rnor 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.

[105] Besides Civitali's altar of S. Regulus, and the tomb of Pietro da
Noceto already mentioned, Bernardo Rossellino's monument to Lionardo
Bruni, and Desiderio's monument to Carlo Marsuppini in S. Croce at
Florence, may be cited as eminent examples of Tuscan sepulchres.

[106] The wooden statue of the Magdalen in Santa Trinita at Florence
shows Desiderio's approximation to the style of his master. She is a
careworn and ascetic saint, with the pathetic traces of great beauty in
her emaciated face.

[107] This bust is in the Palazzo Strozzi at Florence.

[108] So Giovanni Santi, Raphael's father, described Desiderio da
Settignano.

[109] The following story is told about Benedetto's youth. He made two
large inlaid chests or _cassoni_, adorned with all the skill of a worker
in tarsia, or wood-mosaic, and carried these with him to King Matthias
Corvinus, of Hungary. Part of his journey was performed by sea. On
arriving and unpacking his chests, he found that the sea-damp had unglued
the fragile wood-mosaic, and all his work was spoiled. This determined
him to practise the more permanent art of sculpture. See Perkins, vol. i.
p. 228.

[110] For further description of the sculpture at Rimini, I may refer to
my _Sketches in Italy and Greece_, pp. 250-252. For the student of
Italian art, who has no opportunity of visiting Rimini, it is greatly to
be regretted that these reliefs have never yet even in photography been
reproduced. The palace of Duke Frederick at Urbino was designed by
Luziano, a Dalmatian architect, and continued by Baccio Pontelli, a
Florentine. The reliefs of dancing Cupids, white on blue ground, with
wings and hair gilt, and the children holding pots of roses and
gilly-flowers, in one of its great rooms, may be selected for special
mention. Ambrogio or Ambrogino da Milano, none of whose handiwork is
found in his native district, and who may therefore be supposed to have
learned and practis