and the marine details of Roman reliefs are copied in the subordinate decoration.  At Verona the mediaeval tombs of the Scaligers, with their vast chest-like sarcophagi and mounted warriors, exhibit features markedly different from the monuments of Tuscany; while the mixture of fresco with sculpture, in monuments like that of the Cavalli in S. Anastasia, and in many altar-pieces, is at variance with Florentine usage.  On the terra-cotta mouldings, so frequent in Lombard cities, I have already had occasion to touch briefly.  They almost invariably display a feeling for beauty more sensuous, with less of scientific purpose in their naturalism, than is common in the Tuscan style.  Guido Mazzoni of Modena, called Il Modanino, may be mentioned as the sculptor who freed terra-cotta from its dependence upon architecture, and who modelled groups of overpowering dramatic realism.  His “Pieta,” in the Church of Monte Oliveto at Naples, is valuable, less for its passionate intensity of expression than for the portraits of Pontano, Sannazzaro, and Alfonso of Aragon.[112] This sub-species of sculpture was freely employed in North Italy to stimulate devotion, and to impress the people with lively pictures of the Passion.  The Sacro Monte at Varallo, for example, is covered with a multitude of chapels, each one of which presents some chapter of Bible history dramatically rendered by life-size groups of terra-cotta figures.  Some of these were designed by eminent painters, and executed by clever modellers in clay.  Even now they are scarcely less stirring to the mind of a devout spectator than the scenes of a mediaeval Mystery may have been.

The Certosa of Pavia, lastly, is the centre of a school of sculpture that has little in common with the Florentine tradition.  Antonio Amadeo[113] and Andrea Fusina, acting in concert with Ambrogio Borgognone the painter, gave it in the fifteenth century that character of rich and complex decorative beauty which many generations of artists were destined to continue and complete.  Among the countless sculptors employed upon its marvellous facade Amadeo asserts an individuality above the rest, which is further manifested in his work in the Cappella Colleoni at Bergamo.  We there learn to know him, not only as an enthusiastic cultivator of the mingled Christian and pagan manner of the quattrocento, but as an artist in the truest sense of the word sympathetic.  The sepulchral portrait of Medea, daughter of the great Condottiere, has a grace almost beyond that of Della Quercia’s “Ilaria."[114] Much, no doubt, is due to the peculiarly fragile beauty of the girl herself, who lies asleep with little crisp curls clustering upon her forehead, and with a string of pearls around her slender throat.  But the sensibility to loveliness so delicate, and the power to render it in marble with so ethereal a touch upon the rigid stone, belong to the sculptor, and win for him our worship.