Sculptures statues of SS. Ansano and Crescenzio for the Died 1460 IL VECCHIETTA— Born 1465-1472 Bronze tabernacle for the Duomo at Siena. 1451 1475 Altar in S. Domenico, and Christ supported by Angels. 1480 TURINO DI SANO and GIOVANNI DI TURINO Marble reliefs of SS. John, Paul, and Matthew, in the Seventy-two bas-reliefs of military machines in the ducal Two Angels in bronze in the Duomo at Siena 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 Bronze braccialetti' of the Palazzo Petrucci at Siena, 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 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 |