Sculptures statues of SS. Ansano and Crescenzio for the
Loggia degli Uffiziali

Died

1460

IL VECCHIETTA—

Born

1465-1472

Bronze tabernacle for the Duomo at Siena.
Monument of Marino Soccino-effigy in the Uffizi-
statues of SS. Peter and Paul-Loggia degli Uffiziali,
Siena
Bronze Christ and candle-bearing Angels-Hospital at
Siena

1451

1475

Altar in S. Domenico, and Christ supported by Angels.
Died

1480

TURINO DI SANO and GIOVANNI DI TURINO

Marble reliefs of SS. John, Paul, and Matthew, in the
Duomo at Siena

Seventy-two bas-reliefs of military machines in the ducal
palace at Urbino.

Two Angels in bronze in the Duomo at Siena
Died

URBANO DI CORTONA

Monument of Cav. Cr. Felice in S. Francesco at Siena, and

bas-relief over the door of the oratory of S. Catherine
at Siena, circa.

Bronze braccialetti' of the Palazzo Petrucci at Siena,
and brackets for the high altar of the Duomo.

MICHEL ANGELO SANESE

Flourished.

1520

CHRONOLOGY.

Monument of Pope Adrian VI. in Santa Maria dell'

Anima at Rome

LORENZO DI MARIANO detto IL MARINA

A.D.

121

BOOK III.

THE PICTORIAL SCULPTORS.

CHAPTER V.

LORENZO GHIBERTI AND DONATELLO.

Period

for art

ment.

WITH the exception of Arnolfo del Cambio and Andrea

Orcagna, Florence produced no sculptors equal to the best Pisan masters until more than one hundred and fifty years after the Revival; but towards the end of the fourteenth century two men, destined to raise the fame of her school of sculpture equally high with that of painting, long esteemed the first in Italy, were born within her walls. These were Ghiberti and Donatello.

Placed midway between the age of strong religious feeling and singularly favourable that in which Paganism invaded every form of art and literature, develop- the period was singularly favourable for artistic education; as the waning influence of religion was still strong enough to check the adoption of Pagan sentiment, while a general enthusiasm for the antique led to the study of the beauty of form and technical perfection revealed in those newly acquired masterpieces of classic art, which were eagerly sought for and daily added to the col

lections of the time.

In its first phase, as represented by Brunelleschi in architecture and by Ghiberti and Donatello in sculpture, the Renaissance was noble and profitable; but it became destructive to all life and progress when artists, no longer seeking to assimilate its abstract principles to new ideas, aimed at positive imitation of antique forms; when, striking at the foundations of religious belief already