file which includes the original        
illustrations4       ,see #ccbeb-;h4htm 
or #ccbeb-;h4zip3                       
7https3_/_/www4gutenberg4org_/cache_/epu
b_/#ccbeb_/pg#ccbeb-;images4html7       
or                                      
7https3_/_/www4gutenberg4org_/files_/#cc
beb_/ccbeb-;h4zip7         ,images of   
the original pages are available through
       ,internet ,archive_/,american    
,libraries4 ,see                        
http3_/_/www4archive4org_/details_/tusca
nsculptureo#jj;hurliala   ,transcriber's
 note3        ,in the text a carat      
character 77 indicates that the         
following character is superscripted4   
,with the exception of the following two
 typographical       corrections1 the   
text of this file is that which is      
contained in the original printed       
volume4        ,typographical ,errors   
,corrected3           ,page #jef1       
,paragraph #a3 ,missing a added         
,page #jff1 ,paragraph #a3 ,missing 4   
added      ,,tuscan ,,sculpture ,,of    

,,the ,,fifteenth ,,century  ,a         
,collection of ,sixteen ,pictures       
,reproducing ,works by ,donatello1 the  
,della ,robbia1 ,mino da ,fiesole1 and  
,others1 with ,introduction and         
,interpretation        99      99       
99      99      99      99              
,,riverside ,,art ,,series              
#a4 ,,raphael                           
#b4 ,,rembrandt                         
#c4 ,,michelangelo                      
#d4 ,,millet                            
#e4 ,,reynolds                          
#f4 ,,murillo                           
#g4 ,,greek ,,sculpture                 
#h4 ,,titian                            
#i4 ,,landseer                          
#aj4 ,,correggio                        
#aa4 ,,tuscan ,,sculpture               
#ab4 ,,van ,,dyck  ,representative      
pictures by famous ,artists1 with       
interpretative text and portrait of the 
painter4 ,edited by ,,estelle ,m4       
,,hurll4 ,each volume1 crown #hvo1 #ge  
cents1 net2 ,school ,edition1 linen1 #ej

 cents1 net2 paper1 #ce cents1 net4     
,,houghton1 ,,mifflin  ,,co4            
,boston and ,new ,york        99      99
      99      99      99      99        
,illustration3 ,,il ,,marzocco          
7,,donatello7 ,national ,museum1        
,florence   ,the ,riverside ,art ,series
   ,,tuscan ,,sculpture ,,of ,,the      
,,fifteenth ,,century  ,a ,collection of
 ,sixteen ,pictures ,reproducing ,works 
by ,donatello1 the ,della ,robbia1 ,mino
 da ,fiesole1 and ,others1 with         
,introduction and ,interpretation  by   
,,estelle ,m4 ,,hurll        ,boston and
 ,new ,york ,houghton1 ,mifflin and     
,company  ,the ,riverside ,press1       
,cambridge #aijb  ,copyright1 #aijb1 by 
,houghton1 ,mifflin  ,co4  ,published   
,march1 #aijb4     ,,preface   ,this    
little collection is intended as a      
companion volume to ,greek ,sculpture1 a
 previous issue of the ,riverside ,art  
,series4 ,the two sets of pictures1     
studied side by side1 illustrate clearly
 the difference in the spirit animating 

the two art periods represented4  ,the  
,tuscan sculpture of the ,renaissance   
was developed under a variety of forms1 
of which as many as possible are        
included in the limits of our book3 the 
equestrian statue1 the sepulchral       
monument1 the ideal statue of saint and 
hero1 as well as various forms of       
decorative art applied to the           
beautifying of churches and public      
buildings both without and within4      
,,estelle ,m4 ,,hurll4 ,,new ,,bedford1 
,,mass4 ,february1 #aijb4     ,,contents
 ,,and ,,list ,,of ,,pictures           
,,page ,,il ,,marzocco 7,,the ,,heraldic
 ,,lion ,,of ,,florence7 4 ,by          
,donatello ,frontispiece  ,,introduction
        ,i4 ,,on ,,some                 
,,characteristics ,,of ,,tuscan         
,,sculpture            ,,of ,,the       
,,fifteenth ,,century                   
vii      ,,ii4 ,,on ,,books ,,of        
,,reference                             
xi     ,,iii4 ,,historical ,,directory  
,,of ,,the ,,works ,,in ,,this          

,,collection     xiii      ,,iv4 ,,table
 ,,of ,,biographical ,,data             
xvi    ,i4 ,,musical ,,angels4 ,by      
,donatello                              
#a   ,,ii4 ,,st4 ,,philip4 ,by ,nanni di
 ,banco                                 
#g  ,,iii4 ,,st4 ,,john ,,the ,,baptist4
 ,by ,donatello                         
#ac   ,,iv4 ,,the ,,infant ,,jesus ,,and
 ,,st4 ,,john4 ,by ,mino da ,fiesole    
#ai    ,v4 ,,boys ,,with ,,cymbals4 ,by 
,luca della ,robbia                     
#be   ,,vi4 ,,tomb ,,of ,,ilaria ,,del  
,,carretto 7,detail74 ,by ,jacopo       
della ,quercia                          
#ca  ,,vii4 ,,madonna ,,and ,,child     
7,detail of lunette74 ,by ,luca         
della ,robbia                           
#cg ,,viii4 ,,the ,,meeting ,,of ,,st4  
,,francis ,,and ,,st4 ,,dominick4 ,by   
,andrea della ,robbia                   
#dc   ,,ix4 ,,st4 ,,george4 ,by         
,donatello                              
#di    ,x4 ,,bambino4 ,by ,andrea della 
,robbia                                 

#ee   ,,xi4 ,,the ,,annunciation4 ,by   
,andrea della ,robbia                   
#fa  ,,xii4 ,,the ,,ascension4 ,by ,luca
 della ,robbia                          
#fg ,,xiii4 ,,tomb ,,of ,,the ,,cardinal
 ,,of ,,portugal4 ,by ,antonio          
,rossellino                             
#gc  ,,xiv4 ,,equestrian ,,statue ,,of  
,,gattamelata4 ,by ,donatello           
#gi   ,,xv4 ,,shrine4 ,by ,mino da      
,fiesole                                
#hf  ,,xvi4 ,,il ,,marzocco 7,,the      
,,heraldic ,,lion ,,of ,,florence7      
,by ,donatello 7,see ,frontispiece7     
#ia  ,,pronouncing ,,vocabulary ,,of    
,,proper ,,names ,,and ,,foreign ,,words
            #ie  ,,note3 ,with one      
exception the pictures were made from   
photographs by ,alinari2 the ,musical   
,angels was made from a photograph by   
,naya4     ,,introduction  ,i4 ,,on     
,,some ,,characteristics ,,of ,,tuscan  
,,sculpture    ,,in ,,the ,,fifteenth   
,,century4   ,the ,italian sculptors of 
the earlier half of the fifteenth       

century are more than mere forerunners  
of the great masters of its close1 and  
often reach perfection within the narrow
 limits which they chose to impose on   
their work4 ,their sculpture shares with
 the paintings of ,botticelli and the   
churches of ,brunelleschi that profound 
expressiveness1 that intimate impress of
 an indwelling soul1 which is the       
peculiar fascination of the art of      
,italy in that century4  ,these words of
 ,walter ,pater define admirably the    
quality which1 in varying degree1 runs  
through the work of men of such         
differing methods as ,donatello1 the    
della ,robbia1 ,mino da ,fiesole1 and   
,rossellino4 ,it is the quality of      
expressiveness as distinguished from    
that abstract or generalized character  
which belongs to ,greek sculpture4      
,greek sculpture1 it is true1 taught    
some of these artists how to study      
nature1 but it did not satisfy          
,christian ideals4 ,the subjects        
demanded of the ,tuscans were entirely  

foreign to ,greek experience4 ,the      
saints and martyrs of the ,christian era
 were at the opposite pole from the gods
 and heroes of antiquity4 ,hence the aim
 of the new sculpture was the           
manifestation of the soul1 as that of   
the classic art had been the            
glorification of the body4  ,jacopo     
della ,quercia was one of the oldest of 
the sculptors whose work extended into  
the fifteenth century1 being already    
twenty-five years of age when that      
century began4 ,standing thus in the    
period of transition between the old and
 the new1 his work unites the influence 
of mediaeval tradition with a distinctly
 new element4 ,his bas-reliefs on the   
portal of ,s4 ,petronio at ,bologna are 
probably his most characteristic work4  
,the tomb of ,ilaria del ,carretto is in
 a class by itself3 ,in composition1 the
 gravest and most tranquil of his works1
 and in conception1 full ofbeauty and   
feeling4#a  ,donatello is undoubtedly   
the greatest name in ,italian sculpture 

previous to ,michelangelo4 ,the kinship 
between these two men was felicitously  
expressed in ,vasari's quotation from   
the most learned and very reverend ,don 
,vicenzo ,borghini3 ,either the spirit  
of ,donato worked in ,buonarroti1 or    
that of ,buonarroti first acted in      
,donato4 ,vitality1 force1 action1      
suggestiveness1 character1 such are the 
words which spring to the lips in the   
presence of both masters4  ,the range of
 ,donatello's art was phenomenal1 from  
works of such magnitude as the          
equestrian statue of ,gattamelata1 to   
the decorative panels for the altar of  
,s4 ,antonio at ,padua4 ,at times he was
 an uncompromising realist1 as in his   
statue of the bald old man1 the         
,zuccone1 who figured as ,king ,david4  
,again he showed himself capable of     
lofty idealism1 as in the beautiful and 
heroic ,st4 ,george4 ,which way his own 
tastes leaned we may judge from his     
favorite asseveration1 ,by my ,zuccone4 
,the point is that it mattered nothing  

to him whether his model was beautiful  
or ugly1 whether he wrought out an ideal
 of his imagination or studied the      
character of an actual individual2 his  
first care was to make the figure live4 
,in consequence his art has what a      
critic has called a robustness and a    
sanity which have made it a wellspring  
of inspiration to lesser men4  ,the only
 subject practically left out of        
,donatello's work was woman4 ,children  
afforded him all the material he needed 
for the more decorative forms of his    
art4 ,for the rest the problems which   
interested him most were perhaps best   
worked out in the study of the male     
figure4  ,a recent biographer of        
,donatello1 ,hope ,rea1 points out some 
interesting characteristics of his      
technical workmanship4 ,in every work   
subsequent to his ,st4 ,mark1 the hair1 
she says1 is conspicuous by its         
appearance of living growth4 ,and again1
 explaining the excellence of his       
drapery1 she shows how he went beyond   

the ordinary consideration of the       
general flow and line of the stuffs1 to 
a study of the sections of the folds4   
,hence drapery with him is not only an  
arrangement of lines for decorative     
effect1 or a covering for the figure1   
but it is a beauty in itself1 filled    
with the living air4  ,nanni di ,banco  
is a name naturally associated with that
 of ,donatello1 not only on account of  
the friendship between the two1 but from
 the fact that both worked on the church
 of ,or ,san ,michele4 ,nanni was one of
 the smaller men whose work is          
overshadowed by the fame of a great     
contemporary4 ,his art has not          
sufficient distinction to give it a     
prominent place2 yet it is not without  
good qualities4 ,marcel ,reymond insists
 that the public has not yet appreciated
 the just merits of this neglected      
sculptor4 ,in his opinion the ,st4      
,philip was the inspiration of          
,donatello's ,st4 ,mark1 while ,nanni's 
,st4 ,eloi had an influence upon ,st4   

,george4  ,with ,luca della ,robbia     
began the reign of the bas-relief1 as   
,marcel ,reymond characterizes the      
period of fifty years between ,donatello
 and ,michelangelo4 ,women and children 
were the special subjects of this       
sculptor's art1 and it is perhaps in the
 ,madonna and ,child that we see his    
most characteristic touch4 ,how well he 
could represent spirited action1 we see 
in some of the panels of the organ      
gallery4 ,how dignified was his sense of
 repose1 is seen in the lunette of the  
,ascension4  ,much as he cared for      
expression1--expression carried to its  
highest intensity of degree1 as ,walter 
,pater put it1--he never found it       
necessary to secure this expression at  
the cost of beauty4 ,that he studied    
nature at first hand his works are clear
 evidence1 but that did not preclude the
 choice of attractive subjects4 ,his    
style is so sober and contained1 writes 
a recent critic1 so delicate and yet so 
healthy1 so lovely and yet so free from 

prettiness1 so full of sentiment1 and   
devoid of sentimentality1 that it is    
hard to find words for any critical     
characterization4#b ,simplicity and     
nobility1 the words of ,cavalucci and   
,molinier1 is perhaps the best phrase in
 which to sum up the art of ,luca della 
,robbia4  ,in his nephew1 ,andrea della 
,robbia1 the founder of the school had a
 successor whose best work is worthy of 
the master's teaching4 ,if he lacked the
 simplicity and severity of the older   
man1 he surpassed him in depth of       
,christian sentiment4 ,sometimes1 it is 
true1 his tenderness verges on weakness1
 his devoutness on pietism4 ,if we are  
tempted to charge him with monotony we  
must remember what pressure was brought 
upon a man whose works attained such    
immense popularity4 ,the bambini of the 
,foundling ,hospital and the ,meeting of
 ,st4 ,francis and ,st4 ,dominick show  
the high level to which his art could   
rise4  ,antonio ,rossellino and ,mino da
 ,fiesole may be classed together as    

sculptors to whom decorative effect was 
of first importance2 they loved line and
 form for their intrinsic beauty4 ,they 
delighted in elaborate and well ordered 
compositions4 ,elegance of design1      
delicacy and refinement in handling1 are
 invariable qualities of their work4    
,such qualities were especially to be   
desired in the making of those          
sepulchral monuments which were so      
numerous in their period4 ,of the many  
fine works of this class in ,tuscany    
each of these two sculptors contributed 
at least one of the best examples4  ,it 
is superfluous to point out that the    
sweetness of these sculptors is         
perilously near the insipid1 their grace
 too often formal4 ,we are brought to   
realize the true greatness of the men   
when we behold the grave and tranquil   
beauty of the effigy of the ,cardinal of
 ,portugal1 or the vigorous             
characterization of the bust of ,bishop 
,salutati4  ,it is ,john ,addington     
,symonds who says the final word when he

 declares that the charm of the works of
 such men as ,mino and ,rossellino can  
scarcely be defined except by similes4  
,and these are the images which this    
master of similes calls up to our mind  
as we contemplate their works3 ,the     
innocence of childhood1 the melody of a 
lute or a song bird as distinguished    
from the music of an orchestra1 the     
rathe tints of early dawn1 cheerful     
light on shallow streams1 the serenity  
of a simple and untainted nature that   
has never known the world4  ,footnote   
#a3 ,sidney ,colvin4  ,footnote #b3     
,notes on ,vasari's ,lives1 edited by   
,e4 ,h4     and ,e4 ,w4 ,blashfield and 
,a4 ,a4 ,hopkins4     ,,ii4 ,,on ,,books
 ,,of ,,reference4   ,there are but few 
works devoted exclusively to the subject
 of ,italian ,renaissance sculpture4    
,for many years ,american students      
seeking information in this direction   
have relied chiefly upon the works of   
,c4 ,c4 ,perkins3 ,tuscan ,sculptors 7#b
 vols471 ,london1 #ahfd2 ,italian       

,sculptors 7in ,northern1 ,southern and 
,eastern ,italy71 ,london1 #ahfh2 and   
finally the volume which unites and     
revises the material of both earlier    
works1 ,historical ,handbook of ,italian
 ,sculpture1 ,new ,york1 #ahhc4  ,the   
recent work of ,marcel ,reymond1 ,la    
,sculpture ,florentine1 ,florence1      
#ahih1 has been heartily welcomed by    
students of all nationalities4 ,it      
consists of four volumes1 all well      
illustrated1 devoted respectively to3   
7#a7 ,les ,predecesseurs de l',ecole    
,florentineet la ,sculpture ,florentine 
au ,,xive siecle ,the ,precursors of the
 ,florentine ,school and ,florentine    
,sculpture of the #adth ,century4 7#b7  
,premiere moitie du ,,xve siecle ,first 
half of the #aeth century4 7#c7 ,seconde
 moitie du ,,xve siecle ,second half of 
the #aeth century4 7#d7 ,le ,,xvie      
siecle et les ,successeurs de l',ecole  
,florentine ,the #afth ,century and the 
,successors of the ,florentine ,school4 
,as it has not been translated into     

,english this work is not so widely read
 by the general public as it should be1 
but it is probably to be found in most  
large libraries4  ,a newly published    
book1 ,italian ,sculpture of the        
,renaissance1 by ,l4 ,j4 ,freeman1 ,m4  
,a41 appears just as this volume goes to
 press4 ,it is a brief survey1 critical 
and interpretative1 of the principal    
works of the most prominent ,florentine 
sculptors of the period1 with some      
account of the characteristics of the   
early and later ,renaissance work4 ,some
 forty fine illustrations elucidate the 
study4  ,of the general works on the    
history of art from which material on   
our subject may be drawn1 the most      
important is of course ,vasari's ,lives4
 ,in the recently revised ,english      
version1 edited by ,e4 ,h4 and ,e4 ,w4  
,blashfield and ,a4 ,a4 ,hopkins 7,new  
,york1 #ahig71 are some valuable        
footnotes summing up the characteristics
 of the individual sculptors4  ,of      
inestimable value for purposes of       

serious study are the volumes by ,eugene
 ,muentz1 ,histoire de l',art pendant la
 ,renaissance4 ,the material bearing on 
the sculptors illustrated in this       
present collection is found in his      
volume devoted to ,les ,primitifs       
7,paris1 #ahhi74 ,those to whom the     
,french text presents no difficulty will
 derive much benefit from the study of  
this book1 which may be consulted in the
 large public libraries4  ,a book       
available to all1 and of a delightfully 
popular nature1 is the volume on ,the   
,fine ,arts in ,john ,addington         
,symonds's series of ,the ,renaissance  
in ,italy4 ,this writer had a remarkable
 gift for putting much suggestive       
comment into a compact and readable     
form4  ,general histories of sculpture  
allotting a proportionate space to the  
consideration of the ,italian sculptors 
of the ,renaissance are1 by ,lucy       
,baxter1 ,sculpture1 ,renaissance and   
,modern 7,new ,york1 #ahia72 ,luebke1   
,history of ,sculpture1 translated from 

the ,german by ,f4 ,e4 ,bunnett         
7,london1 #ahgh72 ,allan ,marquand and  
,a4 ,l4 ,frothingham1 ,textbook of the  
,history of ,sculpture 7,new ,york1     
#ahif74  ,a special study of the work of
 ,donatello is made by ,hope ,rea in a  
volume of the series of ,handbooks of   
the ,great ,masters in ,painting and    
,sculpture4 ,a complete list of the     
sculptor's works is given4 ,luca della  
,robbia is the subject of two important 
,french works3 by ,cavalucci and        
,molinier1 ,les ,della ,robbia 7,paris1 
#ahhd72 by ,marcel ,reymond1 ,les ,della
 ,robbia 7,florence1 #ahig74 ,there is a
 chapter on ,luca della ,robbia in      
,walter ,pater's ,studies in the        
,history of the ,renaissance 7#ahij71   
and another in ,mrs4 ,van ,rensselaer's 
,six ,portraits 7,boston1 #ahhi74  ,mrs4
 ,oliphant has written pleasantly both  
of ,donatello and of ,luca della ,robbia
 in ,the ,makers of ,florence4          
,,iii4 ,,historical ,,directory ,,of    
,,the ,,works ,,in ,,this ,,collection4 

,frontispiece4 ,il ,marzocco 7the       
heraldic lion of ,florence74            
7,donatello47 ,made of pietra serena and
 originally placed on the ringhiera of  
the ,palazzo ,vecchio1 ,florence4 ,now  
in the ,national ,museum 7,bargello7 of 
that city1 while a bronze copy occupies 
its place in front of the palace4  #a4  
,musical ,angels4 7,donatello47 ,bronze 
bas-reliefs from the high altar of ,s4  
,antonio1 ,padua4 ,ordered in #addh4    
,completed in #adej4 ,marcel ,reymond   
holds that the execution of these       
reliefs was committed to assistants4 ,in
 #aegf a new altar was ordered1 and     
,donatello's bronzes were dispersed4 ,in
 #ahie a reconstruction of ,donatello's 
altar was made1 setting the parts in    
place according to what is supposed to  
have been the original design4  #b4 ,st4
 ,philip4 7,nanni di ,banco47 ,marble   
statue in niche on outside of ,or ,san  
,michele1 ,florence4 ,the date is       
uncertain2 ,marcel ,reymond considers it
 one of ,nanni's oldest works1 placing  

it before #adjh4  #c4 ,st4 ,john the    
,baptist4 7,donatello47 ,bas-relief in  
pietra serena in the ,national ,museum  
7,bargello71 ,florence4 ,no date is     
assigned4  #d4 ,the ,infant ,jesus and  
,st4 ,john4 7,mino da ,fiesole47 ,detail
 of marble altarpiece in alto relievo in
 cathedral of ,fiesole1 being a part of 
the monument of ,bishop ,salutati4      
,ordered in #adfb4  #e4 ,boys with      
,cymbals4 7,lucca della ,robbia47 ,one  
of the marble bas-reliefs ornamenting   
the organ gallery for the ,florence     
cathedral4 ,organ gallery begun in      
#adca1 finished #addj4 ,removed from    
cathedral in #afhh4 ,reliefs put in     
,uffizi ,gallery #ahhb1 and then in the 
,bargello4 ,thence taken to the museum  
of the ,duomo1 where they are now to be 
seen1 set up in place on the            
reconstructed gallery4  #f4 ,tomb of    
,ilaria del ,carretto 7,detail74        
7,jacopo della ,quercia47 ,marble tomb  
in the cathedral of ,lucca4 ,milanese   
dates it #adac1 but ,ridolfi's          

description of the ,lucca cathedral     
places ,jacopo's work there in #adjf or 
#adjg1 and ,muentz thinks this date     
conclusive4  #g4 ,madonna and ,child    
7,detail74 7,luca della ,robbia47       
,glazed terra cotta lunette over the    
door of a building 7now a shop7 in the  
,via dell' ,agnolo1 ,florence4          
,considered by ,marcel ,reymond the most
 difficult of ,luca's work to date4     
,according to ,dr4 ,bode1 executed      
before #adca2 according to ,allan       
,marquand1 between #adcj and #addj2     
according to ,marcel ,reymond1 towards  
#adej4  #h4 ,meeting of ,st4 ,francis   
and ,st4 ,dominick4 7,andrea della      
,robbia47 ,glazed terra cotta lunette in
 the ,loggia of ,san ,paolo1 ,florence4 
,classified by ,marcel ,reymond under   
,andrea's third manner1 because         
distinguished by perfect knowledge of   
artistic principles4  #i4 ,st4 ,george4 
7,donatello47 ,marble statue originally 
designed for a niche on the church of   
,or ,san ,michele1 ,florence4 ,executed 

in #adaf at the order of the ,guild of  
,armorers4 ,in #ahhg it was removed to  
the ,national ,museum1 ,florence1 to    
preserve it from injury by exposure to  
the weather4 ,a bronze copy was         
substituted for it on the church4  #aj4 
,bambino4 7,andrea della ,robbia47 ,one 
of a series of glazed terra cotta       
medallions on the facade of the         
,foundling ,hospital1 ,florence4 ,judged
 by its relation to the art of ,luca    
della ,robbia1 this is among the early  
works of ,andrea4 ,from certain data in 
the history of the hospital1 ,cavalucci 
reckons that it was executed about the  
year #adfc4  #aa4 ,the ,annunciation4   
7,andrea della ,robbia47 ,altarpiece at 
,la ,verna4 ,marcel ,reymond says that  
from the beauty of style and the        
advanced knowledge of technique         
exhibited here1 this work must belong to
 ,andrea's maturity1 that is1 in the    
neighborhood of his fortieth year4 ,it  
is classified by ,reymond in ,andrea's  
first manner4  #ab4 ,the ,ascension4    

7,luca della ,robbia47 ,enamelled terra 
cotta lunette1 decorating tympanum of   
door of sacristy in the cathedral at    
,florence4 ,the first work in this      
material by ,luca of which we have the  
date1 #addf4  #ac4 ,tomb of the         
,cardinal of ,portugal 7,detail74       
7,antonio ,rossellino47 ,tomb in colored
 marble in the church of ,san ,miniato1 
,florence4 ,ordered in #adfa4  #ad4     
,equestrian statue of ,gattamelata4     
7,donatello47 ,in the ,piazza del       
,santo1 ,padua4 ,commission given #addd4
 ,work begun #addf4 ,statue set up1     
#adec4 ,erected at the expense of       
,gattamelata's son1 ,gio4 ,antonio4     
#ae4 ,shrine4 7,mino da ,fiesole47 ,a   
marble tabernacle1 decorated in         
mezzo-relievo and originally made for   
the nuns of the convent of the ,murate4 
,removed in #ahae to ,s4 ,croce1        
,florence4 ,no date is assigned to it4  
,,iv4 ,,table ,,of ,,biographical       
,,data4   ,jacopo di ,pietro d',angelo1 
of ,la ,quercia ,gossa1 a castello once 

near     ,siena and since destroyed4    
,born #acga2 died #adch4 ,variously     
stated     to have been a scholar of    
,maestro ,goro and of ,luca di          
,giovanni4     ,milanese believes that  
these claims are groundless1 and that   
,jacopo was a pupil of his own father1  
who was a goldsmith4 ,best     known for
 his marble reliefs ornamenting the     
portal of ,s4     ,petronio1 ,bologna4  
,nanni di ,banco4 ,son of ,antonio di   
,banco1 who was at work in the          
,florence ,cathedral in #adjf4 ,he is   
known to have been considerably         
older than ,donatello1 and ,marcel      
,reymond suggests the date #acgd     as 
the probable year of his birth4 ,died   
#adba4  ,donatello4 ,the familiar name  
applied to ,donato di ,niccolo di ,betti
     ,bardi4 ,born in ,florence1 #achf2 
died in ,florence1 #adff4 ,his visit    
to ,rome in company with ,brunelleschi  
has been called the most     important  
of the initial steps in the revival of  
antiquity in art4     ,the friendship   

and patronage of ,cosmo de' ,medici     
brought the     artist many commissions4
  ,luca di ,simone di ,marco della      
,robbia4 ,born in ,florence1 #acii or   
#adjj2 died #adhb4  ,andrea della       
,robbia1 nephew of ,luca4 ,born #adce2  
died #aebe4  ,antonio ,rossellino4 ,one 
of the five sons of ,matteo di ,domenico
     ,gambarelli1 all being artists4    
,born in ,settignano in #adbg2 died     
about #adii4  ,mino di ,giovanni di     
,mino1 usually called ,mino da ,fiesole4
 ,born in     #adca in ,poppi1 in the   
,casentino1 a district between the      
sources of     the ,arno and ,tiber1    
north of ,arezzo4 ,died in #adhd4 ,he   
was a friend     of ,desiderio da       
,settignano1 but probably not one of his
 pupils4     ,i  ,,musical ,,angels     
,,by ,,donatello   ,in the western part 
of ,italy1 lying a little north of the  
centre1 is the district known as        
,tuscany4 ,here1 in the valley of the   
,arno1 is the city of ,florence1        
glorious with her storied palaces and   

churches4 ,around her are clustered     
,pistoja and ,lucca1 ,pisa and ,leghorn1
 ,siena and ,arezzo1 all notable towns  
in ,italian history4 ,here1 too1 is     
,carrara1 with its stores of beautiful  
marble4  ,it was from this little       
district of ,tuscany that the sculptors 
came forth who have helped to make      
,italy famous as the birthplace of      
modern art4 ,the development of ,tuscan 
sculpture covered a period of some three
 centuries1 beginning with the ,pisan   
,niccolo1 who worked between the years  
#abbj and #abgj1 and culminating with   
the great ,florentine ,michelangelo1 who
 died in #aefd4 ,we shall study in this 
little collection a few works of the    
fifteenth century4  ,it was the time    
called by historians the ,renaissance1  
which means literally the new birth4    
,the world was awakening from the long  
sleep of the ,middle ,ages1 and ,italy  
was the first to be aroused4 ,certain   
adventurous spirits began to ponder the 
possibility of a new continent beyond   

the sea4 ,there was a great revival of  
learning1 accompanied by a passionate   
love of the beautiful4 ,schools of art  
were established throughout the length  
of ,italy4  ,in other volumes of this   
series we have learned how the churches1
 palaces1 and public buildings were     
filled with paintings4#c ,we shall now  
see that sculpture also contributed much
 to the adornment of the cities4        
,statues1 busts1 and bas-reliefs1 in    
marble1 bronze1 and terra-cotta1        
ornamented many buildings both without  
and within4  ,our illustration shows two
 panels from the series of twelve bronze
 reliefs on the front of a church altar4
 ,two little boy angels are making music
 with their pipes4 ,the companion panels
 are also filled with musical angels1   
some singing and others playing on      
various instruments4  ,the ,new         
,testament begins and ends with the     
music of angels4 ,the birth of ,jesus is
 heralded by a multitude of the heavenly
 host singing ,glory to ,god in the     

highest4 ,the golden city of ,st4       
,john's vision is filled with the voice 
of harpers1 harping with their harps1 in
 the new song before the throne of ,god4
 ,thence has arisen the beautiful custom
 of artists to represent angels as      
musicians4  ,the child angels of our    
picture have tiny pointed wings as a    
sign of their heavenly origin4          
,certainly we cannot imagine such       
buoyant little creatures treading the   
earth like mortals4 ,one stands on      
tip-toe like a bird poised for flight4  
,the other skips through the air with   
joyous motion4 ,the head of one is      
encircled by a halo1 the emblem of      
purity4 ,the other wears a fillet of    
flowers over his curls4 ,each carries   
two little pipes1 the simplest of       
musical instruments4  ,illustration3    
,,musical ,,angels 7,,donatello7 ,church
 of ,san ,antonio1 ,padua  ,it was long 
ago in the childhood of the race that   
some shepherd1 plucking a reed from the 
bank of a stream1 first found that the  

hollow stem had a voice of its own4 ,the
 pipe thereafter became a favorite      
instrument among primitive people4 ,we  
read in the ,old ,testament ,scriptures 
that the ancient ,hebrews used it in the
 celebration of their festivities4 ,at  
the ,greek festivals also the pipers had
 a place in the procession of musicians4
  ,our angel pipers are blowing lustily 
with puffing cheeks--                   
,such sweet     ,soft notes as yet      
musician's cunning     ,never gave the  
enraptured air4  ,they are genuine      
musicians1 not children playing with the
 pipes as with toys4 ,they move to the  
rhythm of their piping1 their lifted    
faces expressing their delight4 ,their  
thin garments cling to their figures1   
and the loose ends flutter about them4  
,every line of the modelling is         
beautiful1 the poise of the figures full
 of rhythmic grace4 ,the angel at the   
left stands in profile1 with face       
slightly turned away from the spectator4
 ,the right hand figure skips directly  

out of his panel1 swinging lithely about
 towards the left1 as he moves4 ,the    
outlines of both figures describe long  
fine curves1 with which the edges of the
 drapery run parallel4 ,in the drawing  
of the right hand angel we may trace    
delicate patterns of interlacing ovals4 
,some portions of the work seem to be   
modelled in very high relief4 ,the      
limbs1 we are told1 are in low relief1  
supported on a metal back1 an inch or so
 thick1 by which they are thrown out to 
a proper distance from the background4  
,the altar to which our panels belong is
 in the church of ,s4 ,antonio1 ,padua1 
and was executed by the ,florentine     
sculptor1 ,donatello1 in #adej4 ,the    
entire scheme of decoration is very     
elaborate4 ,on the front is a row of    
musical angels1 in which the panels here
 reproduced occupy opposite ends4 ,above
 these are five reliefs of larger size2 
and still higher are seven life-size    
statues of saints4 ,the whole is        
surmounted by a crucifix4 ,even the back

 of the altar is ornamented with        
reliefs1 and the work is an example of  
the spirit of the age1 which thought    
nothing too rich or beautiful for the   
purposes of worship4  ,footnote #c3 ,see
 ,raphael1 ,michelangelo1 ,titian1 and  
,correggio4     ,,ii  ,,st4 ,,philip    
,,by ,,nanni ,,di ,,banco   ,st4 ,philip
 was one of the first group of disciples
 whom ,jesus called to his service4 ,he 
was a native of ,bethsaida in ,galilee1 
but we do not know what occupation he   
pursued there4 ,there is a tradition    
that he was a chariot driver1 and in any
 case he was certainly a laboring man   
like all of the twelve4 ,having attached
 himself to ,jesus he began at once to  
work in his cause4 ,he persuaded        
,nathanael to come and see the ,master1 
and thereby won a new adherent4#d       
,philip was not spiritually minded1 like
 ,john1 nor impetuous1 like ,peter1 but 
in his own way he wanted to know the    
truth4 ,perhaps he was a little slower  
than others to grasp religious teaching4

 ,it may be that he was franker than    
many in confessing that he did not      
understand4  ,he and ,thomas were       
somewhat alike in this respect1 and     
once1 when ,jesus was talking of        
departing to the ,heavenly ,father1 both
 interrupted him with questions4 ,philip
 said1 ,lord1 show us the ,father and it
 sufficeth us4 ,have ,i been so long    
time with you and yet hast thou not     
known me8 replied ,jesus4 ,he that hath 
seen me hath seen the ,father4#e        
,apparently ,philip learned his lesson  
well1 for we read in traditional history
 of his faithful missionary services in 
later life4 ,he was twenty years in     
,scythia preaching the gospel4 ,then he 
went to ,hieropolis in ,phrygia1 where  
the people worshipped a serpent4 ,the   
apostle drove the serpent away1 but the 
pagan priests sought his life in        
revenge4 ,he was bound to a cross and   
stoned to death1 praying even in his    
agony for his enemies4#f  ,the statue of
 ,st4 ,philip in our illustration shows 

him as a somewhat commonplace-looking   
man with heavy features4 ,it accords    
with the usual account of him that his  
face should not be particularly         
intellectual4 ,his attitude is full of  
dignity1 and denotes a well-balanced    
character4 ,the large well-knit hands   
are those of an artisan4 ,he is of about
 middle age1 as the artists usually     
represent him4 ,a plain man of good     
common sense and sterling worth--this   
was ,philip both in fact and in the     
statue4  ,in pictures and statues the   
apostles nearly always carry the symbols
 of their identity4 ,st4 ,philip's      
emblem is the cross1 but it is here     
dispensed with1 and we have only the    
,latin inscription to show us who he is4
  ,illustration3 ,,st4 ,,philip 7,,nanni
 ,,di ,,banco7 ,church of ,or ,san      
,michele1 ,florence  ,the statue stands 
in a niche1 and is one of a series      
ornamenting the outside of the church of
 ,or ,san ,michele in ,florence4 ,in    
building this church all the merchants  

and artisans of the city contributed to 
support the work4 ,each trade was at    
that time represented by a guild or     
association whose members united to     
advance their common business           
interests4#g ,these various guilds      
furnished the statues for the niches1   
each supplying the figure of its own    
patron saint4 ,st4 ,philip was the gift 
of the ,guild of ,hosiers1 and was      
executed by the sculptor ,nanni di      
,banco4  ,donatello had at first been   
approached by the guild1 but considering
 his price exorbitant they gave the     
order to ,nanni1 who promised to accept 
any terms they decided upon4 ,when the  
statue was done1 however1 the sculptor  
demanded a sum larger than the price of 
,donatello4 ,the latter was now called  
upon to act as referee1 and he set a    
still higher price upon the work4 ,the  
,hosiers were indignant4 ,why1 they     
asked1 had ,donatello rated ,nanni's    
work at a higher price than his own1    
which would have undoubtedly been       

better8 ,because1 replied the great     
sculptor1 laughing1 being less skilful  
than ,i1 he has worked harder1 and      
therefore deserves more pay4 ,a         
compromise was effected1 and the statue 
set in place4  ,that ,donatello could   
indeed have made a better statue we     
shall presently see when we study his   
,st4 ,george1 designed for the same     
church4 ,st4 ,philip lacks distinction1 
and it has not the animation which the  
greater sculptor knew how to impart to  
his work4 ,nevertheless it has certain  
artistic qualities which make it worthy 
of ,donatello's championship4  ,the     
lines of the drapery are well studied4  
,apparently ,nanni had learned something
 in this respect from the ,greek        
sculpture4 ,where draperies are simple  
and hang in long unbroken lines1 the    
effect is impressive and dignified4     
,when they are voluminous and broken1   
they lose in dignity4 ,good art is      
always simple and has no meaningless    
lines4  ,we are interested in examining 

the niche in which the statue is set4   
,it is ,gothic in design1 and with its  
pointed top and side pinnacles recalls  
the cathedral windows in northern       
,europe4 ,an architectural frame of this
 sort is often called a tabernacle1     
being in fact a miniature church in     
form4 ,in the triangular space at the   
top is a bas-relief figure in half      
length which seems to represent ,christ4
 ,the base is ornamented with an        
arabesque or scroll design1 flanked at  
each end by the arms of the ,hosiers'   
,guild4 ,the side pillars have rich     
,corinthian capitals4 ,just inside are  
twisted pillars of curious workmanship4 
,our illustration also shows a portion  
of the wall against which the niche is  
placed4 ,we see that the church is built
 of stone1 set in square blocks4 ,on    
each side of the niche is a metal ring  
through which torches were thrust4      
,footnote #d3 ,st4 ,john1 chapter i41   
verses #dc-ea4  ,footnote #e3 ,st4      
,john1 chapter xiv41 verses #a-aa4      

,footnote #f3 ,mrs4 ,jameson's ,sacred  
and ,legendary ,art1 p4 #bce4  ,footnote
 #g3 ,the ,florentine guilds of this    
period may be compared with those of the
 seventeenth century in ,holland4 ,see  
the chapter on the ,syndics of the      
,cloth ,guild in the volume on          
,rembrandt in the ,riverside ,art       
,series4     ,,iii  ,,st4 ,,john ,,the  
,,baptist  ,,by ,,donatello   ,in the   
hill country of ,judaea lived the priest
 ,zacharias and his wife1 ,elisabeth1   
who were the parents of ,st4 ,john the  
,baptist4 ,they were pious people1      
walking in all the commandments and     
ordinances of the ,lord1 blameless4 ,one
 day1 as ,zacharias was ministering in  
his office in the temple1 an angel      
brought him the glad tidings that he was
 to have a son4 ,thou shalt call his    
name ,john1 said the vision1 and thou   
shalt have joy and gladness1 and many   
shall rejoice at his birth4  ,a great   
career was promised for the coming      
child4 ,he was to be a preacher filled  

with spiritual power4 ,like the old     
prophet ,elias1 he was to turn the      
hearts of the people to ,god1 and to    
prepare the way for the ,christ4 ,as a  
sign that the angel's words were true1  
,zacharias was stricken dumb until his  
son was born4 ,then his tongue was      
loosed1 and he spake and praised ,god4  
,the neighbors marvelled at the mystery 
of ,john's birth1 and they saw that the 
hand of the ,lord was with him4 ,and the
 child grew and waxed strong in spirit1 
until he came to manhood4#h ,then was   
fulfilled the angel's prophecy          
concerning him4 ,he became a great      
preacher1 and multitudes flocked to hear
 him4  ,john's manner of life was like  
that of a hermit4 ,he dwelt in the      
wilderness about the river ,jordan1     
wearing a garment of camel's hair bound 
about his loins with a leathern girdle4 
,his food was locusts and wild honey4   
,he gathered his audiences in the open  
air and baptised his disciples in the   
river4  ,though stern in his teachings  

he became for a time very popular4 ,yet 
he always spoke of his own work with    
great humility4 ,there cometh one       
mightier than ,i after me1 he said4#i   
,this was ,jesus1 who1 on presenting    
himself for baptism1 was greeted by     
,john as the ,lamb of ,god4 ,the        
prophet's mission was now accomplished4 
,he was soon after thrown into prison   
and beheaded1 at the order of ,king     
,herod1 whose sins he had openly        
rebuked4  ,the story of the ,baptist's  
life brings readily before the          
imagination the strange figure of the   
man4#aj ,it is not so easy to fancy how 
he might have looked as a boy4 ,the     
bas-relief of our illustration shows us 
what form the idea took in the mind of  
the sculptor ,donatello4  ,illustration3
 ,,st4 ,,john ,,the ,,baptist           
7,,donatello7 ,national ,museum1        
,florence  ,the little fellow seems tall
 and slender for his years1 as if he had
 stretched his limbs by running much in 
the open air4 ,the face is somewhat     

serious1 but perfectly childish4 ,the   
lips are parted in a half smile4 ,he has
 a good forehead1 and is an independent 
thinker4 ,he impresses us as a          
straightforward character1 a boy to like
 and trust4  ,it would be too much to   
say that he shows the making of a great 
man4 ,it is enough that he is an honest1
 healthy boy with a mind of his own4 ,he
 is hardly pretty1 but he is very       
interesting4 ,the hair is his most      
charming feature1 waving in little      
tendrils over the head4 ,he is not plump
 enough for his figure to show fine     
curves4 ,on the contrary1 the modelling 
is on rather severe lines1 as if in     
keeping with the character4  ,certain   
well understood signs show who he is4   
,the circle about his head is the halo1 
the symbol of a sacred character4 ,the  
skin garment fastened at the shoulder   
reminds us of the strange clothing ,john
 wore in the desert4 ,the tall cross is 
the emblem of the prophet1 as a         
forerunner of the crucified one4        

,donatello's art covered a wide range of
 subjects1 but in none was he more at   
home than in representing children4 ,he 
has been called the poet of child-life4 
,there are interesting points of        
comparison between the example before us
 and the ,musical ,angels of the altar  
at ,padua4 ,st4 ,john the ,baptist is   
evidently a real little boy1 transferred
 to the stone just as he was4 ,the      
piping angels1 on the other hand1 are   
child ideals1 without counterpart  in   
real life4 ,st4 ,john's large ear1 with 
its irregularly bent rim1 and his       
straight upper lip1 are features such as
 an artist must certainly have copied1  
not invented4 ,the angel faces1 on the  
other hand1 are moulded in the perfect  
curves which originate in the           
imagination of the artist4 ,donatello   
was1 above all things else1 a close     
student of human nature4 ,sometimes1    
indeed1 he chose very unattractive      
models1 and reproduced them so          
faithfully that the realism is almost   

painful4 ,his artistic eye was always   
open to new impressions4 ,perhaps1 one  
day as he walked through the streets of 
,florence1 he noticed among the children
 playing there this little fellow of the
 long neck and pensive face4 ,ecco1 said
 he1 to himself1 il ,giovannino4#aa ,the
 child's face and bearing had a quaint  
seriousness precisely suited to the     
character4  ,it is wonderful how the    
sculptor's art has made the little boy  
seem actually alive in the bas-relief4  
,the hair is executed with the skill    
peculiar to ,donatello1 and seems to    
grow from the head4 ,such studies from  
real life--genre studies1 as they are   
called--were lessons which prepared the 
artist for higher works of idealism4    
,the little ,st4 ,john may have been the
 original material for some of the angel
 figures4  ,footnote #h3 ,the           
circumstances of ,john's birth are      
related in the first chapter of ,st4    
,luke1 from which the quotations are    
drawn4  ,footnote #i3 ,st4 ,mark1       

chapter i41 verse #g4  ,footnote #aj3   
,see the pictures of ,st4 ,john the     
,baptist in the volumes on ,titian and  
,correggio in the ,riverside ,art       
,series4  ,footnote #aa3 ,there is the  
little ,john4     ,,iv  ,,the ,,infant  
,,jesus ,,and ,,st4 ,,john  ,,by ,,mino 
,,da ,,fiesole   ,jesus and ,st4 ,john  
the ,baptist were of nearly the same    
age1 and there was a peculiar tie       
between them4 ,their mothers1 ,mary and 
,elizabeth1 were cousins1 and before the
 boys were born the two women had       
confided in each other their hopes for  
the future of their children4 ,angelic  
messengers had predicted a remarkable   
destiny for both boys4 ,jesus was to    
rule over an everlasting kingdom1 and   
,john was to be his prophet preparing   
the way for him4 ,these were secrets    
which the outside world could not have  
understood1 and ,mary paid a visit to   
her kinswoman that they might talk of   
them together4  ,as ,john's home was in 
the hill country and ,jesus was born in 

the town of ,bethlehem1 we do not know  
how soon the boys met4 ,it might be     
supposed that ,mary and ,elizabeth would
 be eager to bring them together4 ,while
 the mothers took council on the        
training of their sons1 the children    
would be at play4  ,the little ones     
were1 we believe1 brought up quite      
simply1 with no sense that they were    
different from other children4 ,jesus   
was a natural leader4 ,we remember how  
he surprised his mother at the age of   
twelve by asserting his own judgment4#ab
 ,among his playfellows he must have    
shown much earlier that he was the one  
to take the first place4 ,john was      
doubtless taught by his mother to defer 
to his little cousin4 ,he was not       
lacking in spirit himself1 but he could 
sometimes be very humble4 ,in his       
manhood he spoke of ,jesus as one whose 
shoe's latchet he was not worthy to     
unloose4#ac  ,it is pleasant to picture 
the two children together in our fancy1 
and we do not wonder that artists have  

liked the subject4#ad ,our illustration 
shows us the theme wrought in marble4   
,the child ,jesus sits on the steps1 and
 the little ,st4 ,john approaching      
kneels in adoration4 ,we see at once the
 religious meaning of the artist3 the   
relation between the two in after life  
is foreshadowed in this imaginary       
incident4 ,each child carries the symbol
 of his character4 ,a halo behind the   
head of ,jesus signifies his divine     
origin4 ,he holds on his knee a globe   
surmounted by a cross1 in token that he 
who was crucified shall be the ruler of 
the world4 ,in the symbol of the globe  
the old artists anticipated the later   
discoveries of science as to the form of
 the earth4 ,some of the ancient        
philosophers had taught that the earth  
is a sphere1 and through the writings of
 ,aristotle the belief was spread among 
the scholars of the ,middle ,ages4#ae   
,that the idea made its way into art is 
perhaps because the sphere is the most  
perfect and beautiful form1 and hence   

the fitting symbol of ,god's created    
work4#af  ,illustration3 ,,the ,,infant 
,,jesus ,,and ,,st4 ,,john 7,,mino ,,da 
,,fiesole7 ,cathedral1 ,fiesole  ,st4   
,john carries the cross1 which is his   
usual emblem as a prophet of ,christ4   
,it is tall and slender because it was  
supposed to be made of reeds4 ,the      
reference is to ,jesus's words          
concerning ,john when asking the people 
if they had sought the prophet merely as
 a reed shaken by the wind4  ,the infant
 ,jesus is a vigorous child1 straight   
and perfectly formed4 ,the little ,st4  
,john is an older and taller boy1       
wearing a tunic4 ,the younger child is  
delighted to have a playfellow4 ,there  
is an eager smile on his face1 and he   
puts out his right hand as if he longed 
to take the curious plaything ,st4 ,john
 carries4 ,both children are plump1 with
 well-shaped heads1 but there is nothing
 precocious-looking about either4 ,they 
are indeed uncommonly pretty1 but for   
the rest are like other children1 eying 

each other somewhat shyly in the early  
stages of acquaintance4 ,it will not be 
long before they are the best of        
friends4  ,the figures in our           
illustration form a part of a marble    
altar-piece by ,mino da ,fiesole4 ,the  
whole composition consists of three     
niches approached by steps4 ,in the     
central compartment kneels the mother   
,mary1 adoring with folded hands the    
child1 who sits below her4 ,we see in   
our picture only the lower part of her  
dress behind the ,christ child4 ,in the 
side niches are figures of saints1 the  
little ,st4 ,john kneeling in front of  
the one on the ,madonna's right4  ,mino 
da ,fiesole has been called ,the        
,raphael of sculpture1 and his work in  
this altar-piece illustrates the fitness
 of comparing him with the great        
painter4 ,especially do the figures of  
the two children here remind us of the  
child ideals of ,raphael4 ,at the time  
when this work was executed 7#adfb7     
painters and sculptors had just begun to

 represent the ,christ child undraped4  
,the earlier artists had always shown   
the little figure clad in a tunic4 ,we  
shall presently see how this old custom 
was still followed in bas-reliefs of the
 ,madonna and ,child by ,luca della     
,robbia and ,rossellino4 ,the more      
progressive artists were unwilling to   
conceal the beauty of the child's figure
 by any sort of dress4 ,by the beginning
 of the sixteenth century the old way   
had entirely given place to the new4#ag 
,in our picture we see that a ,latin    
inscription on the base of the lowest   
step contains the name of ,leonardo     
,salutati1 bishop of ,fiesole4 #ah ,it  
was by the order of this bishop that the
 altar was executed1 as was also the    
tomb opposite it in the cathedral of    
,fiesole4  ,footnote #ab3 ,st4 ,luke1   
chapter ii41 verse #di4  ,footnote #ac3 
,st4 ,luke1 chapter iii41 verse #af4    
,footnote #ad3 ,see ,chapter ,,ix41 on  
the ,children of the ,shell1 in the     
volume on ,murillo in the ,riverside    

,art ,series4  ,footnote #ae3 ,this is  
on the authority of a ,french writer1   
,a4 ,jourdain1 quoted by ,william ,h4   
,tillinghast in an essay on the         
,geographical ,knowledge of the         
,ancients1 in the ,narrative and        
,critical ,history of ,america4 ,in the 
same essay an anonymous poem of the     
thirteenth century is quoted to show the
 prevalent belief in the sphericity of  
the earth4  ,footnote #af3 ,in ,didron's
 ,christian ,iconography1 several       
interesting illustrations from old      
miniatures1 etc41 show the globe in the 
hand of the ,creator4 ,it is curious    
that this supposedly exhaustive         
authority on church symbolism gives no  
account of the origin and history of    
this emblem4  ,footnote #ag3 ,see       
,madonna pictures by ,raphael1 ,titian1 
,correggio1 and ,michelangelo in other  
volumes of the ,riverside ,art ,series4 
,footnote #ah3 ,eps1 with the curious   
mark above1 stands for episcopus4     ,v
  ,,boys ,,with ,,cymbals  ,,by ,,luca  

,,della ,,robbia   ,the bas-relief of   
our illustration is one of a series of  
marble panels designed to ornament the  
singing-gallery of a church4 ,the       
children moving forward with song and   
cymbal remind us of the bands of singers
 and musicians who took part in         
religious processions of ancient times4 
,we read of such processions among both 
the ,greeks#ai and the ,hebrews4 #bj    
,the custom of singing was adopted by   
the ,christian church from its          
foundation1#ba and gradually the musical
 part of the service was developed into 
a fine art4 ,there was a famous system  
of choral chanting under ,pope ,gregory 
,i41#bb and in the eleventh century part
 singing was introduced4 ,at length the 
organ came into use1 and by the         
fifteenth century it had become an      
important part of the church            
furnishings4  ,it was early in this     
century when the wardens of the         
cathedral at ,florence had an organ     
constructed on what the old writer      

,vasari called a very grand scale4 ,in  
connection with this an organ loft1 such
 as the ,italians call a cantoria1 was  
needed to accommodate the singers4 ,the 
,florentine sculptor1 ,luca della       
,robbia1 received the order for this    
work1 and was occupied with it some nine
 years 7#adca-addj74  ,the cantoria is  
entirely of marble1 built like a        
balcony1 with the upper part or         
balustrade supported on five consoles or
 brackets4 ,four square bas-reliefs1    
separated by pilasters1 ornament the    
front of the balustrade1 and four more  
fill the corresponding spaces below1    
separated by the consoles4 ,the artist  
took as the motive of his decorative    
scheme the one hundred and fiftieth     
psalm4 ,this hymn of praise furnished   
his imagination with a series of        
pictures illustrating many kinds of     
music4 ,the entire psalm is quoted in   
the ,latin version on the gallery1 the  
inscriptions running in narrow bands    
across the top and bottom and between   

the two rows of panels4 ,these are the  
verses in the familiar ,english version 
of ,king ,james1 grouped in the three   
sections into which they are divided3-- 
,praise ,god in his sanctuary3          
praise him in the firmament of his      
power4     ,praise him for his mighty   
acts3       praise him according to his 
excellent greatness4      ,praise him   
with the sound of the trumpet3          
praise him with the psaltery and harp4  
,praise him with the timbrel            
and dance3       praise him with        
stringed instruments and organs4        
,praise him upon the loud cymbals3      
praise him upon the high sounding       
cymbals4     ,let everything that hath  
breath               praise the ,lord4  
,illustration3 ,,boys ,,with ,,cymbals  
7,,luca ,,della ,,robbia7 ,the ,duomo1  
,florence  ,the eight illustrations of  
the gallery omit nothing mentioned by   
the psalmist4 ,here are the trumpets1   
the harp1 the psaltery1 and the timbrel4
 ,here is the choric dance1 followed by 

players on organs and stringed          
instruments2 after these come the loud  
cymbals or tambourines1 and finally the 
high sounding cymbals of our            
illustration4  ,the players are a half  
dozen children1 some dressed in tunics1 
and others wearing scarf-like garments  
which leave their limbs free4 ,two are  
crowned with flowers in the ,greek      
fashion1 and others have a fillet or    
band bound about the hair4 ,the leader  
walks with his head thrown back1 his    
mouth wide open1 singing with all his   
might1 oblivious of everything but his  
music4 ,he holds the cymbals high1      
striking them together in the rhythm of 
his song4 ,his companion is a jolly     
little fellow1 not at all concerned in  
the music1 but laughing at something    
which attracts his attention in the     
distance4  ,there is another rogue just 
behind the leader4 ,without losing step 
he throws his weight forward on bending 
knee1 putting his ear to the upper      
cymbal4 ,he is evidently amusing himself

 with the lingering vibrations of the   
metal4 ,the flower-crowned boy bringing 
up the rear smiles at us cheerily1 as he
 steps along1 clashing his cymbals with 
right good-will4 ,the children in the   
background seem to take their task more 
seriously1 as if sharing the spirit of  
the leader4  ,it is clear that our      
artist found the models for his figures 
in the streets of ,florence4 ,these     
round-faced children with their large   
mouths are not pretty enough for        
imaginary types4 ,they are perfectly    
natural1 and that is why we like them4  
,the grouping is skilfully planned to   
give unity to the composition without   
any stiffness4 ,there are no awkward    
gaps between the figures1 but the lines 
flow from one to another1 binding them  
together4 ,the half kneeling posture of 
the child in the middle makes diagonal  
lines to unite the leader with the boy  
in the rear4 ,we notice in the drawing  
the same sweep of line which we have    
admired in ,donatello's bronze reliefs  

of angels4 ,the three figures in front  
are modelled in high relief1 and in     
beautiful curves2 the children in the   
rear are in low relief4  ,the work of   
,luca della ,robbia was not confined to 
marble4 ,soon after completing the organ
 gallery he made a bronze door for the  
interior of the cathedral4 ,he is best  
known for his work in enamelled         
terra-cotta1 of which we shall hear more
 in later chapters4  ,footnote #ai3 ,see
 ,chapter ,,iii4 in the volume on ,greek
 ,sculpture in the ,riverside ,art      
,series4  ,footnote #bj3 ,psalm lxviii41
 verse #be1 and #a ,chronicles1 chapter 
xiii41 verse #h4  ,footnote #ba3 ,st4   
,matthew1 chapter xxvi41 verse #cj4     
,footnote #bb3 ,the pontificate of      
,gregory ,i4 was from #eij to #fjd4     
,,vi  ,,tomb ,,of ,,ilaria ,,del        
,,carretto 7,detail7  ,,by ,,jacopo     
,,della ,,quercia   ,a certain marquis  
of ,carretto1 living in ,lucca at the   
close of the fourteenth century1 had a  
daughter named ,ilaria4 ,ilaria was like

 ,helen of ,troy1 a daughter of the     
gods1 divinely tall and most divinely   
fair4#bc ,her face was delicately cut in
 a patrician mould1 and she carried her 
head with the air of a princess4 ,the   
marquis must have been proud of his     
beautiful daughter1 and as she grew into
 womanhood he looked about for a        
suitable match for her4 ,there was      
little romance about marriages in those 
days1 and when a rich widower sought    
,ilaria's hand1 she was doubtless       
thought by all a very fortunate maiden4 
,her husband1 ,paolo ,guinigi1 was the  
signor or lord of the city of ,lucca1   
and though somewhat despotic in temper  
was at least without vices4 ,he was     
besides the richest man in ,italy4 ,in  
his treasury1 says the historian1       
diamonds and rubies1 emeralds and       
pearls1 were counted by hundreds4 ,the  
palace awaiting the bride was           
magnificently furnished4 ,there was     
linen from ,paris and other ,french     
cities1 exquisite in quality and in     

stores so abundant as to delight the    
heart of a housewife4 ,the walls were   
hung with tapestries of many colors     
woven in ,arras4 ,priceless vessels of  
gold and silver adorned the table4 ,nor 
were signs of learning lacking4 ,there  
was a library1 well stocked with the    
works of classical authors1 written in  
manuscript in the manner of the times4  
,so far as surroundings make for        
happiness ,ilaria may well have been a  
happy woman4 ,we like to fancy her      
queenly figure moving through the       
stately apartments of the palace or on  
the green terraces of the garden4 ,but  
she did not long enjoy the splendors of 
her surroundings1 for two years after   
her marriage she died4 ,her husband then
 ordered of the sculptor ,jacopo della  
,quercia a marble tomb to be placed in  
the cathedral4 ,on the sarcophagus lay  
the portrait figure of the lady herself2
 the sides were richly carved with      
cherubs holding festoons of flowers1 and
 above was a canopy4  ,ilaria lies with 

hands crossed just where they would     
naturally fall in her sleep4#bd ,her    
feet rest against a little dog1 which1  
according to the old writer1 ,vasari1   
was an emblem of conjugal fidelity4 ,it 
is surely no harm to fancy that the     
little creature was the lady's pet4 ,the
 gown is girdled high1 and falling in   
long1 straight folds1 is wrapped about  
the feet4 ,over this is worn a mantle   
made with large1 loose sleeves1 and a   
high flaring collar1 which comes well up
 under the chin4#be  ,illustration3     
,,detail ,,of ,,tomb ,,of ,,ilaria ,,del
 ,,carretto 7,,jacopo ,,della ,,quercia7
 ,cathedral1 ,lucca  ,our illustration  
shows only the head and shoulders of the
 figure4 ,the head rests on a pillow in 
a hollow shaped to receive it1 and the  
shoulders are supported by a second and 
larger cushion underneath4 ,ilaria's    
waving hair is parted over the high     
brow1 and brought down on each side the 
face1 completely concealing the ears4 ,a
 few short tendrils have escaped1 and   

curl daintily over the forehead4 ,she   
wears a large flower-wound wreath or    
crown1 set aslant over the shapely head4
 ,it may be that this is a sort of      
head-dress worn in her time4 ,no one can
 look at the face without thinking of a 
flower1 and most of all of the lily4    
,the mouth is moulded in exquisite      
curves2 ,ilaria was1 indeed1 a          
bewitching woman4  ,had the fair        
marchioness lived to middle age her     
fortunes would have been sadly altered4 
,in #adcj there was a political upheaval
 in ,lucca1 and ,guinigi was driven from
 the city4#bf ,his palace was pillaged1 
and the mob even laid desecrating hands 
upon ,ilaria's tomb4 ,an attempt to     
remove it seems to have been frustrated1
 and it was dropped on the floor of the 
transept1 where it now stands4 ,it lost1
 however1 the canopy and one ornamented 
side of the base4  ,as a work of art1   
,ilaria's tomb has been greatly admired 
by critics4 ,even in our little picture 
we can1 with no great training1 see how 

well the sculptor has rendered the      
texture of the hair and the softness of 
the plump chin4 ,even the tassels on the
 cushion are carved with clever         
imitative skill4 ,we must be careful to 
look at the face just as the sculptor   
intended it to be seen1 not upright1 but
 lying horizontally4 ,it is only thus   
that we get the significance of the     
beautiful continuous line across        
forehead and nose4 ,the line of the     
head-dress exactly follows that of the  
hair1 and is drawn at the same angle as 
the edge of the collar1 which it meets4 
,in the triangular space thus formed is 
fitted the lovely profile of the face4  
,ruskin has written with much enthusiasm
 of the merits of ,ilaria's tomb4 ,from 
it1 he declared1 one may receive        
unerring canon of what is evermore      
lovely and right in the dealing of the  
art of man with his fate and his        
passions4 ,still more helpful is his    
interpretation of the feeling which the 
sculptor has conveyed4 ,after first     

explaining that every work of the great 
,christian schools expresses primarily  
conquest over death1 he shows that this 
particular tomb has all the peace of the
 ,christian eternity4 ,we may see1 he   
says1 that the damsel is not dead but   
sleepeth2 yet as visibly a sleep that   
shall know no ending until the last day 
break and the last shadows flee away4#bg
  ,footnote #bc3 ,tennyson's ,a ,dream  
of ,fair ,women4  ,footnote #bd3 ,not   
folded below her bosom1 nor laid on her 
breast1 as in two familiar descriptions4
  ,footnote #be3 ,that this mantle was a
 prevailing style of the period among   
the aristocracy1 we judge from an old   
,spanish painting1 in which ,king       
,ferdinand of ,aragon and his queen both
 wear it4 ,the picture is reproduced in 
,carderara's ,iconografia ,espanola1 and
 copied in ,planche's ,cyclopedia of    
,costumes4  ,footnote #bf3 ,the exact   
date is here given because of the       
vagueness of some writers who refer to  
the event as not many years and within  

twenty years after ,ilaria's death in   
#adje4  ,footnote #bg3 ,quoted by       
,sydney ,colvin in an article on ,jacopo
 della ,quercia1 in the ,portfolio1     
#ahhc4 ,see also ,modern ,painters1     
,part ,,iii4     ,,vii  ,,madonna ,,and 
,,child 7,detail of lunette7  ,,by      
,,luca ,,della ,,robbia   ,in reading   
the gospel narrative of the life of     
,jesus we are glad to learn something of
 his mother ,mary4 ,her life had some   
peculiar hardships to test the strength 
of her character4 ,it was a strange lot 
for a mother to have to tend her babe in
 the manger of an inn1 but such was     
,mary's experience4 ,at the time of     
,jesus's birth she and ,joseph were in  
,bethlehem1 whither they had come to pay
 their taxes4 ,there were many other    
people there on the same errand1 and the
 inn was so crowded that the young      
mother had to find quarters in the      
stable4  ,while the child was still very
 young a terrible danger threatened his 
life4 ,an order went forth from ,king   

,herod to slay all the young children of
 ,bethlehem4 ,still the mother's courage
 did not fail4 ,she arose by night1 and1
 taking her babe1 fled with her husband 
into ,egypt4 ,returning at length to    
their home in ,nazareth1 she watched her
 boy's growth1 and kept all his sayings 
in her heart4  ,when ,jesus entered upon
 his ministry ,mary was the first to    
show perfect confidence in her son4#bh  
,she seems to have followed him whenever
 she could4#bi ,her courage sustained   
her even in the hour of his agony1 and  
we read how she stood with his disciples
 at the foot of the cross4#cj  ,it is   
this woman of quiet fortitude whom we   
see in ,luca della ,robbia's bas-relief 
of the ,madonna and ,child4 ,we are     
impressed at once with a sense of her   
strength and poise of character4 ,it is 
precisely such as fits the story of her 
life4 ,steadying her little boy with    
both hands1 she turns her face in the   
direction in which he is looking4 ,the  
,child seems to stand on a sort of      

balustrade in front of his mother4 ,with
 feet wide apart he holds himself erect 
in a firm posture4 ,his right hand is   
raised in a gesture of benediction4     
,with his left he grasps firmly a long  
scroll bearing the ,latin inscription1  
,ego sum ,lux ,mundi 7,i am the ,light  
of the ,world74  ,both mother and child 
seem to belong to the happy1 every-day  
working world4 ,mary has the straight   
figure1 full throat1 and square         
shoulders of a ,tuscan peasant girl4    
,her only aristocratic feature is the   
shapely hand4 ,she holds her chin level1
 like a country maiden used to carrying 
burdens on the head4 ,it may be that the
 artist had seen her like in some       
market-place in ,florence4 ,the boy too 
has the square shoulders and sturdy     
frame of a child of the people4         
,illustration3 ,,madonna ,,and ,,child  
7,,luca ,,della ,,robbia7 ,shop in the  
,via dell' ,agnolo1 ,florence  ,some    
artists have tried to give a            
supernatural and ethereal beauty to the 

mother and child4 ,others have          
represented them enthroned in splendor  
like a queen and prince receiving their 
court4 ,luca della ,robbia went to no   
such extremes4 ,there is nothing morbid 
or sentimental in his art3 nor does he  
care for any worldly pomp and           
ceremonial4 ,his religious ideals were  
very simple1 suited to the needs of     
common life4 ,the ,christ child here is 
a dear little human baby1 and the       
,madonna is the poet's ideal of a       
creature not too bright or good for     
human nature's daily food4#ca  ,the     
bas-relief is one of the famous works in
 enamelled terra-cotta1 known as ,della 
,robbia ware4 ,the idea of overlaying   
clay with a glazing was not original    
with ,luca della ,robbia1 but he seems  
to have been the first to apply it to   
sculpture4 ,in his own day he was looked
 upon as a great inventor1 and his works
 were very popular4 ,the material was   
inexpensive1 and lent itself readily to 
all sorts of decorative purposes4 ,its  

beauty1 moreover1 was of a lasting      
quality4 ,while paintings fade1 the     
,della ,robbia ware1 gem like1 shall as 
very gems endure4#cb ,the only injury to
 which it is liable is the breaking off 
of some projecting portions4 ,in our    
picture we see that a fragment is broken
 out of the child's wrist4 ,fortunately1
 however1 there are no defects in the   
important parts of the work4  ,the      
figures are in the centre of a lunette  
or semi-circular composition1 with an   
adoring angel on each side holding a jar
 of lilies4 ,the piece is set up over a 
doorway on the outside of a building in 
a narrow street in ,florence4 ,the      
location explains the attitude of the   
mother and child4 ,if they looked       
directly out of the picture as in an    
altar-piece1 there would be but one     
place1 on the opposite side of the      
street1 where the passer-by could meet  
their eyes4 ,as it is1 they turn their  
faces toward the vista of the street as 
if to welcome the approaching wayfarer4 

,while still a long way off one feels   
the cheerful influence of their gaze4   
,even when coming from the opposite     
direction it is pleasant1 after passing 
the door1 to know that the friendly eyes
 follow us on our way4  ,the workmanship
 of ,luca is seen in the artistic       
qualities of the sculpture4 ,there was a
 severe simplicity in his drawing of the
 outline and draperies which contrasted 
with the more elaborate work of his     
followers4 ,luca was also a close       
student of nature1 and drew his         
materials from the world about him4     
,footnote #bh3 ,at the ,marriage of     
,cana1 ,st4 ,john1 chapter ii41 verses  
#c-e4  ,footnote #bi3 ,st4 ,john ii41   
verse #ab1 and ,st4 ,matthew1 chapter   
xii41 verse #df4  ,footnote #cj3 ,st4   
,john1 chapter xix41 verse #be4         
,footnote #ca3 ,wordsworth's ,she was a 
,phantom of ,delight4  ,footnote #cb3   
,from some verses by ,edith ,m4 ,thomas1
 ,a ,della ,robbia ,garland1 printed in 
,the ,critic1 ,december1 #aija4         

,,viii  ,,the ,,meeting ,,of ,,st4      
,,francis ,,and ,,st4 ,,dominick  ,,by  
,,andrea ,,della ,,robbia   ,in the     
beginning of the thirteenth century two 
men living in different countries of    
,europe were struck simultaneously with 
the same idea4 ,they were ,st4          
,dominick1 the ,spaniard1 and ,st4      
,francis1 the ,italian1 and each        
determined to found a new religious     
order4#cc ,hitherto the members of      
religious orders had shut themselves up 
in the solitude of monasteries and      
convents4 ,in the new plan they were to 
mingle freely with the people1 calling  
themselves brothers1 or friars4  ,the   
first object of the ,dominicans was to  
be preachers1 and they were called      
,frati ,predicatori4 ,the ,franciscans  
took the humbler name of the ,frati     
,minori1 or lesser brothers4 ,the       
members of both orders were bound by a  
vow of poverty to possess nothing of    
their own4 ,like the disciples whom     
,jesus sent out1 they were to carry     

neither purse nor scrip1 but beg their  
food and raiment on their way4 ,it is   
for this that they are called mendicant 
orders4  ,the affairs of their orders   
brought both ,st4 ,dominick and ,st4    
,francis to ,rome at the same time4 ,the
 two men met and embraced1 each seeing  
in the other a kindred spirit4 ,it was  
proposed to unite the two bodies in one1
 and ,st4 ,dominick favored this plan4  
,he had won but a few followers1 and    
,st4 ,francis already had many4 ,the    
,brother ,minor however was sure that   
such union would be impossible4 ,the two
 men were indeed of widely contrasting  
characters4 ,st4 ,dominick was a        
scholar1 a man of fiery and energetic   
temperament4 ,st4 ,francis was          
unlettered1 but his mind was poetic and 
imaginative1 his nature gentle and      
humble4 ,st4 ,dominick was known as the 
,hammer of the ,heretics1 ,st4 ,francis 
as the ,father of the ,poor4  ,a        
bas-relief by ,andrea della ,robbia     
represents the meeting of ,st4 ,dominick

 with ,st4 ,francis4#cd ,it is          
apparently the artist's intention to    
emphasize the kinship rather than the   
contrast between the two men4 ,both have
 the thin faces and sharp features of   
the ascetic4 ,their shaven faces and    
tonsured heads heighten the resemblance 
between them4 ,both have the same type  
of hand1 with the long fingers which are
 characteristic of a sensitive          
nature4#ce ,a disc over the head of each
 symbolizes his saintliness4            
,illustration3 ,,meeting ,,of ,,st4     
,,francis ,,and ,,st4 ,,dominick        
7,,andrea ,,della ,,robbia7 ,loggia of  
,san ,paolo1 ,florence  ,naturally the  
characters of the founders were         
impressed upon their respective orders4 
,the ,dominicans were more aggressive in
 their methods and zealous in           
persecuting all forms of heresy4 ,the   
,franciscans1 on the other hand1 strove 
for the higher life of sanctity4 ,the   
members of each order wore a distinctive
 dress1 such as we see in our picture4  

,the ,franciscan habit was at first     
gray1 and afterwards dark brown2 it is  
gray in the bas-relief4 ,it consisted of
 a plain tunic with long loose sleeves  
and a scanty cape to which a hood was   
attached4 ,a knotted cord fastened the  
garment around the waist1 to remind the 
wearer that the body is a beast which   
should be subdued by a halter4 ,the     
,dominican habit was a white woollen    
gown fastened about the waist with a    
girdle4 ,a white scapular was worn over 
this1 and over all1 a black cloak with a
 hood4  ,we see at once in our picture  
that ,st4 ,dominick is the elder of the 
two men4 ,there was really a difference 
of twenty years in their ages1 but the  
artist has made it less4 ,it is as if   
each1 upon seeing the other approach1   
had hastened forward with outstretched  
hands4 ,they stand now face to face with
 interlocked arms in mutual             
contemplation4 ,it is a moment of       
perfect understanding4 ,with widely     
different ideas of ways and means1 they 

have at heart a single common aim4 ,both
 are called to the same great work1 and 
each feels strengthened by the contact4 
,the profile of ,st4 ,francis shows the 
sensitive lines of his face4 ,tradition 
tells us that he was a man of more than 
average height1 with black eyes1 and    
soft sonorous voice4 ,his expression    
here is serene1 as one would expect of  
the gentle friar who called all the     
beasts his brethren1 and talked with the
 birds as familiar companions4 ,st4     
,dominick has a more strenuous          
countenance1 and is perhaps more deeply 
moved than the other4 ,he leans forward 
and peers into ,st4 ,francis's face with
 an expression of great tenderness4 ,one
 is reminded of a beautiful verse in one
 of the ,hebrew psalms 7the             
eighty-fifth71 ,mercy and truth are met 
together2 righteousness and peace have  
kissed each other4  ,the artistic       
qualities of this relief place it among 
the best works by ,andrea della ,robbia4
 ,only a skilful artist could have      

rendered the draperies with such grace  
and simplicity4 ,they have been compared
 with the draperies of the painters     
,raphael and ,bartolommeo4 ,it is said  
that the faces were left unglazed in    
order that all the lines of the         
modelling might be preserved4  ,footnote
 #cc3 ,the lives of both saints are     
related in ,the ,golden ,legend4 ,in    
,caxton's translation 7,temple          
,classics7 see volume iv41 p4 #agb1 for 
,st4 ,dominick1 and volume v41 p4 #bae1 
for ,st4 ,francis4 ,mrs4 ,jameson's     
,legends of the ,monastic ,orders       
contains an admirable account of the    
character and work of the two men4 ,the 
,little ,flowers of ,st4 ,francis is a  
series of legends collected about two   
hundred years after his death4 ,there is
 an ,english translation by ,abby       
,langdon ,alger4 ,sabatier's ,life of   
,st4 ,francis is an exhaustive          
biography4  ,footnote #cd3 ,a tradition 
that ,st4 ,francis and ,st4 ,dominick   
met in ,florence1 on the site of the    

present ,loggia of ,s4 ,paolo1 accounts 
for the placing of this bas-relief      
there4 ,see the ,misses ,horner's ,walks
 in ,florence1 vol4 i41 p4 #ddh4        
,footnote #ce3 ,the reader who is       
familiar with the typical figure of ,st4
 ,francis in sacred art may miss the    
sign of the wound print 7the stigmata7  
in his hand4 ,here ,andrea is           
historically accurate1 as the vision of 
,st4 ,francis occurred four years after 
the confirmation of the ,order4     ,,ix
  ,,st4 ,,george  ,,by ,,donatello   ,in
 the third century of the present era   
lived the ,christian knight ,george of  
,cappadocia4 ,going forth after the     
usual knightly fashion in search of     
adventures1 he came to the province of  
,libya4 ,the country was at that time   
ravaged by a dragon whose lair was a    
great pond near the royal city of       
,silene4 ,when the monster came forth   
the air was filled with the poisonous   
vapor of his breath4 ,to insure the     
safety of the city two sheep were daily 

given to feed him4  ,at length the      
supply failed1 and now the people had to
 give their own children4 ,the victims  
were chosen by lot1 and after many had  
perished the lot fell upon the beautiful
 princess ,cleodolinda4 ,the king       
besought the people to spare his        
daughter1 offering gold and silver for  
her ransom4 ,they would have none of it1
 but declared that the princess must    
meet her fate4 ,arrayed as for her      
bridal1 she was led out to the place    
where the dragon was wont to come for   
his prey4  ,while she stood here        
weeping1 ,st4 ,george chanced to ride by
 and inquired the cause of her distress4
 ,hearing her pitiable story he assured 
her she had nothing to fear4 ,just then 
the dragon came in sight1 and the       
knight1 charging full upon him1 wounded 
him with his sword4 ,then taking the    
girdle of theprincess1 he tied it about 
the neck of the beast and led him into  
the city4 ,the people all came out to   
see the wonder1 and in the presence of a

 great company ,st4 ,george smote off   
the dragon's head4  ,the further        
adventures of the knight were in behalf 
of the ,christians1 who were persecuted 
by the ,emperor ,diocletian4 ,selling   
all that he had1 he gave it to the poor 
and boldly denounced the pagans4 ,all   
sorts of tortures were devised to force 
him to renounce his faith1 but in every 
persecution he was miraculously         
preserved from harm4 ,at length the     
provost caused him to be beheaded1 and  
offering his last prayers ,st4 ,george  
went to his death4  ,in our statue ,st4 
,george is represented as a warrior     
standing at rest while he surveys the   
enemy4 ,his young figure is as straight 
as an arrow4 ,the litheness of his body 
is apparent even through his armor4 ,he 
holds his head erect in conscious power1
 yet with no arrogance4 ,evidently he   
measures the difficulty carefully1 for  
he seems to knit his brows as he looks  
abroad4 ,he has a gentle face1 but it is
 thoroughly masculine4  ,illustration3  

,,st4 ,,george 7,,donatello7 ,national  
,museum1 ,florence  ,the hands are      
beautiful1 and full of character1 large 
and flexible4 ,the left one rests on a  
shield which bears the sign of the      
cross4 ,the armor1 we see1 has a more   
than literal significance4 ,this is the 
shield of faith wherewith the ,christian
 shall be able to quench all the fiery  
darts of the wicked4 ,st4 ,george is the
 impersonation of the soldier who wars  
not against flesh and blood1 but against
 principalities1 against powers1 against
 the rulers of the darkness of this     
world1 against spiritual wickedness in  
high places4#cf  ,the figure naturally  
suggests comparison with antique        
sculpture4 ,we are reminded of ,apollo  
or ,hermes as the ,greeks loved to      
represent them4#cg ,the beautiful head  
with its curling hair is indeed that of 
a god4 ,in the graceful attitude also1  
the sculptor1 ,donatello1 has perfectly 
expressed the sense of repose which was 
characteristic of ,greek sculpture4 ,we 

note1 however1 that while a ,greek      
statue would have been nude ,st4 ,george
 is clad in armor4 ,the expression of   
the countenance is1 moreover1 quite     
foreign to the ,greek temper4 ,those    
knitted brows show a strenuousness of   
character incompatible with the serenity
 of the gods4  ,the statue of ,st4      
,george1 like that of ,st4 ,philip1 was 
originally made to fill one of the      
niches on the outside of ,or ,san       
,michele4 ,below it was a bas-relief    
representing the slaying of the dragon4 
,the work was the gift of the ,guild of 
,sword ,makers and ,armorers1 whose     
patron saint was the ,knight of         
,cappadocia4 ,in an exposed position on 
the church the precious marble was      
injured by the weather4 ,accordingly it 
was removed to a museum1 and a bronze   
copy was set up in its place4  ,the     
popularity of ,st4 ,george is by no     
means confined to ,italy4 ,in ,england  
too his memory is held in great respect4
 ,for ,england and ,st4 ,george was an  

old battle-cry which linked the name of 
the patron saint with that of the native
 land4 ,his character is our ideal of   
the ,christian hero1 chivalrous towards 
the weak1 courageous in danger1 and     
devoted above all things to the service 
of ,god4  ,donatello's statue embodies  
this ideal1 and is his highest          
imaginative work4 ,being chiefly        
interested in the study of expression1  
he often seemed to care very little     
whether his subjects were beautiful or  
not4 ,here beauty and expressiveness are
 united4  ,there is an old tradition    
that ,michelangelo1 passing one day the 
church of ,or ,san ,michele1 paused     
before the ,st4 ,george and exclaimed   
,cammina6 that is1 ,forward1 march6 ,the
 story is doubtless purely fictitious1  
but it shows how lifelike the statue    
appears4 ,as an old writer 7,vasari7 put
 it1 ,life seems to move within that    
stone4  ,footnote #cf3 ,ephesians1      
chapter vi41 verses #af and #ab4        
,footnote #cg3 ,see chapters ,,vi4 and  

,,xi4 in the volume on ,greek           
,sculpture1 in the ,riverside ,art      
,series4     ,x  ,,bambino  ,,by        
,,andrea ,,della ,,robbia   ,the visitor
 in ,florence threading his way through 
the narrow streets comes out with       
delight into the spacious squares       
scattered over the city4 ,one such is   
the ,piazza of ,,ss4 ,annunziata1 in    
front of the church of that name4 ,two  
sides of the square are ornamented with 
arcaded buildings in the style          
characteristic of ,italian architecture4
 ,that at the left attracts us at once  
by its unique decorations4 ,in the      
spandrils1 or triangular spaces between 
the arches1 are medallion bas-reliefs of
 glazed terra cotta showing white       
figures relieved against a background of
 bright blue4 ,it is one of these which 
is reproduced in our illustration4 ,seen
 against the sombre wall they are like  
fragments of the milky sky itself fallen
 into the cool street1 as a poetic      
critic has described them4#ch  ,from    

each medallion a baby looks down upon   
us1 stretching out both little arms as  
if appealing to our pity4 ,the delicate 
beauty of these little ones is so like  
that of the flowers that a traveller    
asks1 ,really1 are they lilies1 or      
children1 or the embodied strophes of a 
psalter8#ci ,when we inquire what it all
 means we learn that this arcade is the 
entrance to a ,foundling ,hospital4     
,passing through the central door we are
 in a cortile or courtyard1 around which
 are more baby figures4 ,the design is a
 sort of key to the character of the    
institution3 the babies represent the   
little waifs received into its care4 ,we
 may fancy that the orphan inmates are  
peeping out of the medallions as from   
windows4  ,the ,hospital of the         
,innocents 7,spedale degli ,innocenti1  
in ,italian7 is one of the oldest       
establishments of its kind4 ,it was     
founded in the fifteenth century1 and   
still carries on its good work4 ,several
 thousand children are annually         

supported by its resources4#dj ,to      
multiply the figures by four hundred and
 fifty makes a magnificent showing for  
the total number of beneficiaries in    
four and a half centuries4 ,it was      
probably on the occasion of some        
improvements in the original building   
7#adfc7 that ,andrea della ,robbia      
furnished the famous medallions of the  
bambini1 or baby boys4  ,among so many  
babies we yet find no two alike4 ,each  
visitor chooses for himself some special
 favorite4 ,the medallion of our        
illustration is one of the most         
attractive of the number4 ,unfortunately
 the fingers of the right hand are      
broken off1 but otherwise the figure is 
quite perfect4  ,illustration3 ,,bambino
 7,,andrea ,,della ,,robbia7 ,foundling 
,hospital1 ,florence  ,the child is a   
healthy-looking little fellow1 and the  
creases in neck and wrists show how     
plump he is4 ,yet there is a pathetic   
expression on the face which touches the
 heart4 ,it is as if orphanage had laid 

its sorrowful impress upon him4 ,a      
lonely look has crept into the eyes1 and
 the mouth droops in a sad little curve4
 ,the boy is certainly no common child4 
,his finely formed head promises a      
superior character4 ,we are reminded of 
the ,christ child1 as many of the old   
masters have represented him4 ,the body 
and legs are completely encased in      
swaddling bands1 from which the head and
 arms emerge1 like a blossom from its   
calyx4  ,the custom of swathing babies  
with bandages is very ancient4 ,we read 
in the gospel of ,st4 ,luke how the     
mother of ,jesus wrapped her son in     
swaddling clothes as she laid him in the
 manger4 ,the object was to prevent     
every possible injury or deformity to   
the growing limbs1 and keep them        
straight4 ,a child in swaddling clothes 
is naturally much more easily carried by
 the mother1 and can more safely be left
 alone4 ,this is doubtless the reason   
why the custom still prevails in many   
countries1 and especially among the     

poorer people4 ,there are still many    
nations which the progressive ideas of  
physical culture have not reached4  ,the
 method of swaddling as now practised in
 ,italy begins by folding the babe in a 
large square linen cloth4 ,a second     
piece of linen is rolled around the     
body1 which is then ready for the       
bandage4 ,this bandage is about ten     
inches wide and over three yards long1  
and is rolled about the entire length of
 the child's figure1 pinning the arms to
 the sides4 ,the lower part of the linen
 cloth is turned up over the feet and   
tied with the ends of the bandage4#da   
,judging from our picture1 the process  
seems to have been about the same in the
 fifteenth century1 except that the arms
 of our bambino are free4 ,certainly    
this fact makes the figure much more    
attractive as well as more decorative4  
,the cloth about the child's body is    
brown and the bandage white4  ,the      
sculptor of the bambini1 ,andrea della  
,robbia1 was the nephew of ,luca della  

,robbia1 of whom we have learned        
something in previous chapters4 ,he was 
trained in the workshop of his uncle1   
and in turn passed on his art to his    
three sons4 ,while ,luca's work is      
considered superior to that of any of   
his pupils1 the nephew ,andrea had some 
fine artistic qualities4 ,the           
decorations of the ,foundling ,hospital 
illustrate both the delicacy and the    
fertility of his imagination4 ,only a   
genuine artist could invent so many     
variations upon the simple theme of a   
single baby figure4 ,the entire series  
is like a musical composition based upon
 some simple but exquisite melody4      
,footnote #ch3 ,walter ,pater4          
,footnote #ci3 ,maurice ,hewlett in     
,earthwork out of ,tuscany4  ,footnote  
#dj3 ,between #gjjj and #hjjj1 according
 to the ,misses ,horner's ,walks in     
,florence1 published in #ahhe4          
,footnote #da3 ,described in a little   
book called ,italian ,child-,life1 by   
,marietta ,ambrosi4     ,,xi  ,,the     

,,annunciation  ,,by ,,andrea ,,della   
,,robbia   ,the life of ,mary the mother
 of ,jesus was full of strange          
experiences4 ,she had many sorrows to   
bear1 but withal a joy beyond any ever  
given to woman4 ,in the purity of her   
character she was set apart for a high  
and holy service4  ,the turning-point in
 her life was on a great day when the   
angel ,gabriel was sent by ,god to visit
 her4 ,it was in her quiet home in      
,nazareth that the celestial messenger  
came in unto her4 ,hail1 thou that art  
highly favoured1 he said1 the ,lord is  
with thee3 blessed art thou among women4
 ,and when she saw him1 she was troubled
 at his saying1 and cast in her mind    
what manner of salutation this should   
be4  ,the angel spoke again1 and his    
words reassured her3 ,fear not1 ,mary3  
for thou hast found favour with ,god4   
,then he told her that she was to be the
 mother of a wonderful son4 ,thou shalt 
call his name ,jesus1 he said4 ,he shall
 be great1 and shall be called the ,son 

of the ,highest3 and the ,lord ,god     
shall give unto him the throne of his   
father ,david3 and he shall reign over  
the house of ,jacob for ever2 and of his
 kingdom there shall be no end4#db      
,when at last ,mary understood the      
meaning of the angel's message she      
humbly accepted her great destiny4      
,behold the handmaid of the ,lord1 she  
replied2 be it unto me according to thy 
word4 ,from this day until the birth of 
,jesus her thoughts were full of her    
coming motherhood4 ,once she broke forth
 into a song of praise3--   ,my soul    
doth magnify the ,lord1 ,and my spirit  
hath rejoiced in ,god my ,saviour1 ,for 
he hath regarded the lowliness of his   
handmaiden1 ,for1 behold1 from          
henceforth all generations shall call me
 blessed4 ,for he that is mighty hath   
magnified me1 and holy is his name4#dc  
,the bas-relief by ,andrea della ,robbia
 tells the story of the angel's visit to
 ,mary1 the subject usually called the  
,annunciation4 ,at one side sits the    

,virgin with an open book on her lap1 as
 if she had been reading4 ,she has a    
girl's slender figure1 and her head is  
modestly draped with a mantle4 ,the     
angel kneels opposite1 with folded      
hands4 ,he has long pointed wings       
covered with feathers as a bird of ,god1
 in ,dante's phrase4  ,from above a     
fatherly face looks down upon them out  
of a surrounding circle of winged cherub
 heads4 ,beside the ,virgin stands a jar
 of lilies1 the flowers which symbolize 
the purity of her maidenhood4 ,over     
these soars a white dove1 the same      
symbol of the ,divine ,spirit which     
descended upon ,jesus at his baptism4#dd
  ,illustration3 ,,the ,,annunciation   
7,,andrea ,,della ,,robbia7 ,altar      
,piece at ,la ,verna  ,already the angel
 has delivered his message1 and now     
awaits the answer4 ,his face is round   
and innocent like a child's1 and his    
long hair is carefully curled4 ,the     
,virgin has listened with drooping head1
 and with her hand pressed to her breast

 as if to still the beating of her      
heart4 ,she seems too timid to lift her 
eyes to meet her radiant guest4 ,yet her
 whole attitude expresses submission to 
the divine will4  ,the artist has       
expressed with rare delicacy of         
imagination the religious sentiment of  
the incident4 ,the interpretation is in 
a similar vein to that of the poet      
painter ,rossetti in the lines on the   
,annunciation in the poem ,ave3--  ,then
 suddenly the awe grew deep ,as of a day
 to which all days ,were footsteps in   
,god's secret ways2 ,until a folding    
sense1 like prayer1 ,which is1 as ,god  
is1 everywhere1 ,gathered about thee2   
and a voice ,spake to thee without any  
noise1 ,being of the silence3--',hail1' 
it said1 ',thou that art highly         
favoured2 ,the ,lord is with thee1 here 
and now2 ,blessed among all women thou4'
  ,rossetti1 it will be remembered1     
belonged to that circle of ,english     
artists who some fifty years ago        
attempted to revive the simple reverence

 of the ,italian art previous to        
,raphael4 ,thus the ,pre-,raphaelite    
poet and the sculptor1 though separated 
by so many centuries1 had the common aim
 of expressing the sense of prayer which
 gathered about the ,virgin in this     
moment4 ,rossetti also treated the      
,annunciation in a picture which has    
interesting points of comparison with   
our illustration4  ,the relief is made  
in the ,della ,robbia enamelled terra   
cotta ware4 ,the sculptor has here      
followed his uncle's example in the     
simplicity of the draperies4 ,the       
modelling of the hands also recalls the 
touch of ,luca4 ,in choice of types1    
however1 ,andrea shows his individual   
taste4 ,the fragile figure of the       
,virgin is as different as possible from
 the robust beauty of ,luca's ,madonna  
which we have studied4 ,the angel too is
 of a softer and less vigorous character
 than the older artist would have       
designed4  ,the relief is surrounded by 
an elaborate frame of the same material4

 ,at the sides decorated pillars with   
,ionic capitals support an entablature1 
every section of which has its own      
distinctive design4 ,the patterns       
ornamenting frieze and pillars seem to  
be variations on the lotus motive1 and  
are very graceful4 ,on the dado1 or     
piece running across the bottom of the  
frame1 is printed the ,latin            
inscription3 ,ecce ,ancilla ,domini4    
,fiat ,mihi secundum verbum tuum        
7,behold the handmaid of the ,lord2 be  
it done unto me according to thy word74 
,it is interesting to notice that at    
this period the letters n and m were    
written above the line or united with   
the vowels which they followed4         
,footnote #db3 ,st4 ,luke1 chapter i41  
verses #cj-cc4  ,footnote #dc3 ,from the
 ,magnificat in the ,prayer ,book       
version4  ,footnote #dd3 ,st4 ,matthew1 
chapter iii41 verse #af4     ,,xii      
,,the ,,ascension  ,,by ,,luca ,,della  
,,robbia   ,for forty days after the    
resurrection of ,jesus the disciples    

enjoyed the companionship of their      
,master4 ,they were now ready to        
understand many things that before had  
been obscure to them1 and ,jesus spoke  
to them much of the things pertaining to
 the ,kingdom of ,god4#de ,sometimes1 as
 they sat together1 he suddenly appeared
 among them4#df ,once when a few of them
 had been out fishing over night they   
found him standing on the shore in the  
morning4#dg  ,still later he appointed a
 meeting on a mountain in ,galilee at   
which over five hundred of the faithful 
were gathered4 ,it was then that he     
commanded them to go forth to teach all 
nations1 and he gave them the promise1  
,lo1 ,i am with you alway1 even unto the
 end of the world4#dh  ,finally he led  
the chosen band to the ,mount of ,olives
 at ,bethany1 and he lifted up his hands
 and blessed them4 ,and it came to pass 
while he blessed them1 he was parted    
from them1 and carried up into heaven4  
,and a cloud received him out of their  
sight4 ,and while they looked stedfastly

 toward heaven as he went up1 behold1   
two men stood by them in white apparel2 
which also said1 ,ye men of ,galilee1   
why stand ye gazing up into heaven8 this
 same ,jesus1 which is taken up from you
 into heaven1 shall so come in like     
manner as ye have seen him go into      
heaven4#di  ,in ,luca della ,robbia's   
bas-relief of the ,ascension the moment 
has come when1 in the very act of       
blessing his disciples1 ,jesus is parted
 from them4 ,he had already1 in some    
measure1 prepared them for this event4  
,on the day of his resurrection he told 
them that he was about to ascend to his 
father4#ej ,to-day his words and manner 
may have shown them that the time was at
 hand4 ,certainly there are no startled 
or grief-stricken faces among them2 no  
gestures of surprise4 ,it is as if in   
response to some sign from the master1  
they had all knelt to receive his       
benediction1 and while they were still  
on their knees1 he rose from their      
midst4 ,already his feet have left the  

solid earth1 as he vanishes out of their
 sight4  ,the company form a circle just
 as they had clustered about him4 ,so   
orderly is their arrangement1 so quietly
 is the great act accomplished1 that    
they seem to be taking part in some     
religious service4 ,all eyes are fixed  
upon the ,saviour1 with love1 joy1 and  
adoration expressed in every            
countenance4  ,illustration3 ,,the      
,,ascension 7,,luca ,,della ,,robbia7   
,cathedral1 ,florence  ,the treachery of
 ,judas had reduced the number of       
disciples to eleven1 and the vacant     
place was not filled until later4 ,we   
see1 however1 twelve figures in this    
circle1 and notice that one is a woman4 
,this is ,mary1 the mother of ,jesus1   
who had lived with ,john since the day  
of the ,crucifixion4 ,it was the express
 wish of ,jesus that the beloved        
disciple should regard her as a mother4 
,thus it is not unnatural to suppose    
that the two would come together to     
,bethany at this time1 and kneel side by

 side1 as we see them here4 ,mary looks 
as young as when she held her babe in   
her arms1 and she has the same happy    
expression4 ,it is not possible to make 
out who the others are4 ,we fancy that  
the two beardless young men at the right
 are ,thomas and ,philip1 because they  
are thought to have been younger than   
the other disciples4  ,the figure of the
 ,saviour is noble and dignified1 the   
attitude full of buoyancy4 ,the face is 
such as from long association we have   
come to identify with the person of     
,christ1 benignant and refined4 ,he     
looks not up into the glory towards     
which he is ascending1 but his glance   
still lingers upon the disciples with an
 expression of tender solicitude4 ,an   
oval frame of radiating lines surrounds 
his entire figure4 ,it is the mandorla1 
or almond-shaped nimbus1 which was the  
old artistic symbol of divine glory4    
,we have already noticed some of the    
characteristics of ,luca della ,robbia's
 art1 which are again illustrated in    

this work4 ,the draperies are arranged  
with a simplicity of line which is      
almost severe4 ,the folds are scanty1   
clinging to the figure and following the
 fine outlines of the pose4 ,the figures
 are white1 set off against the blue of 
the sky1 and green1 brown1 and yellow   
are introduced in the landscape         
surroundings4  ,the bas-relief is one of
 two lunettes placed over opposite doors
 in the cathedral of ,florence4 ,the    
companion subject is the ,resurrection1 
and in both pieces the sculptor went    
beyond his usual limit in the number of 
figures making up the composition4 ,the 
leading quality of his work is          
decorative1 and he seldom applied his   
art to the illustration of story4 ,we   
are the more interested in his          
remarkable success in these instances4  
,a painter would naturally have brought 
out the more dramatic features of the   
,ascension1 showing the excitement and  
confusion of the moment4 ,luca knew well
 that sculpture was unsuited for violent

 action1 and he sought rather to convey 
a sense of repose in his work4 ,moreover
 he infused a devotional spirit into the
 scene which he seldom attained4        
,marcel-,reymond says that only in ,fra 
,angelico's work can one find figures   
expressing such an ecstasy of love and  
devotion4  ,footnote #de3 ,acts1 chapter
 i41 verse #c4  ,footnote #df3 ,st4     
,mark1 chapter xvi41 verse #ad2 ,st4    
,john1 chapter xx41 verse #bf4          
,footnote #dg3 ,st4 ,john1 chapter xxi41
 verse #d4  ,footnote #dh3 ,st4         
,matthew1 chapter xxviii41 verses #ai1  
#bj4  ,footnote #di3 ,st4 ,luke1 chapter
 xxiv41 verses #ej1 #ea2 ,acts1 chapter 
i41 verses #i-aa4  ,footnote #ej3 ,st4  
,john1 chapter xx41 verse #ag4          
,,xiii  ,,tomb ,,of ,,the ,,cardinal    
,,of ,,portugal  ,,by ,,antonio         
,,rossellino   ,in the church of ,san   
,miniato1 on a hill overlooking         
,florence1 is a memorial chapel built in
 honor of a ,portuguese cardinal who is 
buried here4 ,architecture1 painting1   

and sculpture are here united to make a 
perfect artistic whole4 ,the room was   
designed by the architect ,antonio      
,manetti2 the altar and walls are       
adorned with paintings by ,pollaiuolo   
and ,baldovinetti1 the roof is decorated
 with medallions of ,delia ,robbia ware1
 and at one side is the cardinal's tomb4
  ,this prelate1 ,jacopo di ,portogallo1
 died in ,florence while visiting the   
city on a diplomatic mission4 ,he was a 
young man under thirty years of age1 a  
cousin of the reigning king of          
,portugal1 and was besides the cardinal 
archbishop of ,lisbon4 ,naturally he was
 received as a guest of unusual         
distinction1 and his amiable qualities  
won him warm friends among the          
,florentines4 ,though dying in a foreign
 land1 he was buried with such honors as
 his own countrymen could hardly have   
surpassed4 ,this was in #adei1 at a time
 when ,antonio ,rossellino was a        
prominent sculptor of ,tuscany4 ,he was 
the artist chosen by the ,bishop of     

,florence to construct the ,portuguese  
cardinal's tomb4  ,on a richly carved   
base stands the sarcophagus or marble   
coffin in an arched niche4 ,just over   
this1 on a bier1 lies the portrait      
figure of the cardinal in his           
ecclesiastical robes4 ,all this is      
surrounded by a square framework1 not   
unlike a mantelpiece in style1 on the   
two upper corners of which are kneeling 
angels4 ,the wall space above is        
ornamented by angels holding over a     
simulated window a medallion containing 
a ,madonna and child4  ,our illustration
 shows this portion of the wall1 and    
includes a part of the angel figures    
kneeling at the upper corners of the    
tomb4 ,the angel on the left side holds 
the crown1 which is the reward of a     
faithful life4 ,it is the crown of      
righteousness1 the crown of life1 or the
 crown of glory which fadeth not        
away4#ca ,his companion must once have  
carried a palm branch1 according to an  
old description1 but this has           

disappeared4 ,the angels bearing the    
medallion fly forward as if swimming    
through the air1 alternately bending the
 knee and thrusting out the leg4 ,their 
draperies flutter about them in the     
swiftness of their motion4 ,such        
vigorous action is an unusual motive in 
decorative art1 and perhaps not         
altogether appropriate4 ,all four of the
 angels have delicate features and sweet
 expressions4  ,illustration3 ,,tomb    
,,of ,,the ,,cardinal ,,of ,,portugal   
7,,antonio ,,rossellino7 ,church of ,san
 ,miniato1 ,florence  ,the medallion is1
 artistically considered1 the loveliest 
portion of the whole work4 ,the face of 
the ,madonna is of that perfect oval    
which artists choose for their ideal of 
beauty4 ,we admire too the delicately   
cut features1 the waving hair1 and the  
shapely hands4 ,both she and the child  
look down from their high frame1 smiling
 upon those who may stand on the        
pavement below4 ,the child raises his   
hand in a gesture of benediction1 the   

three fingers extended as a sign of the 
trinity4  ,it is not an easy problem to 
fit the compositional lines of a group  
into a circular frame4 ,rossellino      
solved it very prettily by outlining the
 figures in a diamond-shaped diagram4   
,you may easily trace the four sides1   
drawing one line from the ,madonna's    
head along her right shoulder1 another  
from her elbow to the finger tip1 a     
third from the child's toes to his left 
elbow1 a fourth from his elbow to the   
top of the mother's veil4  ,it will be  
noticed that in the whole decorative    
scheme of the monument there is nothing 
to suggest the idea of mourning4 ,there 
is here no sense of gloom in the        
presence of death4 ,the rejoicing of the
 angels1 the smile of the mother and    
child1 and the peaceful sleep of the    
cardinal1 all express the ,christian    
hope of immortality beyond the grave4   
,the sentiment is particularly          
appropriate to the character of the man 
whose memory is honored here4 ,the      

,florentine writer ,vespasiano ,bisticci
 described him as being of a most       
amiable nature1 a pattern of humanity1  
and an abundant fountain of good1       
through ,god1 to the poor4444 ,he lived 
in the flesh as if he were free from it1
 rather the life of an angel than a man1
 and his death was holy as his life4#eb 
,allowing something for the extravagance
 of speech which was the fashion of that
 time1 we may still believe that the    
,cardinal of ,portugal was a man whose  
character was singularly pure in an age 
when good men were none too common4 ,of 
the sculptor ,rossellino also fair words
 are spoken4 ,vasari declared that he   
was venerated almost as a saint for the 
admirable virtues which he added to his 
knowledge of art4  ,the custom of       
erecting elaborate marble tombs was an  
interesting feature of the ,renaissance 
art in ,italy4 ,such monuments formed an
 important part of the interior         
decoration of churches4 ,church         
dignitaries took great pride in the     

thought that their names would be       
immortalized in these works of art4     
,some had their tombs made while still  
living1 that they might make sure of a  
satisfactory design4#ec ,others gave    
directions on the subject with their    
dying breath1 as in ,browning's poem1   
,the ,bishop ,orders his ,tomb at ,st4  
,praxed's4 ,of the many fine tombs in   
the churches of ,tuscany1 this monument 
of the ,cardinal of ,portugal is counted
 one of the three best4#ed  ,footnote   
#ea3 #b ,timothy1 chapter iv41 verse #h2
 ,st4 ,james1 chapter i41 verse #ab2 #a 
,peter1 chapter v41 verse #d4 ,the      
symbolism of the crown is explained in  
,mrs4 ,jameson's ,sacred and ,legendary 
,art1 page #bh4  ,footnote #eb3 ,in     
,vite di ,uomini ,illustri del ,secolo  
,,xv4  ,footnote #ec3 ,as ,bishop       
,salutati1 whose tomb is mentioned in   
,chapter ,,iv4  ,footnote #ed3 ,by ,c4  
,c4 ,perkins in ,tuscan ,sculptors4     
,,xiv  ,,equestrian ,,statue ,,of       
,,gattamelata  ,,by ,,donatello   ,in   

the fifteenth century ,italy was divided
 into numerous independent states1 among
 which there was more or less rivalry4  
,the two great powers of the north were 
,venice and ,milan1 both striving for   
the possession of ,lombardy4 ,to the    
,venetian republic already belonged an  
extensive territory on the mainland1 and
 she was determined on conquest at any  
cost4 ,to this end condottieri were     
employed to carry on the several        
campaigns4  ,these condottieri were     
military leaders who made war a         
business4 ,it mattered nothing to them  
on what side they fought or against what
 enemy1 so long as they were well paid  
for their services4 ,as a rule they were
 men of unscrupulous character1 many of 
whom betrayed the cause entrusted to    
them4 ,to this rule a notable exception 
was ,gattamelata1#ee the subject of the 
equestrian statue in our illustration4  
,the man's real name was ,erasmo da     
,narni4 ,it was as first lieutenant in  
the ,venetian army that he came into    

notice1 serving under ,gonzaga4 ,when   
later this ,gonzaga went over to the    
cause of the ,milanese enemy1 the       
lieutenant was promoted to the command4 
,he threw into the work before him1 says
 the historian1 an honest heart and     
splendid faculties4  ,the ,milanese army
 was much larger than the ,venetian1 and
 was commanded by the famous strategist 
,niccolo ,piccinino4 ,gattamelata could 
make little headway against such odds1  
but all that was possible to do he      
accomplished with equal courage1        
fidelity1 and zeal4 ,at length1 in      
attempting to bring relief to the       
besieged city of ,brescia1 he found     
himself shut in between the ,lake of    
,garda and the ,alps4  ,it was in the   
month of ,september1 #adch4 ,snow       
already lay on the mountains1 and the   
rivers were swollen with the autumn     
rains4 ,the roads were out of repair1   
bridges were washed away1 and even the  
fords were impassable4 ,to make matters 
worse1 the army was short of provisions4

 ,such conditions would have forced any 
other general to lay down his arms1 but 
not ,gattamelata4 ,with admirable       
coolness1 he led his men in a retreat   
across the mountains and around the     
lake4 ,three thousand horsemen and two  
thousand infantry made up their number1 
and all were devoted to their leader4   
,torrents were bridged1 old roads       
repaired1 new ones opened1 and at the   
end of a month the army emerged upon the
 ,lombard plain4  ,illustration3        
,,equestrian ,,statue ,,of ,,gattamelata
 7,,donatello7 ,piazza del ,santo1      
,padua  ,thus were the ,venetian arms   
saved1 and at the same time the         
,milanese were baffled in a design to   
come between ,venice and her army4      
,gattamelata's retreat was a victory of 
peace1 less showy1 perhaps1 than a      
victory of war1 but requiring the finest
 qualities of generalship4 ,in          
recognition of his services the         
,venetian ,signory conferred the title  
of nobility upon him1 with a palace and 

a pension4  ,in the following year1 the 
,venetian cause was strengthened by     
alliance with ,florence1 and            
,gattamelata yielded the first place in 
command to ,sforza1 the general of the  
,florentine forces4 ,in #addj the united
 armies succeeded in relieving ,brescia1
 but in the same year a calamity befell 
,gattamelata4 ,exposure to cold brought 
on paralysis1 and after a lingering     
illness of two years he died4 ,the honor
 of a great funeral was accorded him at 
the public expense1 and he was buried in
 the church of ,s4 ,antonio at ,padua4  
,the next year the sculptor1 ,donatello1
 was commissioned to make an equestrian 
statue of the great condottiere to be   
set up in the square in front of the    
church4#ef  ,with quiet dignity         
,gattamelata rides forward on his horse 
as if reviewing his army4 ,there is     
nothing pompous in his attitude or      
manner4 ,he seems a plain man intent    
upon his task1 with no thought of       
display4 ,he has the strong face of one 

born for leadership1 and we can believe 
the stories of his troops' devotion to  
him4 ,with his right hand he lifts his  
wand in a gesture of command1 letting it
 rest across the horse's neck4  ,he is  
dressed in the picturesque war costume  
of the period1 and wears metal plates   
upon his arms4 ,a long sword swings at  
his side1 and spurs are attached to his 
heels4 ,yet apparently he is not        
actually equipped for the battle1 for   
his head is uncovered4 ,he has a high   
receding forehead and thick curls4 ,the 
peculiar shape of the head1 looking     
almost conical from some points of view1
 indicates a forcible character4 ,it is 
evident that this is a man of action    
rather than of words4 ,his appearance   
fits admirably the facts of his life as 
one whose energy and courage could      
overcome any obstacle4 ,gattamelata was 
not a patriot1 as we understand         
patriotism1 being but a mercenary       
captain4 ,but he showed a rare loyalty  
to the cause he espoused4 ,it is not as 

a fighting man that we admire him       
to-day1 but as a man of remarkable      
resources4  ,obedient to the master's   
hand1 the horse ambles at a moderate    
pace4 ,except the bridle1 he has no     
trappings1 and we thus see to the best  
advantage the fine proportions of his   
figure4 ,before undertaking this work   
,donatello had had no experience in     
modelling the horse1 and his success is 
the more remarkable4 ,it is1 however1   
the man rather than the horse which     
shows the full power of the sculptor's  
art4 ,the subject was one exactly suited
 to his taste1 which preferred vigorous 
masculine qualities to all others4  ,in 
ancient sculpture equestrian subjects   
were very important4 ,on the ,parthenon 
at ,athens a frieze of bas-relief       
contained rows of horsemen riding in the
 ,panathenaic procession4#eg ,in a      
public square in ,rome was a famous     
statue of the ,emperor ,marcus ,aurelius
 on horseback4 ,donatello was the first 
sculptor of the ,christian era to revive

 this noble form of art4 ,the statue of 
,gattamelata is therefore the parent of 
the long line of modern equestrian      
statues4  ,footnote #ee3 ,the literal   
meaning of this sobriquet is ,honeyed   
cat4  ,footnote #ef3 ,w4 ,c4 ,hazlitt's 
,venetian ,republic furnishes the       
quotations and information for this     
account of ,gattamelata4 ,other sources 
of material on the subject are          
,fabretti1 ,biog4 dei ,capitani dell'   
,umbria1 ,hoefer's ,biog4 universelle1  
and ,michaud's ,biog4 generale4 ,symonds
 gives a general account of the         
condottieri in the ,age of ,despots4    
,footnote #eg3 ,see ,chapter ,,iii4 of  
the volume on ,greek ,sculpture1 in the 
,riverside ,art ,series4     ,,xv       
,,shrine  ,,by ,,mino ,,da ,,fiesole    
,we have seen from the examples in our  
collection that the art of sculpture may
 be applied in many forms to the        
decoration of churches1 without and     
within4 ,statues like those in the      
niches on the church of ,or ,san        

,michele1 sculptured altars like that by
 ,donatello in the church at ,padua1    
organ galleries like that by ,luca della
 ,robbia in the ,florence cathedral1    
monumental tombs like those of ,ilaria  
del ,carretto and the ,cardinal of      
,portugal1 medallions and lunettes on   
walls and ceilings1 are among the       
treasures enriching the churches of     
,italy4  ,sculpture may also be used to 
ornament almost every article of church 
furnishing3 pulpits1 fonts1 and basins  
for holy water1 wardrobes and cabinets1 
chests and chairs1 as well as a         
multitude of those smaller objects      
wrought in metal which belong to the    
goldsmith's art4 ,upon all such things  
as these the ,italian artists of the    
fifteenth century spent much careful and
 loving labor4  ,illustration3 ,,shrine 
7,,mino ,,da ,,fiesole7 ,church of      
,santa ,croce1 ,florence  ,our          
illustration shows a kind of church     
furniture common in this period4 ,it is 
a sculptured cabinet to contain articles

 used in the altar services1 such as the
 sacramental wafers or the holy oil4 ,a 
receptacle for objects so sacred is     
called a shrine4 ,the architectural     
framework is in the form styled a       
tabernacle1 such as we have seen in the 
niches on the outside of ,or ,san       
,michele4#eh  ,the artist was ,mino da  
,fiesole1 whose decorative works were   
very popular1 both for the delicacy of  
their finish and the quality of         
sentiment they expressed4 ,his idea here
 was to make the design suggest a sacred
 story1 the story of ,christ's          
resurrection4 ,the opening into the     
cabinet is the entrance of the tomb1 and
 without1 the angels await the coming of
 the risen ,lord4  ,our thoughts turn to
 the ,sunday morning in the garden of   
,joseph of ,arimathea1 when the faithful
 women came to the rock-hewn tomb4 ,the 
stone had been rolled away1 and angels  
greeted them with the glad tidings1 ,he 
is risen4#ei ,the angels of our picture 
press forward eagerly to peer into the  

shadowy depths of the interior4 ,there  
are two who are close to the door1 while
 two more1 with long torches1 stand on  
the step below4 ,above the door hovers a
 dove1 the emblem of the ,holy ,spirit4 
,various features of the tabernacle     
illustrate characteristic qualities of  
the ,italian art of this period4 ,the   
arched top is to be noticed as much more
 common in ,italy than the ,gothic or   
pointed roof4 ,the winged cherub heads  
were a favorite decorative design4 ,we  
have seen one example of their use in   
the frame of the medallion on the       
,portuguese cardinal's tomb4 ,the       
decorated side pillars with ,ionic      
capitals we have seen in the altarpiece 
of the ,annunciation by ,andrea della   
,robbia4  ,the shrine of our            
illustration was originally made for the
 nuns of the convent of the ,murate4 ,it
 is mentioned by ,vasari as a work which
 the artist conducted to perfection with
 all the diligence of which he was      
capable4 ,that its first purpose was to 

hold the sacramental wafers we may be   
sure from the ,latin inscription1 ,this 
is the living bread which came down from
 heaven4 ,the words are those used by   
our ,lord himself in one of the         
discourses recorded by ,st4 ,john4#fj   
,in #ahae the shrine was removed to its 
present place in the church of ,s4      
,croce1 ,florence1 where it is in the   
chapel of the ,medici1 also called the  
chapel of the ,novitiate4  ,footnote    
#eh3 ,chapter ,,ii4  ,footnote #ei3 ,st4
 ,mark1 chapter xvi41 verses #d-f4      
,footnote #fj3 ,st4 ,john1 chapter vi41 
verse #ea4     ,,xvi  ,,il ,,marzocco   
7,,the ,,heraldic ,,lion ,,of           
,,florence7  ,,by ,,donatello   ,in the 
history of the several cities of ,italy 
every town has chosen some design to be 
inscribed upon a shield as a coat of    
arms4 ,florence has the lily1 as a      
reminder of the far-away days when the  
valley of the ,arno was filled with the 
red blossoms of the amaryllis4 ,it was  
for this that the name ,firenze was     

given to the city1 the ,city of         
,flowers4 ,the lily is drawn in three   
petals somewhat like those of the       
fleur-de-lis of ,france2 but the        
,florentine flower is broader than its  
,french counterpart1 and has besides two
 slender flower-stalks separating the   
larger petals4 ,when represented in     
color it is always red4  ,the tutelary  
genius of ,florence is the lion4 ,he    
stands for the noble and heroic         
qualities in the ,florentine citizen4   
,courage and patriotism have many a time
 been magnificently illustrated in the  
history of the city's struggles against 
tyranny4 ,like the king of beasts1 the  
loyal ,florentine prefers death to the  
loss of liberty4  ,the choice of the    
lion as a civic emblem explains the fact
 that a preserve of lions was once kept 
in ,florence at the public expense4     
,this was given up centuries ago1 but   
the ,via de' ,leoni1 or street of the   
lions1 remains to remind us of the old  
custom4 ,there was still another way in 

which ,florence kept the emblem         
continually before the minds of her     
people4 ,this was in the stone lion     
called the ,marzocco1 set up in the     
piazza1 or square1 of the ,signoria4    
,for many years the civic life of       
,florence centred in the ,piazza della  
,signoria1 where stands the old gray    
stone palace called the ,palazzo        
,vecchio4 ,of some of the important     
events which took place here in the     
fifteenth century we may read in ,george
 ,eliot's ,romola4 ,it was here the     
,florentines gathered on all occasions  
of public interest1 whether connected   
with the political or the religious     
affairs of their city4  ,in front of the
 ,palazzo ,vecchio is a stone platform  
called the ringhiera1 and it was on this
 that the ,marzocco was set up as a     
stimulus to patriotism4 ,the lion sits  
on his haunches in an attitude of grave 
dignity4 ,in this position he is much   
more alert than a crouching lion1 and   
less aggressive than the rampant lion4  

,his duty is to guard the honor of the  
city1 and his pose is much like that of 
the watchdog4 ,with his right paw he    
supports a shield on which the          
,florentine lily is engraved4 ,we are   
reminded of our own national eagle      
holding the shield of the stars and     
stripes4  ,in such a figure we do not   
look for a close resemblance to nature4 
,the subjects of heraldic art are       
treated in a decorative way with a      
certain stiffness of form4 ,the device  
of the lily is not an actual picture of 
the flower1 but a kind of floral        
diagram1 or what we call a              
conventionalized form4 ,so1 too1 the    
lion is of a formal or emblematic type4 
,yet there is a certain expressiveness  
in the face of the old fellow which     
makes us like him4 ,like the winged lion
 of ,st4 ,mark's in ,venice1 he has made
 many friends4  ,il ,marzocco is carved 
out of soft gray stone which the        
,italians call pietra serena4 ,it is    
believed to have been made by           

,donatello1 and it stands on a beautiful
 carved pedestal4 ,like the same        
sculptor's statue of ,st4 ,george it was
 deemed too precious to leave exposed in
 the open air1 and was therefore removed
 to a museum4 ,a bronze copy now stands 
in its place on the platform of the old 
palace4   ,,pronouncing ,,vocabulary    
,,of ,,proper ,,names ,,and ,,foreign   
,,words  ,the ,diacritical ,marks given 
are those found in the latest edition of
 ,webster's ,international ,dictionary4 
,,explanation ,,of ,,diacritical        
,,marks4   ,a ,dash 77 above the vowel  
denotes the long sound1 as in fate1     
eve1 time1 note1 use4 ,a ,dash and a    
,dot 747 above the vowel denote the same
 sound1 less      prolonged4 ,a ,curve  
777 above the vowel denotes the short   
sound1 as in 7add1      7end1 7ill1     
7odd1 7up4 ,a ,dot 747 above the vowel a
 denotes the obscure sound of a in      
p4ast1 4abate1 ,am7eric4a4 ,a ,double   
,dot 737above the vowel a denotes the   
broad sound of a in      faether1 aelms4

 ,a ,double ,dot 737 below the vowel a  
denotes the sound of a in       ba3ll4  
,a ,wave 77 above the vowel e denotes   
the sound of e in her4 ,a ,circumflex   
,accent 77 above the vowel o denotes the
 sound of o in      born4 ,a dot 747    
below the vowel u denotes the sound of u
 in the ,french      language4 ,n       
indicates that the preceding vowel has  
the ,french nasal tone4 ,g and ,k denote
 the guttural sound of ch in the ,german
 language4 th denotes the sound of th in
 the1 this4 c sounds like s4 -c sounds  
like k4 s sounds like z4 g is hard as in
 get4 4g is soft as in 4gem4    ,alger  
77al'jer74 ,ambrosi1 ,marietta          
7mae-re-7et'tae aem-bro'ze74 ,andrea    
7aen-dra'ae74 ,angelico1 ,fra 7frae     
aen-j7el'e-ko74 ,annunziata             
7aen-noon-tse-ae'tae74 ,antonio         
7aen-to'ne-o74 ,apollo 74a-p7ol'lo74    
,arezzo 7ae-r7et'so74 ,arimathea        
77ar-7i-m4a-the'4a74 ,aristotle         
77ar'7is-t7otl74 ,arras 7aer-raes'74    
,baldovinetti 7bael-do-ve-n7et'te74     

,bambino 7baem-be'no74 ,bartolommeo     
7baer-to-l7om-ma'o74 ,b7eth'4any4       
,b7eth'leh7em4 ,bethsaida               
7b7eth-sa'7i-d4a74 ,bisticci1           
,vespasiano 7v7es-pae-ze-ae'no bes-tet' 
che74 ,bologna 7bo-lon'y4a74 ,borghini1 
,vicenzo 7ve-ch7end'so bor-ge'ne74      
,botticelli 7b7ot-te-ch7el'le74 ,brescia
 7bra'she-ae74 ,brunelleschi            
7broo-n7el-l7es'ke74 ,buonarroti        
7boo-o-naer-ro'te74  ,cammina           
7kaem'me-nae74 cantoria 7kaen-to-re'ae74
 ,cappadocia 7k7ap-4a-do'sh7i-ae74      
,carderara 7kaer-da-rae'rae74 ,carrara  
7kaer-rae'rae74 ,carretto               
7kaer-r7et'to74 ,cavalucci              
7kae-vae-loot'che74 ,cleodolinda        
7kle-7od-o-l7in'd4a74 ,colvin1 ,sidney  
7s7id'n7i k7ol'v7in74 ,correggio        
7kor-r7ed'jo74 ,cortile 7kor-te'l4a74   
,croce 7kro'cha74  ,della ,robbia       
7d7el'lae r7ob'be-ae74 ,didron          
7de-dro,n'74 ,diocletian                
7di-o-kle'sh7i-4an74 ,dom7in'7ic4an4    
,d7om'7in7ick4 ,donaet7el'lo4 ,donae'to4

  ,ecce ancilla ,domini fiat mihi       
secundum verbum tuum 77ek'k7e           
aenkel'lae do'me-ne fe'aet m4e'h4e      
sakoon'doom war'boom too'oom74 ,ecco il 
,giovannino 77ek'ko el jo-vaen-ne'no74  
,ego sum ,lux ,mundi 77eg'o s7oom loox  
moon'de74 ,elias 7e-li'4as74 ,elisabeth 
7e-l7iz'4a-b7eth74 ,eloi 7a-lwae'74     
episcopus 7a-pe'sko-p7oos74 ,erasmo da  
,narni 7a-raes'mo dae naer'ne74         
,fabretti 7fae-br7et'te74 ,firenze      
7fe-r7end's4a74 ,florentine             
7flor'7en-ten74 ,franciscan             
7fr7an-s7is'k4an74 ,frati ,minori       
7frae'te me-no're74 ,frati ,predicatori 
7frae'te pra-de-kae-to're74  ,galilee   
7g7al'7i-le74 ,garda 7gaer'dae74        
,gattamelata 7gaet-tae-ma-lae'tae74     
genre 7zhae,nr74 ,gonzaga               
7g7ond-sae'gae74 ,gr7eg'or7y4 ,guinigi1 
,paolo 7pae'o-lo gwe-ne'ge74            
,h7az'l7itt4 ,her'mes4 ,h7er'7od4       
,hewlett1 ,maurice 7ma3'r7is hu'l7et74  
,hieropolis 7hi-e-r7op'o-l7is74 ,hoefer 
7he'fer74 ,iconografia ,espanola        

7e-ko-no-grae-fe'ae                     
7es-paen-yo'lae74 ,iconography          
7i-ko-n7og'r4a-f7i74 ,ilaria            
7e-lae're-ae74  ,jacopo della ,quercia  
7yae'ko-po d7el'lae kw7er'chae74        
,jor'd4an4 ,jourdain 7zhoor-d7a,n'74    
,judaea 7ju-de'4a74  ,l7eg'horn4        
,l7ib'7y4a4 ,lisbon 7l7iz'b7un74 ,loggia
 7l7od'jae74 ,l7om'b4ard7y4 ,luca della 
,robbia 7l7oo'kae d7el'lae r7ob'be-ae74 
,lucca 7look'kae74  ,magnificat         
7m7ag-n7if'7i-k7at74 ,mandorla          
7maen'dor-lae74 ,manetti1 ,antonio      
7aen-to'ne-o mae-n7et'te74              
,marcel-,reymond 7maer-s7el' ra-mo,n'74 
,marzocco1 ,il 7el maerd-s7ok'ko74      
,medici 7ma'de-che74 ,michaud 7me-sho'74
 ,michelangelo 7me-k7el-aen'j4a-lo74    
,milan 7m7il'4an or m7i-l7an'74 ,mino da
 ,fiesole 7me'no dae fe-a'so-l4a74      
,molinier 7mo-le-ne-a'74 ,murate        
7moo-rae't4a74 ,murillo 7moo-rel'yo74   
,nanni di ,banco 7naen'ne de baen'ko74  
,nath7an'4a7el4 ,n7az'4ar7eth4 ,niccolo 
7ne-ko-lo'74  ,or ,san ,michele 7or saen

 me-k7a'l4a74  ,p7ad'u4a4 ,palazzo      
,vecchio 7pae-laet'so v7ek'ke-o74       
,pa'ter4 ,petronio 7pa-tro'ne-o74       
,phrygia 7fr7ij'7i4a74  ,piazza         
7pe-aet'sae74 ,piccinino1 ,niccolo      
7ne-ko-lo' pet-che-ne'no74 pietra serena
 7pe-a'trae sa-ra'nae74 ,pisa 7pe'zae74 
,pistoja 7pes-to'yae74 ,planche         
7plae,n-sha'74 ,pollaiuolo              
7pol-lae-yoo-o'lo74 ,portogallo1 ,jacopo
 di 7yae'ko-po de por-to-gael'lo74      
,port'ug4al4 ,pr7ax'7ed4                
,pre-,raphaelite 7pre-rae'fa-7el-it74   
,raphael 7rae'fa-7el74 ,rea 7ra74       
,rembrandt 7r7em'br7ant74 ,renaissance  
7re-nas-sae,ns'74 ringhiera             
7ren-ge-a'rae74 ,romola 7r7om'o-l4a74   
,rossellino 7r7os-s7el-le'no74 ,rossetti
 7r7os-s7et'te74  ,sabatier             
7sae-bae-te-a'74 ,salutati1 ,leonardo   
7la-o-naer'do sae-loo-tae'te74 ,san     
,miniato 7saen me-ne-ae'to74 ,scythia   
7s7ith'7i-4a74 ,sforza 7sford'sae74     
,siena 7se-a'nae74 ,signor 7sen'yor74   
,signory 7sen'yo-r7i74 ,sile'ne4        

,spedale degli ,innocenti 7sp7a-dae'la  
da'lye      en-no-chan'te74             
,st7ig'm4atae4 ,symonds 7s7im'7undz74   
,syndics 7s7in'd7ix74                   
,t7il'l7ing-h7ast4 ,titian 7t7ish'4an74 
,t7us'c4an7y4  ,vasari 7vae-sae're74    
,via de' ,leoni 7ve'ae da la-o'ne74     
,zacharias 7z7ak-4a-ri'4as74 ,zuccone   
7dsook-ko'n74