[86] See the Commentaries of Ghiberti, printed in vol. i. of Vasari (Lemonnier, 1846).

[87] The patera is at South Kensington, the frieze at Florence.

[88] As also the wooden Baptist in the Frari at Venice.

[89] There is another “David,” by Donatello, in marble; also in the Bargello, scarcely less stiff and ugly than the “Baptist.”

[90] The cast was published by the Arundel Society.  The original belongs to Lord Elcho.

[91] It has been suggested, with good show of reason, that Mantegna was largely indebted to these bas-reliefs for his lofty style.

[92] This omits the statues of the Scaligers:  but no mediaeval work aimed at equal animation.  The antique bronze horses at Venice and the statue of Marcus Aurelius must have been in Donatello’s mind.

[93] The sculptor of a beautiful tomb erected for the Countess of Montorio and her infant daughter in the church of S. Bernardino at Aquila was probably Andrea dell’ Aquila, a pupil of Donatello.  See Perkins’s Italian Sculptors, pp. 46, 47.

[94] Istoria della Vita e Fatti dell’ eccellentissimo Capitano di guerra Bartolommeo Colleoni, scritta per Pietro Spino.  Republished, 1859.

[95] See Vol.  I., Age of the Despots, p. 310, note 2.

[96] Crowe and Cavalcaselle, vol. ii. chap, xvi., may be consulted as to the several claims of the two brothers.

[97] His bas-reliefs on Giotto’s campanile of Grammar, Astronomy, Geometry, Plato, Aristotle, &c., are anterior to 1445; and even about this date there is uncertainty, some authorities fixing it at 1435.

[98] Purg. x. 37, and xi. 68.

[99] Among the very best works of the later Robbian school may be cited the frieze upon the facade of the Ospedale del Ceppo at Pistoja, representing in varied colour, and with graceful vivacity, the Seven Acts of Mercy.  Date about 1525.

[100] He calls himself Agostinus Florentine Lapicida on his facade of the Oratory of S. Bernardino.

[101] See especially a roundel in the Bargello, and the altar-piece in the church of Monte Oliveto at Naples.  Those who wish to understand Rossellino should study him in the latter place.

[102] In the church of Samminiato, near Florence.

[103] Vite di Uomini Illustri, pp. 152-157.

[104] These tombs in the Badia were erected for Count Ugo, Governor of Tuscany under Otho II., and for Messer Bernardo Giugni.  Mino also made the tomb for Pope Paul II., parts of which are preserved in the Grotte of S. Peter’s.  At Rome he carved a tabernacle for S. Maria in Trastevere, and at Volterra a ciborium for the Baptistery—­one of his most sympathetic productions.  The altars in the Baglioni Chapel of S. Pietro Cassinense at Perugia, in S. Ambrogio at Florence, and in the cathedral of Fiesole, and the pulpit in the Duomo at Prato, may be mentioned among his best works.