. p. 344. 
 
 Roof. St. of Eve. C. So- 
 lari. xvi. cy. ibid. 
 S. Calimaro. 
 
 Caroccio Crucifix, xii. cy. 
 p. XV, 
 
 S. Celso. 
 Christian Sarc. iv. cy. p. 
 
 iii. 
 Fa9ade. St. &c. Ann. Fon- 
 
 tana. xvi. cy. p. 339. 
 Bronze Gates of Cancellum. 
 
 xvi. cy. 
 St. of St. John. xvi. cy. 
 St. of Madonna. Ann. Fon- 
 
 tana. xvi. cy. 
 S. Eustorgio. 
 Tomb of St. Peter Martvr. 
 
 Balducoio. 1339. p. 41. 
 Mon. of Stefano Viscoiiti. 
 
 Balduccio. xiv. cy. p. 41. 
 Mon. of Pietro Torelli. J. 
 
 da Tralate. xv. cy. 
 B. R. of ihe Three Kings. 
 
 Sch. Balduccio. xiv. cy. 
 
 p. 41. 
 Mon. of J. S. de Brivio. 
 
 d. 1484. T. da Cazza- 
 
 nigo. _ 
 Fortinari Chapel. 
 
 Dec'ns. by Michelozzo. xv. 
 
 cy. Angels, &c. 
 S. Francesco. 
 
 Mon. to Birago. Ag. Bust:. 
 
 xvi. cy. 
 S. Marco. 
 
 Tomb of Lanfranco Settala. 
 
 Balduccio. xiv. cy. p. 41. 
 Salvarino de' Aliprandis. 
 
 d. 1344. B. R. from 
 
 Tomb. Balduccio (?). xiv. 
 
 cy. p. 41. 
 S. Maria di Beltrade. 
 
 Exterior. B. R. viii. cy. 
 S. M. delle Grazie. 
 
 Delia Torre Mon. T. da 
 
 Cazzanigo. xv. cy. 
 S. M. della Passione. 
 Mon. of Francesco Birago. 
 
 A. Fusina. xvi. cy. p. 
 
 344. 
 S. S a tiro. 
 Alortoiio. Caradosso. xvi. 
 
 cy. p. 345. 
 Baptistry Fi ieze. Cara- 
 dosso. xvi. cy. 
 
 Amhrosian Library. 
 
 Mon. of Gaston de Foix. 
 
 Fragments. Ag. Bust!. 
 
 xvi. cy. p. 347. 
 Brcra. 
 
 Museo Lapidario. 
 
 ^lon. of Bernabo Vis''onti. 
 
 Balduccio. 1351. p. 43. 
 Portil of Palazzo Visinara. 
 
 Minhelozzo. xv. cy. pp. 
 
 110-111. 
 Effigy of Gaston de Foix. 
 
 As. Busti. xvi. cy. p. 
 
 348. 
 Fragments of Tomb of Gas- 
 ton de Foix. Ag. Busti. 
 
 xvi. cy. p. 347+. 
 Mon. of Lancinus Curtius. 
 
 Ag. Busti. xvi. cy. p. 
 
 348. 
 Bronze Head of Michelan- 
 gelo, xvi. cy. 
 Castellazzo. Villa Busca. 
 ]\Ion. of Gaston de Foix. 
 Fragments. Busti. xvi. cy. 
 
 p. 347+. 
 Pal. Portinari. Portal. Mi- 
 chelozzo. XV. cy. 
 Casa Trivulzi. 
 
 Mon. of Azzo Visconti. 
 
 Balduccio. xiv. cy. p. 41. 
 Broletto Wall. 
 
 Alto-Relief of Podesta 01- 
 
 drado di Tresseno. 1233. 
 
 p. xvii. 
 Naviglio Wall. 
 
 Relief. Fr. Barbarossa. 
 
 xii. cy. p. xvi. 
 Palazzo Archinti. 
 
 Relief of Empress Beatrice. 
 
 xii. cy. p. xvii. 
 
 Milato. 
 Piazza. 
 
 Sarcophagus of Count Rug- 
 gerio. xii. cy. 
 
 Mirandola. 
 
 San Francesco. 
 
 Tomb of Prendiparte Pico. 
 Paolo delle Massegne ? 
 xiv. cy. 
 
 Modena. 
 
 Cathedral. 
 
 Fai'^ade and Portal. Sc. 
 
 Mag. Guglielmus anH 
 
 Nicolaus. 1009. p. xvii. 
 
 Chapel. B. R. The Cam- 
 
 pionesi. xii. cy. p. xvii 
 
 Pulpit, statuettes. Enrico 
 
 n. Anselmo da Cam- 
 
 pione. 1317. p. xvii. 
 Cr,/pt. The Nativity. II 
 
 Modanino. xv. cy. p. 
 
 227. 
 S. Giova.nni Decollato. 
 Mortorio. II Modanino. 
 
 XV. cy. p. 227. 
 S. Dominicn. 
 
 Taking Down from the 
 
 Cross. Ant. Begarelli. 
 
 xvi. cy. p. 3S5. 
 Corridor. Magdalen and 
 
 Saints. Ant. Begarelli. 
 
 xvi. cy. 
 8. Pietro. 
 
 Pieti. Ant. Begarelli. 
 
 xvi. cy. p. 336. 
 S. Arjostiuo. 
 Pieta. Ant. BegarellL 
 
 1526. ibid. 
 S. M. del Carmine. 
 
 Magdalen. Ant. Begarelli. 
 
 1531. ibid. 
 Chiesa Votiva. Madonna 
 
 and Child. Ant. Bega- 
 
 rella. 1528. 
 Ducal Palace. 
 
 St. of Lepidus and Her- 
 cules. Prospcro Cle- 
 
 menti, d. 1584. p. 384. 
 
 Monreale. 
 
 Cathedral. 
 North Door. Bronze Gates. 
 
 Barisanus of Trani. 
 
 11C01172. p. xlvi. 
 West Door. Bronze Gates. 
 
 Boniiano of Pisa. xii. cy. 
 
 p. Ixiii. 
 
 ]U!onte Cassino. 
 
 Church. 
 
 Bronze Gates. Staura- 
 chios. 1066—1087. p. 
 
 xiv. 
 
 ]SIontepulciano. 
 
 Cathedral. 
 Tomb of B. Aragazzi. 
 Donatelloand Michelozzo. 
 XV. cy. pp. 96-97. 
 Misericordia. 
 Altar. Robbia. xv. cy. 
 
 Monte San Savino. 
 
 Sta. Chiara. 
 Altar. T. C. Andrea San- 
 eovino.
 
 4U 
 
 Index to Towns, 
 
 Monza. 
 
 Cathedral. 
 
 Fa9ade. Matteo da Cam- 
 
 pione. xiv. cy. 
 Portal. B. R. Baptism of 
 
 our Lord. Mag. Coma- 
 
 cini. vii. cy. p. xi. 
 Baptistry. Pulpit. M. da 
 
 Campione. xiv. cy. 
 
 Moscufo. 
 
 Sta. Maria in Lago. 
 
 Pulpit. Nicodemus. A.D. 
 1158. p. xliii. 
 
 Murano. 
 
 Cailmclral. 
 
 B. R. of S. Donato (wood). 
 M°. D. Memo. 1310. 
 
 Naples. 
 
 Cathedral (Genii a ro)Goth. 
 Portal. Sc. Bamboccio. 
 
 1407. p. 171. 
 hiterior. 
 
 Christ and Two Saints, 
 B. R. 1234. 
 Bust of Card. Barile. 
 Crucifix. 
 
 Tomb of Innocent IV. 
 1318. p. 166. 
 Tomb of Cardinal Minu- 
 tolo. Bamboccio. xv. cy. 
 p. 171t- 
 
 Tomb of Cardinal Car- 
 bone. Bamboccio. xv. 
 cy. p. 171. 
 Crypt. 
 
 St. of Card. 0. Caraffa. 
 T. Malvito. 1504. p. 
 2.33. 
 
 Chapel of S. Gio. a 
 Fonte. Pulpit reliefs. 
 It. Byz. p. li. 
 S. Angelo a Nilo. 
 
 Tomb of Cardinal Bran- 
 cacci. Donatello and 
 Michelozzo. After 1427. 
 p. 95. 
 Annnnziata. 
 
 Taking down from the 
 Cross. B. R. xvi. cy. 
 S. Aniello. 
 Altar-piece. Gio. da Nola. 
 xvi. cy. p. 367. 
 S. Chiara. 
 Pulpit, xiv. cy. 
 Organ reliefs, xiv. cy. 
 Tomb of King Robert. 
 Sancius and Johannes. 
 1343. pp. 167-168. 
 
 Tomb of Duke Charles of 
 
 Calabria. 1328. p. 168. 
 Tomb of Marie de Valois. 
 
 or Joanna I. xiv. cy. 
 
 p. 168. 
 Infant Maria Durazzo. 
 
 B. R. 1344. p. 169. 
 Tomb of Duchess Maria of 
 
 Durazzo. xiv. cy. p. 
 
 169. 
 Tomb of Agnese di Peri- 
 
 gord. xiv. cy. p. 169. 
 
 San Domenico Maggiore. 
 
 Tomb of Fr. Caraffa. Gio 
 
 da Nola. xv. cy. p. 
 
 366. 
 Tomb of Alagni da Bucchi- 
 
 anico. Aniello di Fiore. 
 
 After 1477. p. 366. 
 Tomb of Bernardino Rota. 
 
 xvi. cy. 
 Tomb of Niccolo di Sangro. 
 
 Domenico d'Auria. xvi. 
 
 cy. p. 369. 
 S. Jerome. B. R. G. de 
 
 Nn]a(?). 1515. p. 366. 
 Virgin and Child. B. R. 
 
 xvi. cy. 
 Tomb of Galeazzo Pandono. 
 
 1514. 
 S. Giacomo degli Spag- 
 
 nuoli. 
 Tomb of Don Pedro da 
 
 Toledo. Gio. da Nola. 
 
 After 1553. p. 367. 
 S. Giovanni Maggiore. 
 Baptism of our Lord. 
 
 B. R. G. da Nola. 
 
 xvi. cy. p. 367. 
 Decapitation of St. John 
 
 Baptist. B. R. Caeca- 
 
 vello. xvi. cy. p. 370. 
 
 S. Giovanni a Carbonai-a. 
 
 Tomb of King Lidislaus. 
 
 A. Ciccione. After 1414. 
 
 p. 170. 
 Tomb of Gian Caracciolo. 
 
 A. Ciccione. After 1432. 
 
 p. 170. _ 
 S. Giovanni a Pappacoda. 
 Fafade. Bamboccio. xv. 
 
 cy. p. 171. 
 S. Lorenzo. 
 High Altar. S. Lorenzo. 
 
 G da Nola. 
 Tomb of Duchess Catherine 
 
 of Austria. Masuccio II. 
 
 xiv. cy. p. 169. 
 Tomb of Robert d'Artois. 
 
 Sancius and Johannes (?), 
 
 xiv. cy. p. 169. 
 
 Giovanna da Durazzo. San- 
 cius and Johannes (?). 
 xiv. cy. p. 169. 
 
 Cloister. Tomb of Lodovico 
 Aldamoresco. Bamboc- 
 cio. XV. cy. p. 171. 
 S. Maria la Nuova. 
 
 St. Hubert. B. R. p. 3661|. 
 8. Maria Domhia Itec/ina. 
 
 Tomb of Queen Maria. 
 Tino di Camaino and 
 Gallardus. xiv. cy. pp. 
 58, 167. 
 8. Maria delle Grazie. 
 
 Sacristy. Madonna and 
 Child. Gio. da Nola. 
 XV. cy. 
 
 Deposition. B. R. Gio. da 
 Nola. XV. cy. 
 
 Incredulity of St. Thomas. 
 B. R. G. Santacroce. 
 xvi. cy. p. 369. 
 
 Tomb of Ferd. Majorca 
 Naccarini. xvi. cy. ibid. 
 
 Tomb of Porzia Camilla. 
 Naccarini. xvi. ibid. 
 
 Tomb of Fabriccio Bran- 
 caccio. Majorca Nacca- 
 rini. xvi. cy. ibid. 
 S. Maria del Parto. 
 
 Tomb of Giacomo San- 
 nazaro. G. Santacroce. 
 xvi. cy. p. 369. 
 Monte Oliveto. 
 
 Pezzo Altar. Madonna and 
 Child. G. Santacroce. 
 xvi. cy. p. 368. 
 
 Ligorio. Madonna and 
 Child. G. da Nola. 
 xvi. cy. p. 367. 
 
 Mortorio. II Modanino. 
 XV. cy. -p. 227. 
 Piccolomini Chapel. 
 
 Mon. of Maria of Aragon. 
 Ant. Rossellino. xv. cy. 
 p. 121. 
 
 Altar. Nativity. B. R. 
 Ant. Rossellino. xv. cy. 
 ibid. 
 
 Altar. Madonna and St. 
 John at the foot of the 
 Cro.«s. B. R. Ant. 
 Rossellino. xv. cv. p. 
 123. 
 Mastro Giudici Chapel. 
 
 Annunciation. B. R. Bene- 
 detto da Majano. 157. 
 1490. 
 
 St. of St. Bernard and 
 Madonna. Robbia. xv. 
 cy.
 
 San PJetro Martire. 
 Exterior. 
 
 Exvoto, B. R. 13G1. 
 S. Severino. 
 Mon. of Jacopo Ascanio 
 and iSigismundo da San 
 Severino. Gio. da Nola. 
 p. 367. 
 Royal Museum. 
 
 Sarcophagus of Roger Count 
 
 of Calabria, xii. cy. 
 St. of Elizabeth of Bavaria, 
 xiii. cy. 
 Castelnuovo. 
 Triumphal Arch. 
 
 Sculpture by Isaia da Pisa, 
 Silvestro and Andrea 
 dair Aquila. xv, cy. p. 
 172. 
 San Pietro ad Aram. 
 Taking Down from the 
 Cross. B. R. G. San- 
 tacroce. xvi. cy. p. 369. 
 Mad. della Misericordia. 
 G. da Nola. xvi. cy. p. 
 367. 
 St. of St. Michael, xvi. cy. 
 S. Pietro a Majella. 
 
 St. of St. Sebastian. Gio. 
 da Nola. xvi. cy. p. 
 367. 
 
 Nonantola. 
 
 Abbey Church. 
 
 Reliefs on Sarcophagus of 
 S. Silvestro. G. S. 
 Longhi. xvi. cy. p. 353*. 
 
 Ortona. 
 
 Cathedral, a.d. 1127. p. 
 xliii. 
 
 Portal, xii. cy. 
 Campanile. B. R. Mag. 
 Riccardus. a.d. 1255. 
 
 Orvieto. 
 Cathedral, L. Maitani. 
 1290-1330. 
 Facade. Pisan and Sienese 
 
 Scrs. xiv. cy. p. 53. 
 1st pillar. 1. s. St. of a 
 Sybil. G. della Quer- 
 ela (?). xiv. cy. 
 Madonna Chapel. 
 
 Adoration of the Kings. 
 Simon Mosca. xvi. cy. 
 Ovcra of the Cathedral. 
 St. Madonna. Uuolino di 
 M. Vieri. 1337. 
 
 Index to Towns, 
 
 8. Domenico. 
 
 Tomb of Card, do Braye. 
 Arnolfo di Cambio, 1284 
 circa, p. 24, 
 
 Osixao. 
 
 Cathedral. 
 
 Silver-plated Cup. Pietro 
 Vannini. 137y. 
 
 Otranto. 
 
 Cathedral. 1160. 
 
 Crypt. Capitals. It. Byz. 
 
 Padua. 
 
 8. Antonio. 
 
 Cloister. Tomb of Guido 
 
 da Lozzo. xiii. cy, p. 
 
 xxvi. 
 Effigy of Bettina di S. Gior- 
 gio, xiv. cy. p. 220. 
 Tomb ^f Rainerio degli 
 
 Assendi. xiv. cy. p. 
 
 220. 
 Gallerti of Cloister. 
 
 Tomb of Manno Donato. 
 
 1373. p. 220. 
 
 Tomb of the Brothers 
 
 Bolparo. xiv. cy. 
 
 Tomb of Fed. Lavalongo. 
 
 xiv. cy. p. 220. 
 Interior. 
 
 Holy "Water Vase. T. 
 
 Aspetti. xvii. cy. 
 
 Mon. Contareni. A. 
 
 Vittoria. xvi. cy. 
 
 Mon. A. de Roycellis. 
 
 (L.T.) XV. cy. 
 Ch. S. Fehce. 
 
 St. of Bonifacio de' Lupi 
 
 and his Wile. SS. James, 
 
 Peter, and Paul (over 
 
 doorway). Mo Andreolrf. 
 
 xiv. cy. 5 St. Ray- 
 
 naldus. 1375. 
 Choir. Br. Candelabrum 
 
 and 2 Bas-Reliefs. A. 
 
 Riccio. 1506-7. p. 375. 
 High Altar. Br. dec. Do- 
 
 natello. 1449. p. 104. 
 10 Bronze Reliefs. Vellano. 
 
 1484-88. p. 124. 
 Ch. of S. Antonio. 
 
 9 Reliefs by the Lombard i, 
 
 Minello, Sansovino, &c. 
 
 xvi. cy. 
 Pilaster. G. Pironi. xv. 
 
 cy. p. 219. 
 Piazza. 
 
 Eq. St. of Gattaraelata. 
 
 Donatello. 1453. p. 
 
 102. 
 
 4^5 
 
 \ Baptistry (Cathedral). 
 Portal. Sacrifice of Abra- 
 ham. B. R. Mosca. 1520. 
 Eremilani. Tombs of the 
 
 Carrara, xiv. cy. p. 400. 
 
 Mon. of M. Bennvides. 
 
 Ammanati. xvi. cy. p. 
 
 315. 
 Altar. R. Madonna and 
 
 Saints. Gio. da Pisa. 
 
 XV. cy. p. 125. 
 8. Francesco. 
 B.R. Madonna enthroned. 
 
 XV. cy. 
 Tomb of P. Roccabonella. 
 
 Vellano. 1491. p. 124. 
 M. delV Arena. 
 Mon. of E. Scrovegno. p, 
 
 33. 
 Effigy of E. Scrovegno. Gio. 
 
 Pisano(?). 1320. p. 34. 
 Pal. Aremherg. 
 
 Court. Giant. Ammanati. 
 
 xvi. cy. p. 315. 
 Pal. della Pagione. 
 
 "Wooden Model. Gattarae- 
 
 lata. Donatello. 
 p. 103. 
 
 XV. cy. 
 
 Ch. of the Serviti. 
 
 Tomb. Paolo di Castro. 
 Vellano. 1492. 
 San Casciano. 
 
 Virgin and St. John. T. C. 
 Riccio (?). xvi. cy. 
 
 Parma. 
 
 8an Quintino. p. xxviii. 
 Portal sc. ix. cy. 
 Choir. Porta JiS.Bertoldo. 
 
 ix. cy. 
 Cathedral. 
 Facade. Sarc. of Biagio 
 
 Palacani. 1416. p. 229. 
 Interior. Sarc. B. Sinuna 
 
 della Canna. 1476. p. 
 
 229. 
 Sarc. Gir. Berniesi. 1434. 
 
 p. 229. 
 Ch. Baiardi. 
 
 Descent from Cross. Bene- 
 detto degli Antclami. 
 
 1178. p. .wiii. 
 Two Alon's. Gio. F. d.a 
 
 Grado. xv. cy. 
 Mon. of Bart. Jlontanus. 
 
 1507. 
 Crypt. Mon. Prati, by P. 
 
 Clemcnti. xvL cy. p. 
 
 384.
 
 4i6 
 
 Index to Towns. 
 
 BapUstri/. p. xix. 
 
 Three Portals. B. degU 
 
 Antelami. 1196. p. 
 
 xvii. 
 Zodiacal Reliefs. Interior. 
 
 Gallery, xiii. cy. 
 Reliefs. Upper Gallery. 
 
 xiii. cy. 
 Great Portal. Lions and 
 
 Signs of Zodiac. Gio. 
 
 Buono. 1281. 
 Font. 1217. 
 S. Gio. Ev. 
 
 4 Sts. Begarelli. 1561. 
 
 Pavia. 
 
 Cathedral. 
 
 Area di S. Agostino. Mat- 
 
 teo and Bonino da Cara- 
 
 pione. 1382. p. 42. 
 Certosa. 
 
 Fa9ade. Amadeo and the 
 
 Mantegazza. xv. cy. p. 
 
 184. 
 Great Portal. B. Briosco. 
 
 1501. p. 190. 
 Mon. of G. Visconti. Omo- 
 
 deo and G. Pellegrini. 
 
 1490. 
 Effigies of Beatrice d'Este 
 
 and Lod. Sforza. Cr. 
 
 Solari. 1500. p. 342. 
 Two Sacrarii. Brs. ]\Iatite- 
 
 gazza. 1478. p. 183. 
 Sala Cap. Altar-piece. 
 
 Br's. Mantegazza. xv. cy. 
 
 p. 183. 
 Door. Gr. Cloister. Angels 
 
 and Reliefs. Br's. Man- 
 tegazza. XV. cy. 
 B. R. over door of Liv. dei 
 
 Monaci. Alb. Maffioli. 
 
 1489. p. 237. 
 Door. Small Cloister. Sculp- 
 tures. OuQodeo. XV. cy. 
 
 p. 188. 
 S. Lan franco. 
 Tomb of S. Lanfranco. 
 
 Omodeo. xv. cy. p. 185. 
 
 San Pellino. 
 Church. 
 
 Pulpit. End of xii. cy. p. 
 
 xliv. 
 
 Perugia. 
 
 Piazza del Duomo. 
 Fountain. Niccola andGio. 
 
 Pisano. xiii. cy. pp. 
 
 21, 27. 
 St. of Julius III. V. Danti. 
 
 Jwvi, cy. 
 
 S. Domenico. 
 Tomb of Benedict XL G. 
 Pisano. p. 32. 
 S. Bernardino. 
 
 Ren. Frt^ade. Agostino di 
 Duccio. 1467. p. 129. 
 
 Pescara. 
 
 S. Clemente. 
 Portal. Byz. B. R. 1180 
 circa, p. xxsix. 
 
 San Pietro in Galatina. 
 
 San Pietro. 
 Tomb of Gio. Ant. Balzo. 
 xiv. cy. 
 
 Pianella. 
 
 Church S. Angelo. 
 
 Pulpit and Ambo. Mag. 
 Acutus. xii. cy. p. xliv. 
 
 Pienza. 
 Piccolomini Palace. 
 Bernardo Rossellino. xv. 
 cy. p. 122. 
 
 Pisa. 
 
 Cathedral. 
 Fagade Se. Pisan sch. xiv. 
 
 cy. 
 
 Bronze Gates (San Ranieri) 
 
 Bonanno. xii. cy. p. Ixii. 
 Bronze Gates. Great Portal. 
 
 G. da Bologna, xvi. cy. 
 
 p. 339. 
 Interior. 
 
 2 s a. Nicbe. St. Bla- 
 
 sius. St. Stagio Stagi. 
 
 xvi. cy. 
 
 2 t. Mon. of Gamaliel, 
 
 Nicodemus and Abdias. 
 
 Stagi. xvi. cy. 
 2 t. Holy Water Vase. 
 
 XV. cy. 
 Pulpit Reliefs. G. Pisano. 
 
 xiv. cy. p. 29. 
 Choir. Reading Desk. . xv. 
 
 cy. 
 
 Caltedra. Gio. Batt. 
 
 Cervellesi. 1536. 
 Sacristy. Ivory Madonna 
 
 and Child and Casket. 
 
 G. Pisano. xiv. cy, p. 
 
 29. 
 Baptistry. 
 
 E.xterior. Rom. So Pisan 
 
 sch. xiv. cy. 
 E. Portal, xiii. cy. 
 Ovpr door. Madonna. G. 
 
 Pisano, 
 
 Pulpit, Niccola Pisano. 
 
 1260. pp. 12-14. 
 Font. Tino di Camaino, 
 
 1312. 
 Campo Santo. 
 Mon. Dtfcius. Stagi. xvi. 
 
 cy. 
 Pagan and Christian Sar- 
 cophagi, p. 387. 
 Frieze. Bonusamicus. xii. 
 
 cy. p. Ixiii. 
 Parts of Pulpit. St of 
 
 Pisa. G. Pisano. xiv. cy. 
 
 p. 28. 
 Tabernacle. Tommaso Pi- 
 
 sano. xiv. cy. p. 40. 
 Sare. of Henry VII. Tino 
 
 di Camaino. xiv. cy. p. 
 
 57. 
 Three Virtues. Mon. of 
 
 Arcbb. Ricci. Florentine. 
 
 XV. cy. 
 8. Caterina. 
 
 Mon. of Archb. Saltarelli. 
 
 Tommaso Pisano. xiv. 
 
 cy. p. 39. 
 Virgin and Angel, Nino 
 
 Pisano. 
 8. Casciano. 
 Portal Sc. Mag. Biduinua. 
 
 1180. p. Ixfii, 
 8. M dclla 8pina. 
 Exterior. 
 
 St. Pisan sch, xiv. cj 
 Interior. 
 
 Madonna della Rosa. 
 
 Nino Pisano. xiv, cy, p. 
 
 39. 
 
 Seven Virtues. Ren. 
 
 Rel. H. A. Florentine. 
 
 XV. cy. 
 8. Piero in Grado. 
 
 Font. Gio. Pisano, xiv. cy. 
 8. Ranieri. 
 
 R. of Madna.and S. Ranieri. 
 
 Tino. xiv, cy, 
 
 Pistoja. 
 
 Cathedral. 
 Portal. Lunette. A. della 
 
 Robbia. xv. cy. 
 Mon. of Cino. Cellino di 
 
 Ne.se. p. 59. 
 Mon. of Fr. Forteguerra. 
 
 Verrocchio, Lotti and 
 
 Mazzoni. xv. cy. p. 136. 
 Relief Port, of Donate de' 
 
 Medici. Ant. Rossellino, 
 
 1475. 
 iS. Andrea. 
 
 Portal. Ad. of Magi, Grua- 
 
 moute. 1166. p. IxiiL
 
 Portal. Sculpture. Enri- 
 
 cua. xii. cy. p. Ixiii. 
 Pulpit. Gio. Pisaao. xiv. 
 
 cy. p. 31. 
 8. Bartolomeo. 
 Portal. So. Riulolfinus. 
 
 xii. cy. p. Ixiii. 
 Pulpit. Guido da Como. 
 
 xiii. cy. p. jxiv. 
 Si. Domenico. 
 
 Men. of F. Lazzari. B. 
 
 Rossellino. 14G4. 
 S. Giovanni f. c. 
 Portal. Giuamonte. xii. 
 
 cy. p. Ixiii. 
 Holy Water Vase. Gio. 
 
 Pisano. xiii. cy. 
 Pulpit. Fra G. Agnelli (?). 
 
 1270. p. 17. 
 Ospedale del Ceppo. 
 Exterior. Friez--. Andrea 
 
 della Robbia (?). 1514 
 
 to 1520. p. 143. 
 
 Prato. 
 
 Cathedral. 
 Exterior. 
 
 Pulpit. Donatello. 1434. 
 
 p. 100. 
 
 Portal Lunette. A. della 
 
 Robbia . XT. cy. 
 Madonna dell' UJivo. B. 
 
 da Majano. xv. cy. p. 
 
 153. 
 Pulpit. B.R. Mino. 1473. 
 
 p 148. 
 Gh. della Cintola. 
 Bronzes. Bruno di Ser 
 
 Lapo. 1444. 
 St. Madonna and Child. 
 
 Gio. Pisano. xiv. cv. 
 Pulpit. A'iccold di Ceeco 
 
 and Sano. 1354-13.fi9. 
 Madonna del Baoncon- 
 
 sir/lio. 
 Oratorium. Altar and St. 
 
 A. della Robbia. xv. cy. 
 
 Eavello. 
 
 Cathedral. 
 
 Bronze Gates. BarLsanus 
 of Trani. 1160-1179. 
 p. xlvi. 
 
 Pulpit. Nicolb di Barto- 
 lomeo. 1272. p. 6, 
 note *. 
 
 Bust of Sijjelgaita Rufolo. 
 xiii. cy. (?). p. 7, note. 
 
 Cattedra. xii. cy. 
 
 Index to Towns, 
 
 Paschal Candlestick, xii. 
 
 cy. 
 Ambos. xii. cy. 
 
 Ravenna. 
 
 Cathedral. 
 Sacristy. Cattedraof Bishop 
 
 Maximian. vi. cy. 
 Early Christian Sarcophagi. 
 Baptistry. 
 
 Fijurea in Stucco. Early 
 Christian. 
 S. ApoUinare in Classe. 
 L. T. Altar, ix. cy. and 
 
 Sarcophagi. 
 Fragments of Cattedra of 
 St. Damian. viii. cy. 
 S. Francesco. 
 
 Early Christian Altar and 
 Sarcophagi. 
 S. M. in Porto. 
 
 B. R. of the Madonna. Byz. 
 S. Vitale. 
 
 Early Christian Sarc. 
 Dante Chapel. 
 Mon. to Dante. Pletro 
 Lombardo. After 1480. 
 p. 213. 
 
 Reggio. 
 
 Cathedral. 
 Facade. St. of Adam and 
 
 Eve. P. Clementi. xvi. 
 
 cy. 
 Inter, or. 
 Tomb of Bishop Rangoni. 
 
 P. Clementi. xvi. cy. 
 
 p. 383. 
 Tomb of Cherubino Sfor- 
 
 tiano. P. Clementi. 
 
 xvi. cy. p. 384. 
 Bishop Tomb. Bart. 
 
 Spamis. 1508. 
 Malegazzi and Arlotti 
 
 Tombs. B. Clementi. 
 
 xvi. cy. 
 S. Prospero. 
 
 Tomb of Rufino Gabbinata. 
 
 B. Clementi. 1513. 
 Palazzo Donelli. 
 Door. B. Clementi. 1518. 
 
 Rimini. 
 
 S. Francesco. 
 
 Sculptures by Simon 
 Gliini (?), CiuflTagrii, and 
 Agostino di Duccio(?), 
 &c. XV. cy. pp. 126- 
 130. 
 
 417 
 
 Rome. 
 
 8. Agostino. 
 Madonna. Jacopo Sanso- 
 
 vino. 1511. p. 243. 
 St. Anne, Madonna and 
 Chill. A. Sansovino. 
 1.509 ciri'a. p. 240. 
 Cloister Cowl. B. R. from 
 Tomb of Bishop Piccolo- 
 mini, d. 1479. Mino da 
 Fiesole. 
 S. Andrea (near Ponte 
 Molle). 
 St. of St. Andrew. Paolo 
 Romano. 1463. p. 174. 
 5^. Andrea della Valle. 
 Tombs of Popes Pius IL 
 and Pius III. (Barberini 
 chapel.) Nit-colo della 
 Guardia and Pietro Pr.olo 
 daTodi. 1464. 
 St. of St. John (Barberini 
 chapel), xvi. cy. 
 88. Apostoli. 
 
 Outside. Stone Lion. Vas- 
 saletto. xiii. cy. p. 174. 
 Inlirior. 
 Tomb of Pietro Riario, d. 
 
 1474. p. 176. 
 Tomb of Ruff, della Rovere. 
 
 1477. 
 Toujb of Aiseduno Giraud. 
 1505. 
 8. Balhina. 
 
 Tomb of Don Stcfano 
 Surdi. xiii. cy. p. 173. 
 8. Cecilia. 
 
 Cborium. Amolfo di 
 
 Canibio (?). xiii. cy. 
 St. of S. Cecii:a. St. 
 
 Jladcrno. xvii. cy. 
 Tomb of Fortegucrri 
 
 xvi. cy. 
 Tomb of Cnrd. Adam, d. 
 1398. Mag. Paulus. 
 (8'. Francesca linmana. 
 Tomb of Gregory XI. 
 Olivieri. 1584. 
 
 8. Giovanni in Lafcrann. 
 Cloisters. Cosimati. xii. 
 
 cy. 
 Interior. Ciboriura, Adco- 
 
 datus. 1370. 
 St. of Nicholas IV. (retro- 
 
 choir), xiii. cy. p. liv. 
 St. of SS. Peter and Paul 
 
 (reirochoir). xiii. cy 
 
 p. Iv*. 
 Tomb of a Milanese Count 
 
 (fragments), xiii. cy. 
 
 E E
 
 4i8 
 
 Index to Towns. 
 
 Tomb of Antonio de Cla- 
 
 ribas. 
 Tomb of Gerardus Blancus 
 
 (fragments). 
 Tomb of Card. Riccardo 
 
 Annibaldi. d. 1274. 
 Tomb of Pope Martin V. 
 
 Simon Ghini. xv. cy. 
 
 p. 98. ^ 
 S. Gregorio. 
 
 ( Sal viati cha pel . ) Dossale. 
 
 XV. cy. p. 175. 
 TombBonsi. 1481. 
 Altar. 1469. 
 
 S. Lorenzo f. le m. 
 
 Tomb of Card. Fieschi. 
 
 m, 1256. 
 Pulpit. CosJmati. xiii. cy. 
 
 ]). Ivii. 
 
 S. Marco. 
 Porch and Portal. Gin- 
 liano da Majano. xv. cy. 
 Marble Altar. Mino da 
 Fiesole. xv. cy. 
 
 S. Maria in Araceli. 
 
 Effigy of Honorius IV. 
 
 xiii, cy. p. liv. 
 Tomb, of Card. M. d'Acqua 
 
 Sparta, xiv. cy. 
 Tomb of Pietro di Vin- 
 
 cenzo. xvi. cy. 
 Toml> of Card. Lebretti. 
 
 xvi. cy. 
 Tomb of Lodovico Grata. 
 
 xvi. cy. 
 Pulpit and Altar. Cosi- 
 
 mati. xiv. cy. 
 Tomb of P. de' Yincenti. 
 
 A. Sansovino. xv. cv. 
 Grave Slab of G. Crivelli. 
 
 m. 1432. Donatello (?). 
 Savelli Tomb. Cosimati. 
 
 xiii. cy. 
 
 S. Maria, in Gosmedin. 
 Pulpit and Cattedra. 1120. 
 Porch. Tomb of Card. 
 Alphanus. xii. cy. 
 
 8. Maria Maggiore. 
 
 Portal, xiv. cy. 
 
 Font. xiv. cy. 
 
 Tomb of Card. Luigi. 
 xiv. cy. 
 
 Tomb of Card. Gonsalvi. 
 d. 1298. Giov. Cosma. 
 p. 173. 
 
 Tombs of Sixtus V., Cle- 
 ment VIII., and Paul V. 
 xvi. cy. 
 
 S'. Maria sopra Minerva. 
 Tomb of Bishop G. Du- 
 
 rante. G. Cosma. 
 cy. p. 173. 
 
 Xlll. 
 
 Tomb of Fr. Tomabuoni. 
 Mino da Fiesole. xv. cy. 
 p. 149- 
 
 Tomb of Giov. di Coca. 
 XV. cy. 
 
 Tomb of Dom. Capraneo. 
 d. 1469. 
 
 St. of Christ. Michel- 
 angelo. 1520. p. 278. 
 
 Tombs of Leo X., and Cle- 
 ment VII. Bandinelli. 
 xvi. cy. p. 313. 
 8. Maria di Monserrato. 
 
 Tomb of Diego de Vaklez. 
 xvi. cy. p. 400. 
 
 8. Maria della Pace. 
 
 Capella Cesia. So. Orna- 
 ments. II Moscha. m. 
 1554. p. 320t. 
 
 Mon. of Giov Andrea 
 Boceacino. 1497. 
 
 S. Maria del Popolo. 
 Mon. of Ciistoforo della 
 
 Rovere. Madonna relief 
 
 by Mino da Fiesole. 
 
 XV. cy. 
 Mon. of Card. Giroiamo 
 
 dolla Rovere. AnHrea 
 
 Sansovino. After 1509. 
 
 p. 239. . 
 Mon. of Card. Ascanio 
 
 Maria Sforza. Andrea 
 
 Sansovino. After 1509. 
 
 p. 239. 
 Mon. of Marc Antonio 
 
 Albettoni. d. 1485. p. 
 
 399. 
 Mon. of Bronze fig. of a 
 
 Venetian Bishop. Flo- 
 rentine. XV. cy. 
 Statue of Jonah. Loren- 
 
 zetto after Raphael. 
 
 1520 circa, p. 319. 
 Statue of Elias. Loren- 
 
 zetto. 1520 circa, ibid. 
 
 8ta. Maria Hotonda 
 (Pantheon). 
 Statue of the Madonna. 
 Lorenzetto. After ] 520. 
 p. 319. 
 
 8. Maria in Trastevere. 
 Tomb of Card. Stefaneschi. 
 
 Paulus. XV. cy. p. 174. 
 Tomb of Card. Philippe 
 
 d'Alen9on. d. 1397. 
 
 p. 175. 
 Tabernacle. Mino da 
 
 Fiesole. xv. cy. p. 149. 
 
 8. Paolo f. le m. 
 
 Bronze Gates. Staura« 
 
 chios. 1070. 
 Gotb. Ciborium. Arnolfo 
 
 di Cambio (1). xiii. cy. 
 
 p. 25. 
 8. Pietro in Montorio. 
 Monts. of two relatives of 
 
 Julius III. Bart. Amma- 
 
 nati. xvi. cy. p. 316. 
 8. Pietro in Vaticano. 
 Bronze Gates. Ant. Fila- 
 
 rete and Simon Ghini. 
 
 1443 circa. pp. 112, 
 
 113. 
 Bronze St. of St. Peter. 
 
 V. cy. 
 Picta of Michelangelo. 
 
 1500. pp. 260-262. 
 Mon. of Sixtus IV. A. 
 
 Pollajuolo. 1493. p. 
 
 114. 
 Mon. of Innocent VIII. 
 
 A. Pollajuolo. 1493. 
 pp. 114, 115. 
 
 Mon. of Paul II r. G. della 
 Porta, xvi. cy. p. 350. 
 
 Sacristy. 
 
 St. of S?!. Peter and Paul. 
 Paolo Romano. 1461. 
 p. 174. 
 
 B. R. of the Entomb- 
 ment. XV. cy. p. 175. 
 
 Crypt. 
 
 Sarcophagus of Junius 
 Ba-sus. iv. cy. p. ixi. 
 Sarcophagus of Pope 
 Gregory V. x. cy. p. liv. 
 
 Sarcophagus ol Adrian IV. 
 (Roman.) xii. cy. p. 
 liv. 
 
 Tomb of Boniface VIII. 
 Cosimati. xiv. cy. p. 
 173. 
 
 Remains of the Mon. of 
 Pope Paul II. Mino da 
 Fiesole. xv. cy. p. 149. 
 
 12 Sts. of the Apostles and 
 3 B. R. after Verroc- 
 chio CO- XV. cy. 
 8. Pietro in VincoU. 
 
 Mon. of Julius II. Michel- 
 angelo, p. 282. 
 
 Small bronze doors. A. 
 Pollajuolo. p. 114. 
 
 St. Peter and the angel. 
 B. R. 1465. p. 176. 
 
 S. PrasseJe. 
 
 Tomb of Cardinal Anchcra 
 d. 1276. CosmatL p. 
 173
 
 S. Pndentiana. 
 Delivery of the Keys. B. R. 
 G. del'a Porta, xvi. cy. 
 S. Salvatore in Laiiro. 
 Men. of Eugcnius IV. 
 Isaia da Pisa. xv. cy. 
 173h 
 Palazzo Altoviti. 
 
 Bust of Bindo Altoviti. B. 
 Cellini, xvi. cy. p. 332. 
 Capitol. 
 
 St. of Charles of Anjou. 
 xiii. cy. p. lix. 
 Palazzo Chigi. 
 
 B. R. Resurrection of our 
 
 Lord. L. Yecchietta. 
 
 1472. 
 
 Lateran Museum, p. Ixi. 
 
 Two Statues of Pastor 
 
 Bonus. Earlv Christian. 
 
 St. of St. Hippolytus. 
 
 vi. cy. 
 Christian Sarcophagi, iv. 
 cy. 
 Palazzo Fevoli. 
 
 Court. Pietfi. Jlicbel- 
 angelo. 1555 circa, p. 
 29(3. 
 Prior}-- of the Knights of 
 Malta. 
 Tomb of Bart. Caraffa. 
 Mag. Paulus. xv. cy. 
 p. 174. 
 
 Ruvo. 
 
 Cathedral, p. H. 
 
 Facade. Gothic, xiii. cy. 
 Portal. Rom. xiii. cy. 
 
 Salerno. 
 
 Cathedral. 
 
 Bronze Gates. Byz. 1085- 
 
 1121. 
 Pulpits, xii. cy. 
 Tomb of Margaret of 
 
 Durazzo. Bamboccio. 
 
 1412. p. 171. 
 
 San Casciano (near Flo- 
 rence). 
 
 Pulpit. Giov. Balduccio. 
 xiv. cy. p. 40. 
 
 San Gimignano. 
 
 Cathedral. 
 Sacristt/. Bust of Onofrio 
 Vanni. B. de Majano. 
 1493. p. 158. 
 
 Index to Tozviis. 
 
 Chapel of San Gimig- 
 nano. 
 Altar of Santa Fins. B. 
 
 da Majano. 14[*3 circa. 
 
 ibid. 
 Ciborinm. B. da Majano. 
 
 1493 circa. 
 San Agostino. 
 Altar of S. Bartolo. 
 
 B. da I^rajano. 1494 
 
 circa, p. 157. 
 
 San Quirico (near Pi- 
 
 enza'. 
 Church. 
 
 Portil supported by two 
 Giants. School of Gio. 
 Pisano. 1298 circa. 
 
 Sarzana. 
 
 S. Francesco. 
 
 Tomb of Custruccio C;is- 
 tracani. Gio. Balduccio. 
 d. 1322. p. 40. 
 
 Siena. 
 
 S. Gio. tV Asso (near 
 
 Siena). 
 
 Carved ornts. Byz. style, 
 viii. cy. 
 S. Mustlola de' Torri. 
 
 Four cloister capitals and 
 reliefs, xii. cy. p. Ixiii. 
 Fiazza. 
 
 Fonte Gaja. Querela. 
 1412-1419. p. 61. 
 Cathedral. 
 
 Ch. of San Ansano. Rf- | 
 liefs. xiii. cy. p. Ixiv. 
 
 Piccolomini Altar. An- 
 drea Fusina. 1485. 
 
 Piccolomini Altar. Five 
 Statuettes by Michel- 
 angelo. 1504-1505. 
 
 Chapel of San Giovanni. 
 Ren. Portal L. Maritina. 
 1497 circa, p. 69. 
 
 St. John the Baptist. 
 Bronze. Donatello. 1458. 
 p. 105. 
 
 St. Catherine. Neroccio. 
 1487. 
 
 St. Ansanus. Gio. di Ste- 
 fano. 1487. 
 
 Library. Portal. L. Mar- 
 rina. 1497. p. G9. 
 
 L. Tramept. Grave Slab 
 of Bishop Pccci. Dona- 
 tello. 1426. p. 98. 
 
 Choir. Ciloriuin. L. Yec- 
 chietta, 14C5-1472. p. 
 67. 
 
 419 
 
 Bronze Angel. Gio. di 
 Stefano. 1489. p. 67*. 
 Two Bronze Angels. Fran, 
 di Giorgio. 1497. p. 68. 
 Two Bronze Pedestals. G. 
 Cozzarelli. 1500 circa, 
 p. (9. 
 Sacrisiji. Holy Water Vase. 
 Gio. Turini. xv. cy. p. 68. 
 R. 'Transept. Five sm^ll 
 reliefs. Turini and G. 
 F. da Imola. 1423. 
 Piccolomini Mon. Ne- 
 roccio. After 1483. 
 R. side aisle. Tomb of 
 Bishop Bartoli. xv. cy. 
 Opera of the Cathedral. 
 Figs, and relief. G. della 
 Quercia. 1412-1419. 
 Baptistry. 
 
 Font. 1416. Reliefs and 
 Statuettes. Quercia. 
 
 1420-30. p. 64. 
 St. John before Herod, 
 and Baptism of Christ. 
 L. Ghiberti. 1417-27. p. 
 82, 83. 
 
 Feast of Herod, three 
 children, Hope and Faith. 
 Donatello. 1427. p. 98. 
 Birth and Preaching of 
 St. John, and three Sta- 
 tuettes. G. Turino. 
 1417-27. p. 68. 
 8. Agostino. 
 
 St.' of St. Nicholas. Coz- 
 zarelli. XV. cy. 
 S. Bernardino. 
 B. Relief. Gio. di. Agos- 
 tino xiv. cy. p. 56. 
 Carmine. 
 St. of St. Sigisiuund. 
 Cozzarelli. xv. cy. 
 S. Caterina. 
 
 St. Catherine. Urbano da 
 Cortona. xv. cy. p. 69. 
 St. Catherine. Neroccio. 
 XV. cy. p. 15G. 
 8. Domenico. 
 Ciborium. B. da Majano. 
 XV. cy. p. 156. 
 Ch. of 8t. Catherine. 
 Tabernacle. G. di Ste- 
 fano. XV. cy. 
 Fontegiusta. 
 
 Ma'lonna Relief over door. 
 
 Neroccio. xv. cy. 
 Ciborium. L. ^^lurinna. 
 
 XV. cy. 
 High Altar. L. Mariuna. 
 1517. p. 69. 
 
 £ L 2
 
 420 
 
 8- Francesco. 
 
 Marsili Altar. L. Marinna. 
 1517. p. 69. 
 Osservansa. 
 
 Meilallion reliefs. F. di 
 
 Giorgio, xv. cy. 
 Coionalion of tbe Virgin. 
 L. della RoLbia. xv. cy. 
 p. 143. 
 T. C. Group. Cozzarelli. 
 XV. cy. 
 8- Spirito. 
 
 Altar with relief. Am- 
 brogio della Robbia. 
 1504. 
 nospifal (della Scala). 
 Br. St. of Christ. L. Vec- 
 chietta. xv. cy. p. 67. 
 Pal. Pub. 
 
 Piazza. Wolf. Gio. Turino. 
 XV. cy. p. 68. 
 Casino de' Nobili. 
 
 St. of SS. Ansano and 
 Crescenzio. Federighi. 
 146o. p. 66. 
 St. of SS. Paul and Peter. 
 L. Vecchietta. xv. cy. 
 p. 67. 
 
 Sulmona. 
 Municipal Palace. 
 Fagade. 1522. 
 
 Torcello. 
 
 Cathedral, p. xxiii. 
 
 Early Christian B. R. about 
 
 the Pulpit, Cattedra, and 
 
 Cancellum. 
 Font. ix. cy. 
 
 Tor de' Passeri. 
 Ban Glemente a Casauria. 
 ix. cy. p. xxxix. xl. 
 
 Portal Sc. II. Byz. xii. cy. 
 Bronze Gates, xii. cy. 
 Interior. Sarcophagus 
 
 under High Altar, ix. cy. 
 Ciboriuin. xii. cy. 
 Paschal Candlestick, xii. 
 
 cy. 
 Pulpit, xii. cy. 
 
 Toscanella. 
 
 S. Pielro. p. Iviii- 
 
 Fa9ade. xi. or xii. cy. 
 
 Ciborum. 1093. 
 Sta. Maria, p. lix. 
 
 Fa9ade. xi. or xii. cy. 
 
 Pulpit xi. or xii. cj'. 
 
 Capitilsof Nave Columns. 
 ix. or X. cy. 
 
 Index to Towns, 
 
 Trani. 
 
 S. Niccolo. 1143. p. 1. 
 
 Facade, xii. cy. 
 
 Portal, xii. cy. 
 
 Bronz"^ Gates. Barisanus. 
 1160-1179. p. xlvi. 
 Ognissanti. 
 
 Portal, xii. cy. 
 
 Treviso. 
 
 Cathedral. 
 
 Monument to Monsignor 
 Z^notli. Pietro and 
 
 Tullio Lombardi. 1485. 
 p. 216. 
 San Nicolo. 
 Tomb of Senator Onigo. 
 Pietro Lombarui. 1485. 
 iV.id. 
 B. Relief. Antonio Lom- 
 bardi. XV. cy. 
 San Guaronta. 
 Portal. P. Lombardi. 
 1.509. 
 San Tomraaso. 
 
 Portal. P. Lombardi. 
 
 1509. 
 
 Troja. 
 
 Cathedral 1093-1139. 
 p. xxxvii. 
 Fagade and Purtal. xii. 
 
 cy. 
 Pulpit. 1177. 
 Bronze Gates. Portal and 
 side door. 1119-1127. 
 
 Turin. 
 
 Mnreo Civico. 
 
 Paits of Mon. to Gaston de 
 Foix. Ag. Busti. xvi. cy. 
 p. 347t. 
 
 TTdine. 
 
 Angle of Pal. Pub. 
 
 Gothic Tabernacle and St. 
 Bart. BouCO- 1472. p. 
 210. 
 
 Urbino. 
 
 Ducal Palace. 
 
 Cbimneypieces, doorwaj-s, 
 &c. Anibrogio da Milano. 
 XV. cy. p. 193. 
 
 Military P.as Heliefs. Fran- 
 cesco di Giorgio, xv. cy. 
 p. 68. 
 Picture Gallery. 
 
 B. R. by Miuo da Fiesolc. 
 XV. cy. 
 
 A. Vit- 
 
 Venlce. 
 
 Piazza. 
 
 Standard Bases, 
 toria. p. 361. 
 
 Campanile Loggptta. 
 
 Bronze Gates and Re- 
 liefs Jacopo Sansovioo. 
 p. 244. 
 
 St. of the Madonna (inte- 
 rior). Jacopo Sansovino. 
 p. 244. 
 
 St. Mark's. 
 
 Exterior. Marbles of x., 
 
 xi. and xii. centuries. 
 
 p. xxiii 
 
 Bronze Horses. Greek, 
 
 brouaht from Constanti- 
 nople, 1204. 
 Porphyry Group. Emp, 
 
 Heraclius and his sons (?). 
 
 Byzantine. 
 Porch. Sarcophagus. Early 
 
 Christian, p. xxiv. 
 Sarcophagus. Doges 
 
 Faliero. xi. cy. 
 
 Midili xii. cy. 
 
 Morosini. xiii. cy. 
 
 XXV. 
 
 Door. Central. 
 Ven. Byz. p. 
 
 V. 
 
 Y. 
 
 M. 
 
 P- 
 
 Bronze 
 1112. 
 
 XXV. 
 
 Bronze 
 1204. 
 
 door, to right. 
 Byzantine, ibid. 
 Bronze Door, to left. Ber- 
 tucciu-s. 1300. p. 195. 
 
 R. R. of S. Lionardo. 
 Bertuccius CO. 1300. p. 
 195*. 
 
 Tomb of Bart. Gradenigo. 
 xiv. cy. p. 204. 
 
 Baptivtry. Tomb of An- 
 drea Dandolo. xiv. cy. 
 p. 204. 
 
 Tomb of S. Isidore (Chapel 
 of), xiv. cy. p. 204. 
 
 St. of Virgin, Apostles, and 
 Saints. Massegne. xiv. 
 cy. p. 206. 
 
 Chapel of Cardinal Zeno. 
 Mon. of Card. Zeno 
 (bronze). Paolo Savii 
 and Pier. Z. delle Cam- 
 pane. 1515. p. 217. 
 
 St. of SS. John, Pett-r, an-i 
 Paul, on Alt^r. p. 217. 
 
 Tomb of Doge P. Mocenigo. 
 Pietro Lombardi and 
 Sons. XV. cy. p. 217. 
 
 Ch. del Mascoli. Altar St. 
 Bart. Bon. xv. cy. p. 
 210.
 
 Transept. Two Altars. 
 PietroLombardi. xv. cy. 
 Choir-entrance. E. and 
 L. Six bronze reliefs. 
 Jacopo Tatti. xvi. cy. p. 
 244. 
 St. of four Evangelists. 
 Bronze. Jacopo Tatti. 
 xvi. cy. p. 244 
 Sacris(y. Bronze door. 
 Abhazia. Madonna della 
 Misericordia. Bart. Bon. 
 XV. cy. p. 210. 
 Half figure of a Saint. 
 Ant. Bentone. xvi. cy. 
 Madonna, St. G. Cam- 
 
 paana. xvi. cy. 
 Two Apostles. A. Vittoria. 
 xvi. cy. 
 8. Francesco della Vigna. 
 Two Angels. Tiziano As- 
 petti (1 ch. 1.). xvi. cy. 
 Facade. Col. Br. St. Mo-es 
 and St. Paul. T. As- 
 petti. xvi. cy. 
 Giustiniani Chapel. Jlar- 
 bles by TuUio, Aut. and 
 Santi Lombard! (?). After 
 1532. p. 357. 
 Fravi. 
 
 Portal, side. Lunette. Ma- 
 donna. Pisan school, 
 xiii. cy. 
 Torab of Sen. S. Dandolo. 
 
 1360. p. 205. 
 Tomb of F. Foscari. After 
 
 1457. 
 Side door. Virgin and 
 Angels. Massegne (?). 
 xiv. cy. 
 Tomb of Buccio degli Ali- 
 
 berti. xiv. cy. p. 203. 
 Sixth Chapel. Wooden St. 
 of St. John. Donatello. 
 XV, cy. p. 104. 
 Tomb of Doge N. Tron. 
 
 p. 358. 
 B. R. Chancel. 1475. 
 Tomb of J. Marcelli. 1484. 
 Tomb of M. Trevisano. 
 
 Dentone. p. 359. 
 Tomb of B. Brugnolo. 
 
 1505. p. 359. 
 Tomb of P. Bernardo. 
 
 xfi. cy, ibid. 
 Tomb of Pesaro. Monte- 
 lupo(?). xvi. cy. 
 S. Giohhe. 
 Portal. P. Lombardo(?). 
 
 XV. cy. p. 215. 
 Ch-.pel of Cr. Moro. P. 
 Loiiibardo. End of xv. 
 cy, p. 215, 
 
 Index to Towns. 
 
 Evangelists and Angels. 
 Tuscan, xv. cy, p. 216. 
 S. Giorgio Maggiore. 
 Mad. St. G. Campagna. 
 
 xvi. cy. p. 372. 
 Bronze Altar (iroup. G. 
 
 Campagna. xvi, cy. 
 Crucifix of Wood Alichel- 
 
 ozzo. XV. cy. p. 110, 
 Grave Slab of Boniucontro 
 de' Boaterii. xv, cy. p, 
 208. 
 S. Gio. Crisostomo. 
 
 B. R. Virgin and Apostles. 
 T. Lombardi. xv. cy. p. 
 355 
 SS. Gio. e Paolo. 
 
 Piazza. Eq. St. of Bart. 
 
 Coleoni. Vtrrocchio and 
 
 Leopard i. xv. cy. pp. 
 
 134. 135, 361. 
 
 Tomb of P. Loredano. 
 
 xiv. cy. p. 204. 
 Interior. Tomb of Marco 
 Cornaro. xiv. cy. p. 204. 
 Tomb of Gio. Bolfin. 1361. 
 
 p. 205. 
 Tomb of Ant. Venier. 
 
 Massegne. 1400. 
 Tomb of M. Morosini. 
 
 1380. p. 206. 
 Tomb of J. Cavalli. Paolo 
 delle Massegne. 1334. 
 p. 206. 
 Tomb of Doge G. Mocenigo. 
 Tullio Lombardi. xvi. cy. 
 p. 356. 
 Torab of Amdrea Ven- 
 dramin. T. Lombardi 
 and Leopardi. xvi. cy. 
 ibid. 
 Near door of Sacristy. 
 Vittor Capello and St. 
 Helena. B. R. Ant. 
 Dentone. xvi. cy. p. 363. 
 Sybils and Piopbets, co- 
 lossal. A. Vittoria. 
 B. R. xvi. cy. 
 Corltle. Wall. B. Bon. 
 XV. cy. 
 
 S. Giuliano. 
 
 Over Portal. St. of St. Th. 
 
 of Ravenna. J. Tatti. 
 
 xvi. cy. 
 Ch. L. B. R. Pieta. Gir. 
 
 Campagna. xvi. cy. 
 St. of 8S. Catherine and 
 
 Daniel. A, Vittoria. 
 
 xvi. cy. 
 8. Lorenzo. 
 
 St. of St. Sebastian. G. 
 
 Canpagna. xvi. cy. 
 
 421 
 
 Carmine. 
 Cloister. ILidonnR, Ardu- 
 
 inus. 1340. p. 196, 
 8. M. Mater Domini. 
 St. of SS. And. Pet. and 
 
 Paul. L. Bregno. xv. 
 
 cy, 
 S. M. de' MiracoU. 
 
 Portal Lunette. B. R. 
 
 Pyrgoteles. 1513. p. 363. 
 Marbles. P. Lombardo. 
 
 1484 circa, p. 214. 
 St. of Balustrade. P. Lom- 
 
 liardo and G. Campagna. 
 
 ibid. 
 8. M. dell' Orto. 
 
 Busts on Tombs of T. and 
 
 G. Contarini. A. Vit- 
 
 torio. xvi. cy. 
 Virgin and Child. Gio. de 
 
 Sanctis. 1390. p. 207. 
 Facade. Bart. Bon. xv, 
 
 cy. p 210. 
 8. M. della Salute. 
 
 .Sarcophagus. F. Dandolo. 
 
 Mo. Martino. After 
 
 1339. 
 Sacristy. Pieta. Den- 
 tone (?). xvi. cy. 
 8an Michele. 
 
 3 B. R. School of Andrea 
 
 Sansovino. xvi. cy. 
 
 Itedenture. 
 
 St. in B. of SS. Mark and 
 Francis. G. Campagna, 
 XV. cy. 
 
 8. 8alvatore. 
 
 St. of Hope, Tomb of 
 
 Doge Venier. Jacopo 
 
 Sansovino. xvi. cy. 
 
 p. 244. 
 St. of St. Jerome. T. 
 
 Lombardo. xvi. cy. 
 
 S Sehastiano. 
 Madonna and Child. T. 
 Lombardo. xvi. cy. 
 
 8. 8tefano. 
 
 Portal. Mafscgne. xv. cv. 
 p. 206. St. of SS. John, 
 Ant. and Jerome. P, 
 Lombardo. xvi. cy. 
 
 St. of 12 Apostles. V, 
 Camelo. 1500. p. 362. 
 
 Br, B. R. Suriano. xvi. 
 cy. p. 359. 
 
 Br. St. High Altar. Q. 
 Campagna. xvi. cy. 
 
 8. Zaccaria. 
 Bust of A. Vittoria on hia 
 Tomb. xvi. oy. p. 366.
 
 422 
 
 Scuola cU 8. Marco. 
 Fa9acle. Lombardi. xvi. 
 
 cy. 
 Upper St. School of Lom- 
 bardi. xvi. cy. 
 B. R. below. '/. L^r9b?jdi, 
 xvi. f J. 
 Vucal Falace. 
 
 Capitals of Columns and 
 Angle Groups, xiv. cy. 
 p. 35, 199-202. 
 Porta cMla Carta. G. and 
 B. Bon. ST. cy. p- 199, 
 208. ! 
 
 St. of Adam and Eve. 
 Cortile. Ant. Riz^- 1*38 
 oiri'.i. V. 212. 
 Gic'iiiu's Staircase. Mars 
 and Neptune. Jacopo 
 Tatti. xvi. cy. p- 244. 
 Museum, over doorway. 
 E. R. Madonna and 
 kneeling Doge. xy. cy. 
 
 p. oz7. 
 Library. Caryatides (door). 
 
 A. Yittoria. xii. cy. 
 Atlas. T. Aspetti. xii. cy. 
 Academy, over door. B. R. 
 
 1345. 
 B. R. Vittor Camelo. 
 
 xvi. cy. 
 
 B. R. Afcension of Vir- 
 gin. Briosco. xvi. cy. 
 
 Porta del Paradiso. Mad. 
 della Misericordia. xiv, 
 cv. 
 
 Index to Towns, 
 
 Drogo. 
 
 PoZ. Yendramhi Calergi. 
 St. of Au.im and Eve. T. 
 Lombardo. xv. cy. 
 p. 386. 
 "Piazzetta. 
 
 Figures atBase of Columns, 
 Barattieri. xiii. cy 
 
 p. XXV. 
 
 Tomb of Count 
 
 xii. cy. 
 Tomb of William of tbe 
 
 Iron Arm. xii. cy. 
 Tomb of Count Humphrey 
 
 xii. cy. 
 
 ^oinboi Alberada. xiU -:y. 
 
 Verona. 
 
 Cathedral. 
 Portal. Sculptures of early 
 part of xii. ceutury. 
 p. xxi. 
 Interior. Tomb of S. 
 
 Agati. xiv. cy. 
 Marble Candelabra. Paolo 
 delle Breze (0- ^vi. cy. 
 p. 373 
 SL Anastasia. 
 
 Tomh of a Knight, xiv. cy. 
 Tomb of Cav. C. Sarego. 
 
 H32. p. 219. 
 Choir. Terra-cotta B. R. 
 
 XV. cy. 
 St. of Saiuts. Ch. 1. s. a. 
 
 XV. cy. 
 Font. Humpback by Ales- 
 sand lo Rossi, xvi. cy. 
 p. 373. 
 Font. Humpback by Gab- 
 riello Cahari. xvi. cy. 
 Ibid. §. 
 S. Ferino. 
 
 Tomb of G. Sealiger. xiv 
 
 cy- 
 st, of S. Proculus. Gio 
 
 di Bigino. xiv. cy. 
 Tomb of Ant. della Torre. 
 8 B. R. Casts of tbe 
 originals now in _ tbe 
 Louvre. Riccio. xvi. cy. 
 p. 376. 
 Brcnzoiii Mon. Giov. di 
 
 Tomb of Cane della Scala. 
 
 1329. ibid. 
 Tomb of Maslino IL 
 
 Mo. Perino, 1351. ibid. 
 S. Zeno. 
 
 B. Pk. d f^i/c.c. Gugh- 
 
 esLO ii Jiicolb. x. cy. 
 
 p. xxi. 
 "Wheel -window. Briolotto. 
 
 xii. cy. p. x.\ii. ibid. 
 Font. Briolotto. xii. cy. 
 Crypt Capitals. Ada- 
 minus, xii. cy. ibid. 
 Choir. Col. St. of S. Zeno- 
 
 xii. cy. ibid. 
 Bronze reliefs on doors. 
 
 X. cy. ibid. 
 
 "Venosa. 
 
 Sta. Triiiita. p 1. 
 
 Tomb of Robert Guiscard, 
 xiL cy: 
 
 "Vicenza. 
 
 Sta. Corona. 
 
 Gothic tombs, ch. 2, of 
 choir, xiv. cy. 
 San Lorenzo. 
 
 Altar with St. of Sunts. 
 Ant. da Yenezia. xiv. 
 cy. 
 
 Viterljo. 
 
 San Francesco. 
 
 Tomb of Hadrian V. xiu. 
 cy. 
 
 Volterra. 
 
 Cathedral. 
 
 Pulpit, xii. cy. 
 San Giovanni. 
 
 Ciborium. Mino da Fiesole. 
 
 1471. 
 Font. Andrea Sansovino. 
 1502. p. 239. 
 
 Bartolo. 1420. p. 131- 
 8. Gio. in Fonte. 
 
 Fonte. 1200 circa, p. xxu. 
 Sta. Maria Antica. 
 
 Tomb of Can. Signorio. 
 Boniuo da Campione, 
 
 Voltri. 
 
 Villa Bri'jnolo Salt. 
 Remaini of Tomb of Era- 
 press Margaret. G-. 
 
 1375. 
 
 44. 
 
 Pisano(l). 1313. p. 
 
 S4.
 
 INDEX OF ARTISTS' NAMES. 
 
 A-bbondio, Antonio *' detto " VAs- 
 
 cona, 352t. 
 Abbondio, Battista " detto " I'As- 
 
 conino, 352 1- 
 Accurri, Giovanni Degli, 224. 
 Acutus, xliv. 
 Adaminus, xxi, xxii. 
 Agnelli, Fra Guglielmo, 12, 14, 16, 
 
 17, 23, 55, 56. 
 Agnolo or Angelo di Ventura, 33, 
 
 42* 56, 262. _ 
 Agostino di Giovanni. 33, 42, 56, 
 
 202, 205t, App. S, No. 8. 
 Agostino da Perugia, 145. 
 Agrate or da Gra, Marco d', lOOf, 
 
 350. 
 Aimo, Domenico, detto Varignano 
 
 da Bclogna, and II Bolognese, 
 
 380. 
 Albericus, Petrus, Ixi. 
 Alberti, Leon Battista, 126, 221, 
 
 222, 244, 307, App. S, No. 3. 
 
 401, 402. 
 Alberto da Campione, xviu 
 Alberto or Albertini, Ixi. 
 Alberto di Arnolto, 27. 
 Albertinelli, Mariotto, 254h 
 Alemanno, Walter, 164. 
 Alessandro da Saronno, 354. 
 Alfanus da Termoli, xxxv. 
 Aloise di Pantaleone, 212§. 
 Amabilis, Petrus, Ivi. 
 Anibrogio di Goro, 24. 
 Ambrogio or Ambrogino da Milano, 
 
 see Barocci Ambrogio. 
 Amici Tonimaso, 232. 
 Ammanati Bartolomeo, 244*, 304, 
 
 309, 314, 815, 316, 317-337. 
 Andrea da Firenze, 59. 
 
 „ „ Modena, 179. 
 Andrea dall' Aquila, 164, 172, 173. 
 Andrea da Roma, Ivii. 
 Andrea Romano, 370. 
 Andriolo, 207. 
 Andreoli, Giorgio, 145. 
 Angelo di Paolo, Iv. 
 
 Aniello, Angelo di Fiore, 366. 
 Annex di Fernacb,178. 
 Ansano or Sano di Matteo, G2f. 
 Anselmo da Campione, xvii. 
 Anselmo da Milano, xxi. 
 Antelami, Benedetto degli, xvii. 
 Autichi, Prospero " detto " IJ 
 
 Bresciano, 377. 
 Antonio da Venezia, 219. 
 „ da Parma, 230. 
 „ di Sandro, 325. 
 Anzolino da Brescia, 224. 
 Arci, Niccola da Bari," detto " dell', 
 
 17, 18, 257, 2.58, 38l.t 
 Arcagnuolo, Andrea, see Orgagna, 
 
 Andrea. 
 Arditi, Andrea, 35. 
 Arduinus Venetus, 196. 
 Arento, Ippolito d', 382. 
 Arluno, Ambrogio di, 193. 
 Arnoldi, Alberto, 38, 39. 
 Arnolfo di Cambio, 18, 21,23-27,32, 
 
 33, 44, 56, 166, 388. 
 Aspetti, Tiziano, 366, 377. 
 Auria, Domenico d', 370. 
 Averulino, Antonio, detto Fila- 
 
 rete, see Filarete. 
 Azzara Francesco, 173. 
 
 Baccio d' Agnolo, 276. 
 
 Baglioni, 145. 
 
 Balduccio, Giovanni, da Pisa, 38, 
 
 40, 41, 42. 44, 45, 176, 2i)b, sss 
 
 App. S, No. 7. 
 Bambaja, see Busti, Agostino. 
 Baraboccio, Antonio di Domeu'.'co 
 
 da, 171,172. 
 Banco, Antonio di, 117. 
 
 „ Masodi, Aj^p. S, No. 10. 
 Banco, Nanni di, 117, 118. 
 Bandinelli, Baccio, 252§. 294, 307, 
 
 309-314, 830, 334, App. R, 404. 
 Bandinelli, Clemente, 314, 317. 
 Bandini, Giovanni, detto dell* 
 
 Opera, 314.
 
 424 
 
 Index of Artists Names, 
 
 Milano, 
 and 
 Giovanni 
 
 XXV 
 
 Bari, Niccola da, see Area, Niccola 
 
 dell. _ 
 Barocci, Ambrogino da 
 
 193-5. 
 Barratticri, Niccolo di, 
 
 xxvi. 
 Bardi, Antonio and 
 
 Minelli de', 376. 
 Barisanus, xlv-vi-H-lxiii. 
 Baroncelli Niccolo di Cristoforo, 1 05, 
 
 108, 109. 
 Baroncelli, Giovanni, 108, 109. 
 Baroni,22i. 
 Bartholomeus da Fop^gia, Arcliitect 
 
 of the palace of Frederic II. at 
 
 Foggia, xlviii. 
 Bartolomeo da Bologna, 224. 
 Bartolomeo, Nicolo' di, 6*. 
 Bartolomeo di Tomme " detto " 
 
 Pizzino, 60. 
 Bartolo, Francesco di, 
 ,, di Domenico, 67. 
 „ Giovanni di, detto II 
 
 Eosso, 130-131. 
 Bartolo di Micliiele, detto Barto- 
 
 luccio, 74, 75, 77, 81, 87. 
 Basgape or Bescape, Ruggiero, 
 
 353|. 
 Basseggio, Pietro, 198, 199. 
 Bastino di Corso, 62t. 
 Battista da Eispa, 192t. 
 
 „ da Como, Tagliapietra, 
 
 fl. 1458. 
 Battista, Giovanni Eomano, 370. 
 Beato, Donato, 246. 
 Begarelli, Antonio, 384, 386. 
 BellanoorVellano, Bariolomeo, 104, 
 
 117,124, 125, 135.220,374. 
 Bellini, Gentile, 362. 
 Benci di Clone, 49. 
 
 „ Donato, App. 397. 
 Bergamo, Mastino di Giovanni da, 
 
 377. 
 Bernardo da Venezia, 207. 
 Bernardo di Lionardo, 33. 
 Bernardino da Milano, 349. 
 Bernardino da Mantova, 212§. 
 
 ,, d'Antonio, 273. 
 
 Bertoldo, 10-5, 117, 238. 
 Bertuccio, 195. 
 Besozzo, Gio. Ant. da', 193. 
 Betto di Francesco, 31. 
 Bianchini, Luchino, 229. 
 
 „ Bernardino, 229. 
 
 Bianco, Simone, App. 39G. 
 Bianconi. Carlo, 18. 
 Bicci di Lorenzo, 141. 
 
 Biduiniis, Ixiii. 
 
 BitE, Andrea, 353|I, 
 
 Bigino, Gio. di, 218. 
 
 Bindo, "detto" delle Massegne, 
 
 224. 
 Biondello, Francesco, I90t. 
 Bisuccio, Lionardo di, 171. 
 Bittino, 224. 
 Bologna, Gian, 314, 317, 337-339. 
 
 „ il Vecchio, 224. 
 Bolognese, II, see Area, Niceola 
 
 dair. 
 Bonamicns, Ixiii. 
 Bonanno, Ixii, Ixiii. 
 Bonasone, Ginlio, 306. 
 Bonasuto or Bonafuto, 208. 
 Bono da Firenze, 8. 
 Bonomo de MafFeis, 
 Bonazza, Giov., 207. 
 Bonino da Campione, 44, 45, 205, 
 
 218. 
 Borella, Francesco da Milano, xvith 
 
 century. 
 Bo.schetto, Architect of the Cathe- 
 dral at Pisa, A.D. 1063, see Ap- 
 pendix A, 387. 
 Boscoli, Tommaso, 159. 
 Bosco, Maso del, 282. 
 Boudaud, 18. 
 Braccini, Niccolo di Eaffaello, detto 
 
 II Tribolo, see Tribolo, II. 
 Braccii, Maso di Cristoforo, Appen- 
 dix, .396 
 Braraante, Agostino di, 182*. 
 
 d'Urbino, 178* 242,270, 
 
 298. 
 Bramantino I'antico da Milano, see 
 
 Lazzari Bramante. 
 Bramantino il Giovane, see Suardi 
 
 Bartolomeo. 
 Brambilla, Francesco, 350. 
 Bregno, Ant. di Giovanni, "detto** 
 
 Eizzo, 211, 212, 213, 216, 359*. 
 
 362. 
 Bregno, Lorenzo, 362, 364. 
 Briolotto, xxi, xxii. 
 Briosco, Pietro, 193. 
 
 ,, Andrea, "detto" Eizzo, 
 
 104, 373t, 374-377, 401. 
 Briosco, Ambrogio, 374. 
 
 „ Benedetto, 188, 189, 190. 
 
 „ Piero, 374. 
 Bronzino, 304. 
 Brunelleschi, FiHddo, 73, 76, 11, 78, 
 
 79, 88, 89, 93, 94, 105, 108, 153*. 
 
 178* 182, 244, 307. 
 Brunaccio, Antonio, 56, 59.
 
 Index of Artists Names. 
 
 Bngiardini, 25 1. 
 
 Biion or Bon, Burtolomeo, 197, 208- 
 
 211, 243. 
 Buon or Bon, Giovanni, 197-208. 
 Buono, Giovanni da Bissone, a.d. 
 
 1281, sculptured porch of the 
 
 Cathedral at Parma. 
 Buonarroti Michelangelo, see 
 
 Michelangelo Buonarroti. 
 Buonvicino, Ambrogio, 354*, 
 Burzoni, Martino, 3821- 
 Busnate, Oprando da, xvi. 
 Busti, Agostino, " detto " Bambaja, 
 
 193, 346-349. 
 Buzzo di Biagio, 56. 
 
 Caccavello, Annibale, 370. 
 Cairate, Giov. da, 185*. 
 Calcagni, Tiberio, 302. 
 Calendario, Filippo, 35, 197-199, 
 
 202-208, 209. 
 Caliari, Gabriello, 373. 
 Camaino, Tino or Lino di, 33, 56, 
 
 57, 58. 167, 173. 
 Cambi, Jacobus and Galeantinus de', 
 
 354. 
 Cambio, Arnolfo di, 46, 56, 166*, 
 
 173, 20ot. 
 Camello or Gambello Vittor, see 
 
 Gambello Vittor. 
 Camigbani, Appendix-, 397. 
 Camino or Comino da Ferrai-a, 225. 
 Campagna Girolamo, 371, 372. 
 
 ., „ the younger, 
 
 372. 
 Campane delle, Pietro Giovanni, 
 
 217. 
 Cam pi, Bernardino, 3.54. 
 Campionesi Magistri, xvi. 
 Campione, Alberto da, see Alberto 
 
 da Campione. 
 Campione, Bonino da, see Bonino 
 
 da Campione, 
 Campione, Jacopo da, see Jacoj^o 
 
 da Campione. 
 Campione, Enrico da, see Enrico da 
 
 Campione. 
 Campione, Ottaccio da, see Ottacio 
 
 da Campione. 
 Campione, Matteo da, see Matteo 
 
 da Campione. 
 Campione, Marco da, see Marco da 
 
 Campione. 
 Canozio, Bernardino, 364t. 
 
 ,, Daniele di, 364f. 
 Caparra, Niccolo Grosso. 
 
 Foppa, 
 
 Caradosso, Ambrogio 
 
 "detto," 345. 
 Carino, Giovanni, 377. 
 Casari, Lazzaro, 381. 
 Casignuola, Jacopo, 354*. 
 
 ,, Tommaso, 3.54*. 
 
 Castaldi, Matteo, 192. 
 Castello, Giovanni, " detto," II Ber- 
 
 gamasco, 354. 
 Castellani, Lodovico, 226. 
 Cattaneo, Danese, 231, 244*, 24-5, 
 
 315, 371, 372, 377. 
 Cavalli, Bart, di, 195. 
 Cavallini, Pietro, 26. 
 Cellini, Andrea, 325. 
 „ Giovanni, 325. 
 „ Benvenuto, 248, 304, 309, 
 310, 311, 313, 314, 317, 324, 335, 
 337, 370, 403. _ 
 Cellino or Chellino, Antonio, 104, 
 
 12.5. 
 Checco, Meodi, 223. 
 Christianus Magister, Iv. 
 Ciccarone, Alessandi'o, 163. 
 Ciccioue, Andrea, 170, 171. 
 Cimabue, Giovanni, 73. 
 Cino di Bartolo, 64, 65. 
 Ciolo di Ventura, 33. 
 Cioli, Simone " detto " II Mosolia, 
 
 320, 336. 
 Cioli, Francesco "detto" II Mos- 
 
 chino, 317. 
 Clone, Andrea di, see Orgagna, 
 
 Andrea. 
 Clone di ser Buonaccorso, 87t. 
 Cittadella, Alfonso " detto " Lom- 
 
 bardi, 18, 227t, ;^80-332. 
 Ciuffagni, Bernardo, 125, 126,128. 
 Civitali, Matteo, 151, 153, 230, 
 
 238. 
 Civitali, Nicolo di Matteo, 153. 
 
 „ Vincenzo, 153. 
 Clarello, Era da Padova, xxsiv. 
 Clementi Spani, Prospero di, see 
 
 Sjjani Pro.spero. 
 Clementi Spani, Bartolomeo di, see 
 
 Spani Bartolomeo. 
 Colombe, Michel, 328. 
 Colle, Franci.'sco di Niccolo da, 
 
 376. 
 ColteUini, Girolamo, 17, 380. 
 Corao, Guido da, sculptor 01 ti.e 
 pulpit in San Bartolomeo at Pis- 
 toja, 1250, Ixiv. 
 Como da, Guglielmo, 185*. 
 Comaccini, Maestri, xi, xii, xvii. 
 Compagnini, Pietro,t Siena, xvi. cy.
 
 426 
 
 Index of Artists Names, 
 
 Conforti, Filippo, 224. 
 
 Credi, Lorenzo di, 134, 161, 251t, 
 
 256. _ 
 Corregio, Antonio Allegii da, 385. 
 Cremona, Raimondo da, 185*. 
 „ Geremia da, 188*. 
 „ Cristof'oro di Geremia, 
 
 232. 
 Cristoforo da Mantova, 223. 
 „ di Ambrogio, 195. 
 Cent ucci, Andrea "detto" Sanso- 
 
 vino, see Saiisovino, Andrea. 
 Conti, Mccolo de', 366. 
 Cornedo, Nicolo da, 373. 
 Coriiiole, Giov. delle, 161. 
 Corradino, Antonio, 211. 
 Cortero or Cortesi, Stefano di, 
 
 self. 
 
 Cosma, Giovanni, 173. 
 
 „ Adeodatns, 173. 
 Cosmati, Magistri, Ivi, Ivii. 
 Cozteno, Galinus da, 349. 
 Cozzarelli, Giacomo, 69. 
 
 Daniele, " detto " II Sarcofagaia, 
 Ixi. 
 
 Dalmata, II — , see Area, I^iccola 
 dall'. 
 
 Danti, Alncenzo, 239, 317. 
 
 Daverio, Pietro Antonio, 353. 
 
 Belli, Dello, 141^ 
 
 Dentone, Antonio, 362, 363. 
 Giovanni, 344, 377. 
 
 Desiderio da Settignano, 69, 85, 
 117, 118, 120, 121, 122, 146, 150*, 
 173, 242, 307, 402, 403. 
 
 Diiii, Pietro Amatrice da, fl. 1472, 
 
 Discalzi, Isabella, 228. 
 
 Dolcebuono. 191. 
 
 Domenico di Antonio, 349. 
 
 „ da Montemignano, 173. 
 „ di Agostino Sanese, 66. 
 „ di Paris, 109. 
 „ da Lugano, 108. 
 
 Lombardo, 173, 212§. 
 
 Donatello or Donato di Niccolo di 
 Betto Bardi, 50, 64, 73, 83, 87, 
 107, 108, 109, 110, 112, 117, 129- 
 132, 139, 140, 144, 172, 175, 242, 
 254, 259, 336, 392, 401, 402, 403. 
 
 Donatello Simone, see Simone di 
 Nanui Ferucci. 
 
 Donato di Ricevuto, 18, 23. 
 
 Donato, Maestro, xxvi. 
 
 Donatus Yenotus, 196. 
 
 Donnaincasa, Iviii. 
 Dozza. Francesco, 380. 
 Duca, Jacopo del, 302. 
 Duccio or Guccio, Agostino di, 
 128. 
 
 Enricus, Ixiii. 
 
 Ettored'Alba, 190t. 
 Enrico da Campione, xvii. 
 Enrico II., Campione, xvii. 
 
 Fabro Pippo, scholar of Jacopo 
 
 Sansovino and model for his 
 
 Bacchus, 242. 
 Fancelli, Luca, 221, 396. 
 Fassa, Tito de', Ivi. 
 Fazio, Frate, Pisa, xiv. cy. 
 Federighi, Antonio, " detto de' 
 
 Tolomei, 65, 66. 
 Ferrara, Giacomo da, 349. 
 
 „ Girolamo da, 244*. 
 Ferrario Lantino, 342*. 
 Ferrari, Marco da Gra or d'Agrate, 
 
 350. 
 Ferrari, Andreolo de', 207. 
 Ferrucci, Andrea di Piero, 153, 159. 
 ,, Francesco di Simone, 98. 
 Ficarolo, Nicolo da, xxvii. 
 Fiesole, Andrea da, Sculptor of 
 
 Saliceti tombs in cloisters of San 
 
 Martino and San Domenico 
 
 (1403-1412) at Fiesole. 
 Fiesole, Mino da, 146-151. 
 Finiguerra Maso, 132. 
 Filarete, Antonio Averulino 
 
 "detto," in, 112, 113, 126. 
 Filippino degli Organi, 179. 
 Florentia Agostino da, see Duccio • 
 
 Agostino. 
 Follacrino da Lauciano, Pietro. 
 Fontana Annibale, 339, 350, 353. 
 Fonlana Domenico, 307. 
 Fontanello, Sebastiano " detto " di 
 
 Magistro, da Mantova, fl. 1577. 
 Foppa, Ambrogio, see Caradosso. 
 
 „ Vincenzo, 185. 
 Francavilla, Pietro, 338. 
 Francesco di Domenico, Appendix 
 
 Q, 397. 
 Francesco da Parma, 230. 
 
 „ Vico. 
 Francesco di Giorgio, see Martini. 
 Francesca, Pietro della, 178*. 
 Fregella, Giovanni, attached to the 
 
 " Fabbrica" del Duomo at Milan, 
 
 1491, 1497.
 
 Index of Artists Names, 
 
 4^7 
 
 Frisoni, Gabviele de', 223, 
 Frizzi, Federio-o, 278. 
 Fuccio Fioreutino, App. C. 
 Fusina, Andrea, 191, 313, 3-14. 
 
 Gaddi, Angelo, 49. 
 
 „ Tiiddeo, 178. 
 Galeazzo da Lugano, 354. 
 Gallardus da Sermona, 58, 167. 
 Gambello or Camello, Vittor, 3G2, 
 
 363. 
 Garviis Paolo de', 345. 
 Gattcni Battista, 190t, 354. 
 Gerardus de' Casta^nianega, archi- 
 tect of the Porta Eomana at 
 Milan, 12th century. 
 Geremia da Cremona, 108. 
 Ghiberti, Lorenzo di Cione, 36*, 
 37, 50, 73, 87, 90, 109, 112, 116, 
 122, 132, 139, 140, 155, 374, 398. 
 Ghiberti, Buonaccorso di Vittorio, 
 
 85. 
 Ghiberti, Yittorio di Lorenzo, 115, 
 
 116. 
 Ghiberti, Vit+orio II. di Vittorio, 
 
 116. 
 Ghini, Simone di Giovanni, 98, 
 
 108, 113, 114, 126, 128. 
 Ghirlandajo, Domenico di Tommaso 
 
 Bigordi, " detto," 154, 253, 307. 
 Ghisolfi, Ambrogio, 193, 342. 
 
 „ Giovanni Pietro, 193. 
 Giacomo di Pietro Guidi, 60J. 
 
 „ della Quercia, see Quercia, 
 Giacomo della. 
 Giorgio, Francesco (Cecco) di, see 
 
 Martini Francesco. 
 Giotto di Bondone, xx, 26, 37, 38, 
 40, 41, 55. 73, 178, 227, 388, 390. 
 Giottino, Tommaso di Stet'ano, Ap- 
 pendix S, No. 10. 
 Giovanni Pisano, see Pisano, Gio- 
 vanni, 
 Giovanni da Pisa, 125. 
 „ „ Roma, Iv. 
 „ di Guido, Iviii. 
 „ „ Paolo, Iv, 
 „ d' Ambrogio, 389. 
 „ di Cecco, bO. 
 „ „ Francesco, 31, 
 „ d' Enricuccio, 224. 
 „ da Parma, 230. 
 „ „ Fiesole, 317. 
 „ di Bartolo, see Ilosso, 
 Giovanni. 
 
 Giovanni Battista da Roma, 370. 
 „ ,, da Verona, 373. 
 
 Gioviano, xxi. 
 
 Gioventiuo, xxi. 
 
 Girolamo da Carpi, 178*. 
 
 Giusto, Antonio di, Appendix Q. 
 397. 
 
 Giassano, Giovanni di, 227. 
 
 Gobbo, Cristoforo Solari "detto" 
 II, see Solari, Cri.stoforo. 
 
 Goes, Hugo van der, 181+, 181. 
 
 Goro di Goro, 24. 
 
 „ „ Gregorio, 52, Appendix S, 
 No. 4 
 
 Goro di Ciuccio Ciuti, 23, 52*, Ap- 
 pendix S, No. 4. 
 
 Granacci, Francesco, 254t, 255t. 
 
 Grass!, Giovanni de', 178, 179*. 
 „ Perrino de', 178. 
 
 Gratz, Johann von, Milan, 1490. 
 
 Grande, Vincenzo de', 377. 
 
 Gruamonte, Ixiii. 
 
 Gualterius, Ivii. 
 
 Guai'dia, Niccolo della, Rome, £1. 
 1464. 
 
 Guarnieri, Sibilius, 224. 
 
 Guerra, Giovanni, 226. 
 
 Guglielmo da Pisa, Ixiii. 
 
 GuglielmusorWiligelmus, xvii, xxL 
 
 Guido Gonzaga di Aloisio, 223. 
 
 Guido, Iv. 
 
 „ da Como, Ixiv. 
 
 Guiduccio di Arnultb, 27. 
 
 Hugo or Ugo da Campione, fl. 1341. 
 Heinrich von Gmunden, 177. 
 
 Illario, Piero Giacomo, 223. 
 Imbonate. Isacco da, 181. 
 Isaia di Pippo, da Pisa, 173f. 
 
 Jacopo di Piero, 49, 390. 
 
 „ " detto " Rosetto, 224. 
 
 ,, da Campione, xvii. 
 
 „ di Matteo, 33. 
 
 „ da Pistoja, 229. 
 Jacopino d' Antonio, 224. 
 Johannes di Venetia, xxvi. 
 
 „ da Floreutia, 167, 172. 
 
 Lancia, Luca, 244*. 
 
 Lando di Stefano, 60 
 
 Landini, Taddeo, 318. 
 
 Lamberti, Niccolo di Piero " detto " 
 
 Pela, 76,85, 179, 389, Appeuuix 
 
 K and S, No. 1. 
 Lapo, 18.
 
 428 
 
 Index of Artists Names, 
 
 Lazzari, Bramonte, 178*. 
 Laurana, Luciano da, see Martini. 
 Lecco, Angelino da, 185*'. 
 ,, Antonio da, 185*. 
 Lcgname, Cristoforo del, 364t. 
 Lendinara, (h-istotbro da, 229. 
 „ Bernardino da, 230. 
 
 „ Gian Francesco da, 230. 
 
 Leonardo da Pisa, 33. 
 liigorno, Antouio di Domenico da, 
 
 349. 
 Lionardo da Vinci, see Vinci, Lion- 
 ardo da. 
 
 ,, di Ser Giovanni, 139. 
 Lloni Leone, 306t. 350, 351, 352, 
 353. 
 
 „ Pompeo, 137* 353. 
 Lippo di Dino, 36. 
 Lomazzo Aloisio, 193. 
 Lombard], Antonio, 213, 217, 356, 
 357, 380, 381. 
 
 Aurelio, 382. 
 Girolamo, 213* 357, 
 
 "^ ,T Giulio, 213, 355. 
 „ Lodovico, 382. 
 
 „ Martino. 
 
 Pietro, 194.211, 213-16, 
 217, 355, 380, 381. 
 ., Tommaso, 354. 
 
 Tnllio P., 213,355,356, 
 357, 360, 380, 403. 
 
 TuUio IF., 213*. 
 Lombardi Alfonso, see Cittadella 
 
 A lion so. 
 Longhi, Giac. Scilla., 355*. 
 Lorenzi, Stoldo, 339. 
 Lotti, Ludovico, 318. 
 Lotti, Lorenzo di Lodovico, "detto" 
 
 Lorenzetto, 318, 319. 
 Lorenzo di Giovanni, 889. 
 Laciani, Fra Sebastiano del 
 
 Piombo, see Piombo. 
 Lucca, Giovanni da, 60, 61. 
 Lucchino, da Milano, 233. 
 Lugano, Stefano, da, Milan, 1498. 
 Lysippus of Mantua, 223. 
 
 Maitani, Lorenzo, 20, 52, 63-55, 
 
 66. App. G. ii. p. 390. 
 „ A^itale di Lorenzo 56. 
 
 MafFei, Pietro di Bonomo de, 354. 
 Maffeo da Milano, 192*. 
 MafTiolo or dei Massioli Alberto, 
 
 231. 
 
 Maglione, 166. 
 
 Majano, Benedetto da, 120, 122, 
 153,158,172,173,402. 
 „ Giovanni da, 153. 
 „ Giuliano da, 153, 155, 
 
 157,172. 
 Malvito, Tommaso, 233. 
 Malojo, (iiov. Battista, 189. 
 Manno Bolognese, Ixi. 
 Mano Tesi, 18. 
 Mantegazza, Antonio, 183, 341. 
 
 Cristoforo, 181, 183, 
 184, 190t, 219. 
 Mantegua, Andrea, 79, 104, 221, 
 
 222,^255, 396. _ 
 Marco da Campione, 177. 
 Mapolinis, Giov. Antonio de', 193];. 
 Marchand, Francois, 328. 
 j\Iarclii, Pautaleone de, 192*. 
 Marchionne d'Arezzo, Ixiv. 
 Marcilla or di Marcillac, Guglielmo, 
 
 19t. 
 Marcus Romanus, x. 
 
 „ Venetus, 195. 
 Margaritone d'Arezzo, App. D. 
 Marinna, Lorenzo di Mariano, 
 
 " detto "_ II, 19. 69. 
 Mariano di Augelo Romanelli, 60. 
 Martini, Lucianadi Lauranna, 108. 
 Tajapiera, 204*. 
 „ Francesco di Giorgio, 68, 
 194*. 
 Martino, Giovanni, da Fiesole, 199. 
 Pietro di, 172, 192*, 195. 
 „ 324. 
 Maso di Bartolomeo, 140. 
 Masaccio, 309. 
 
 II., 166, 169, 170, 175. 
 Massegne, Antonio delle, 205. 
 
 Jacobello delle, 42* 202, 
 205, 206, 208. 
 
 Pietro Paolo delle, 42*, 
 202. 
 Matteo da Campione, 42, 43, 44. 
 Mazzoni, Guido, "detto" II Mo- 
 
 danino, 136, 385. 
 Menegante, Tiberio, 380. 
 
 ,, Alessandro, 380. 
 
 Merliano. Giovanni da Nola, 173, 
 
 316, 367, 368, 369. 
 Michelangelo Buonarroti, 17, 18, 
 48. 65. 81, 103, 106, 107, 159* 
 161. 243, 251, 304, 308, 309, 310, 
 315, 316, 320, 325, 330, 332, 380, 
 383, 402, 403. 
 Michelangelo Sanese, 69, 336. 
 Michele, Fra Antonio, 112.
 
 Index of Artists Names. 
 
 429 
 
 Michelozzo, Miclielozzo, 73, 85, 88*, 
 
 94, 95. 9G, 100, 109, 111, 114. 
 Micliele, B'ra, 224. 
 Milano Anibrogio or Ambrogino da, 
 
 see Barocci. 
 „ Bernardino da, 350. 
 „ Cristoforo di Ambrogio da, 
 
 350. 
 Minella, Pietro del, m. 
 Paolo di, 62t. 
 Minelli, Antonio de' Bardi, 377. 
 Minello, Giovanni de' Bardi, 377. 
 Mini. Antonio, 289. 
 Minio, Tiziano. 371, 377. 
 Mino da Fiesole. 69, 122, 127t, 146. 
 
 151, I73t. 307, 401, 402, 403. 
 Moccio da Siena, 59f. 
 Mola, Antonio. 223. 
 
 ., Paolo, 223. 
 Wontelnpo, Baccio Sinlbaldi da, 
 
 160, 254t, 318. 
 
 „ Raffaello di Baccio 
 
 Sinibaldi da, 241, 283, 294, 309, 
 
 316, 317, 319, 321, 322. 
 Montorsoli, Fra Giovan Angelo, 
 
 230, 294, 307, 309, 317, 321, 324. 
 Moranzone, Gasparo, 209^. 
 „ Francesco, 207^. 
 
 „ Jacopo di Francesco, 
 
 207. 
 Morronto, Ivii. 
 Mortegno, Antonio da, 224. 
 Mosca, Francesco, " detto" II Mos- 
 
 cliino, see Cioli. 
 Mosca, Simone, " detto " II Mosclia, 
 
 see Cioli. 
 Mosca, Giovan Maria, 377. 
 
 Naccarini, 370. 
 Nanni da Siena, %%. 
 Nanni da Lucra, 62t. 
 Nanni di Bartolo, 389 
 Nava, Giacomo, 190t, 380. 
 Neri di Goro, 24. 
 Nesi, Cellino di, 56, 59. 
 liicolo, Pietro di, 199*. 
 
 „ da Cornedo, 373. 
 
 ,, Firenze. App. Q. 
 Kiccolo di B irtolomeo. 6*. 
 Niccola Pisano, see Pisano Niccola. 
 Niccolo di Angelo, Iv. 
 Nicolau.'!, xxi. 
 Nova, Bartolomeo di Bernardino 
 
 da, 192*. 
 Nova, Girolamo da, 192*. 
 Noia, Giovanni Mci'liano da, see 
 
 Merliano. 
 
 Novara, Girolamo da, 193, 344. 
 Nuti or Nuzii, Niccola, 56. 
 
 Oderigius or Oderigi, Pietro, Ivi. 
 Oderisius of Beneventum, xlv. 
 Omodco or Amadeo, Giov. Ant- 
 
 181, 184, 192t, 219, 232. 
 Omodeo Protasius, 185. 
 Onago Benedetto dell, 342. 
 Orfever, Peter le, Ivi. 
 Opera, Giov. dall', sec Bandini, 
 
 Giov. 
 Ottaccio da Campione, xvii. . 
 Organi, Filippino degli, 179. 
 Orgagna, Andrea, 38, 45, 50, ISG, 
 
 390, see Cione, Andrea di. 
 Orgagna, Nardo or Bernardo, 46. 
 
 Pacifico da Yerona. xxi. 
 Paganello Eamo di, 51. 52. 
 Pancins or Sancius, 167. 
 Palladio, Andrea 244. 
 Pandino. Antonio da, 181. 
 Paolo, Cristoforo di. 
 
 ,, da Firenze detto II Pelucca. 
 
 App. Q. p. 397. 
 Parisiis, Giuliano de', 192*. 
 Pasifico, Giuliano. 312. 
 Pasqnaligo. Marti no, 352. 
 Pastorini Pastorino, 19;};. 
 Paris Domenico di, 109. 
 Parto da Bologna, 224. 
 Pasquale, 173. 
 
 Pasti. Matteo de', 96, 127* 123, 131 
 Panlus Ixiii. 
 Pellegrini, Galeazzo, 174. 
 
 ,, Galeazzo, 192*. 
 
 Pedoni Cristoforo, 233, 354. 
 
 ., Giov. Gaspare. 232. 354. 
 Perii'oli, Niccolo, see Tribolo, 11. 
 Perino da Milano, 4t, 2l8. 
 Perugino Pietro, 242, 256, 307. 
 Perugia, Polidoro da, 145. 
 Petrus and Ubcrtus da Piaceuza, 
 
 xii. cy. 
 Pctrini or Perrini, Francesco, IL 
 
 1317. 
 Piero Jacopo di, -'56. 
 Petrus da Apulia. 6, 7. 
 Pietro di Vanni, 60J. 
 Pietro di Paolo. Iv. 
 Petrns Amabilis, hi. 
 Pietro da Pavia, 354, 355. 
 Pietro da Bergamo ;i54. 
 Pietro di Giov. da Vancso. App. Q, 
 
 397.
 
 430 
 
 Index of A7'tists Names, 
 
 Pletro Urbano, 278. 
 
 di Donato. 36. 
 Pintelli, Baccio, 194*. 
 Piombo, Sebastiano Fra del, 277, 
 
 350. 
 Piperno, Ant. Bamboccio da, see 
 
 Bamboccio Ant. da. 
 Pippo, Isaia di, si2e Isaia. 
 Pippi. Ginlio Romano, 277. 
 Pironi, Girolamo, 219. 
 Pisanello, Vittore, 96, 127* 128*, 
 
 130, 180, 218, 402. 
 Pisano, Niccola, Ixiv. 3-22, 23, 
 
 27, 28, 29, 30, 31, 36, 55, 73, 166* 
 
 App. B. App. S. No. 4. 
 Pisano, Giovanni, 5J, 17, 18, 21, 23, 
 
 29t, 35, 30, 55, 57, 165, 166, 203. 
 Pisano, Andrea, 33, 35, 37, 38, 41, 
 
 46, 65, 86, 196, 197, 198. 
 Pisano, Nino, 38, 39, 40. App. S. 
 
 No. 7. 
 Pisano, Tommaso, 38, 40. App. 
 
 _S. No. 9. 
 Pisano, Balduccio, see Baldnccio. 
 Pizzino, see Bart, di Tomme. 
 Polynlete, 99. 
 Poliajuolo, Antonio, 85, 110, 114, 
 
 115, 136, 152, 238. 
 Poliajuolo, Sim one (il Cronaca), 
 
 114*, 116. 
 Poliajuolo, Piero, 114. 
 
 Matteo, 114. 
 Pontorrao, 317, 324. 
 Porlezza, Francesco da, 377. 
 Porris, Ambrogio di. 192*. 
 Porta, Giacomo della, I90t, 326, 
 
 342t, 344, 350. 
 Porta, Paolo della, 351. 
 
 „ Guglielmo della, 351. 
 
 ,, Antonio della, 188. 
 
 „ Pompeo della, 326. 
 
 „ Feodoro della, 351. 
 
 „ Tommaso della, 351. 
 Portigiani, Zanobi, 338. 339. 
 
 Domenico, 339. 
 Primaticcio, 328, 340, 395. 
 Pjrgoteles. 362, 363. 
 Puccio, Napoli da, 8*. 
 
 Quatrini, Bernardino, 364f. 
 ,. Francesco, 364t. 
 Quercia, Giacomo della, 60, 62, 65, 
 
 258,_ 336. _ 
 Quercia, PriaAio della, 65. 
 
 Raimondi, Marc Antonio, 378. 
 Raimondo de Podio, xlviii. 
 Rainaldus, or Raynaldino, 207. 
 Rainucii, Nicolaus, Iviii.f 
 Raynaldinus, 207. 
 Reanie, Mino del. fl. 1462. 
 Resgiovis, Antonio de', l'.i3. 
 Revetti, or Revertis Matteo de', 
 
 192*. 
 Rizzo, or Riccio, Antonio di Giov. 
 
 Bregno, "detto," 211-213. 
 Ricciarelli, Daniel, 306t. 
 Riccio, Andrea Briosco, " detto," 
 
 1^4, 125, 220, 374, 375, 376, 377. 
 Eiehi, 227§. 
 
 Righo d'Obriglia. App. Q. p. 397. 
 Ringhieri, Ixi. 
 Ripa, Battista da, 192f. 
 
 „ Pietro da. 185*. 
 Robbia, Luca della, 37* 73, 128, 
 
 129, 139, 145, 146, 165, 402. 
 Robbia. Marco della. 139. 
 
 Andrea della, 142, 143. 
 „ Giovanni della, 142, 143. 
 „ Ambrogio della. 142, 143. 
 ., Luca II. di Giovanni della, 
 
 142. 143. 
 Robbia, Girolamo della, 142. 
 Robertus, Lucca, fl. 1150. 
 Roccatagliata Niccolo, 364. 
 Rodari, Tommaso, degli, 233, 234, 
 
 354._ 
 
 Rodari, Bernardino, degli, 233. 234. 
 
 , Donato, degli, 233. 234. 
 
 „ Jacopo, degli, 233, 234. 
 
 Rodolpho, " detto." II Tedesco, 51.* 
 
 Roma, Paolo da, " detto," delle 
 
 Breze. 373. 
 Romoaldus. xli. 
 Romano Gian Cristoforo, 174f, 
 
 190t, 318t. 
 Romano Andrea, 370. 
 
 Paolo, 174, 175. 
 Rossellino, Antonio Gambarelli, 69, 
 
 117, 121, 122, 123, 148, 172, 404. 
 Rossellino, Bernardo Gambarelli, 
 
 121, 122. 
 Rosa, Maestro, da Parma, 229. 
 Rossi, Alessandro, 373 
 
 „ Properzia de', 378, 379. 
 
 ,, Maestro da Perugia, 21. 
 
 ,, Yincenzo da Fiesole. 314. 
 Rosso, Giovanni di Bartolo, 
 
 '•detto," 100*, 125, 130, 131, 311. 
 Rovezzano, Benedetto, da., 246, 247, 
 
 248. 
 Rudolflnus, Ixiii.
 
 Index of Artists Names. 
 
 431 
 
 Rnsconi, Albertino, 195, 223. 
 
 „ Luigi, 195. 
 
 „ CamiUo, fl. 1723. 
 
 „ Giacomo, 223. 
 Rustici. Giov. Fran., 159, 160, 254t, 
 311. 
 
 Sacca, Paolo, 233. 
 
 ,. Giuseppe and Bramante, 
 
 233. 
 Salvestro Aqnilano. 164. 165, 173. 
 Salvatore dall'Aqmla, 164. 
 Salvolini, 18. 
 
 Sancius or Pancius. 167, 172. 
 Sanctis, Filippo de', 207. 
 
 „ Giovanni de', 207. 
 Sangallo, Francesco da, 245, 246. 
 Antonio da, 297, 336. 
 ,. Giuliano da, 242, 245, 
 
 276. 
 Sano or Ansano di Matteo. 62t. 
 i^antacroco, Girolamo, 322, 369, 
 
 370. 
 Santo, Antonio di, 349. 
 Sansovino, Andrea Contucci, 
 
 " detto," 237, 238. 239, 241, 245, 
 
 254*276, 312, 315, 319, 370. 
 Sansovino, Jacopo Tatti, " detto." 
 
 See Tatti, Jacopo. 
 Santi or Sanzio, RafFaelle, 276, 277, 
 
 318, 319. 
 Saronno, Alessandro da, 377. 
 Sassot'errato, Pietro Paolo Aga- 
 
 bita da, fl. 1513. 
 Savii, Paolo, 217. 
 Schonganer, Mai'tin, 254. 
 Scilla da Milano, 171, 193. 
 Sebastiario, Fra, del Piombo, see 
 
 Luciani. 
 Segiila, Francesco, 244*. 
 Selli. Niccolo and Francesco, 180, 
 
 389. 
 Serrano, Angelo, 339. 
 Sesto, Luigi da, 193. 
 
 „ Stetano da, 188, 190. 
 
 „ Battista da, 190t. 
 
 „ _ Paolo da, 193t. 
 Settignano, Desiderio da. See De- 
 
 siderio da Settignano. 
 Settignano, Antonio di Giorgio da, 
 
 158. 
 Settignano, Sclierano da. 
 Silvio de' Bernardi. 
 Simone Fiorentino. /See Ghini, 
 
 SinioUf* dJ Giovanni. 
 
 Simone di Nanni Ferucci. ^'>^*, 113, 
 
 125, 126, 130. App, S.No. 11. 
 Simone di Francesco, 126*. 
 „ da Ragiisa. \xxv. 
 „ da Paria, 355. 
 ,, da Colle, 76. 
 Sinibaldi, Bartolomeo, orBaccio da 
 
 Montehipo. tifc Montelupo, Bac- 
 
 cio da Eaffaello da. 
 Sinibaldi, Raffaello. See Monte- 
 lupo, RafFaello da. 
 Soggi, Niccolo. 2o4t. 
 Solari, Cristofano detto II Gcbbo. 
 
 190t, 191, 192, 341. 344. 
 Solari, Giovanni, 185*. 
 
 „ Gniniforte, 184, 185*, 188. 
 Solismeo II., 244*. 336. 
 Sormanni, Giovanni Antonio, fl, 
 
 1580. Genoa. 
 Sormanni, Lionardo, fl. 1580. 
 Spalatro, Giovanni da, 212§. 
 Spani, Prospero di Bartoloniio, 
 
 383, 384. 
 Spani, Bartolomeo di Clementi, 
 
 383. 
 Spani, Bernardino di Bartolom.'jc, 
 
 383. 
 Spani, Giovanni Andrea, 383. 
 
 „ Girolamo, 383. 
 Sperandio. 96, 222, 404. 
 Spinelli, Niccolo di Lnca, 76. 
 Spinazzi, Innocenzo, 2o9t. 
 Staurachios, xlv. 
 Stefano. Tommaso di Pietro di. 
 
 See Masuccio II. 
 Stefano, Giovanni di, 67. ^i. 
 „ Pietro di, 165. 166. 
 Stucchis, Cristoforo de'. 193f. 
 Suardi, Bartolomeo, 176*. 
 
 Tacca, Pietro, 338. 
 
 Tajapiera, Arduinus Venetus, 196. 
 
 Talenti, Simone di Francesco, 49. 
 
 'I'ancredi ot" Pentima, 163. 
 
 Tamagnini Antonio, 190t. 
 
 Tatti, Jacopo, called Sansovino, 
 
 215* 231, 241, 24.5, 276, 335, 
 
 336, 354, 357, 364, 365, 366, 371, 
 
 382. 
 Taverna, 193+. 
 Tedesca, Pier. Gio., 389. 
 Tesi Mano, 18. 
 Tino, or Lino, di Camaino. Set 
 
 Camaino, Tino di. 
 Torre. Giuiio di G:r-I:i">o della, 
 
 6t6. •
 
 432 
 
 Index of Artists Names, 
 
 Torregiano, Piero, 248, 250, 254t, 
 
 255, 325. 
 Tradate, Jacopino da, 181, 221. 
 
 „ Samuele da, 181. 
 Trebatti Paolo Ponzio, 328, 340. 
 Tribolo II. Niccolo Pericoli. See 
 
 Braccini Niccolo, 17, 244, 309, 
 
 335, 337, 379. _ App. R. 
 Triplno, Giov., Girogio. 
 Turino, Agostino, 68. 
 
 „ Sano di, 67, S3. 
 
 „ Pietro, 68. 
 
 „ Giov., 83,68. 
 
 „ Lorenzo di, 68. 
 
 Cgolino da Siena, 46. 
 Uccello, Paolo, 79, 153* 255. 
 Unghero, Nanni, 242*, 335. 
 Urbano da Cortona. 104, 125, 69. 
 Urso, or Orso, Magister, xxi. 
 Usanza Girolamo, detto II Ferra- 
 rese, 382. 
 
 Vairone Biagio, 342t, 344. 
 A'aldanibrini, Francesco di Do- 
 
 menico, G2t, 76t. 
 Yaleuti, or del Vagliente,_104, 125. 
 Vannucci, Pieti-o, Perugino. See 
 
 Penigino, Pietro. 
 Vaglierino. App. Q. 397. 
 Valentino da Viterbo. App. Q. 397. 
 
 di Paolo, 60|. 
 Vannini Pietro, Osimo, 1379. 
 Vasari Giorgio, 304, 307, 311, 316. 
 Vecchifitta, Loi-enzo di Pietro, II., 
 
 67. 68. 69, 83. 
 Vecchietta, Bernardo, 337. 
 Vellano, or Bellano Bartolomeo. 
 
 /See Bellano Bartolomeo. 
 
 Yarro d'Agnolo. App. Q. d. 397. 
 
 Vassaletto, 174. 
 
 Venezia Antonio da, xiv. cy. 
 
 Yenetus, Marcus, 195. 
 
 Yenusti, Marcello, 304t. 
 
 Yeri-occbio, Andrea del. 125, 131« 
 
 136, 159, 360, 361, 395, 403. 
 Yerroccbio. Giuliano, 131. 
 Yignola, Giac. Barozzi, 307. See 
 
 Barozzi Giacomo. 
 Yicenza, Yincenzo da, 373, 
 Yicenza da Girolamo, 373. 
 Yincenzi, Antonio, 196. 
 Yinci, Pierino da. App. R. p. 397. 
 
 „ Lionardo da, 12i.l35, 136 
 
 138, 159, 262, 309, 311, 402. 
 
 App. and R. 
 Yito di ]\Iarco, 67*. 
 Yiterbo, Fra Antonio da, App. Q, 
 
 p. 397. 
 Yittoria, Alessandro, 164J, 244* 
 
 315. 365, '^m, 377. 
 Yiviano, Michelangelo di, 310, 
 
 317, 325. 
 Yolterra, Zaccaria da, 381. 
 
 Walter Alemanno, 164, 
 
 Weyden, Roger van der, 181 J, 184, 
 
 Wolvinus, XV. 
 
 Zanobi, Bernardo, 343. 
 Zaratteri, Fratelli, 185*. 
 Zenale Bernardino, 191. 
 Zeno da Campione, tl. 1S88. 
 Z liana di Albergbetto, 217*. 
 Zucchi, Marc' Antonio, 230, 
 
 „ Pier "detto" dellc Cam- 
 
 pane, 217. 
 Zorzi, Zuane, "d'itto" Pyrgotelea 
 
 See Pyrgoteles. 
 
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