erected before the
death of Ferdinand in 1516, and was probably the work of an Italian
sculptor. This monument has a large marble sarcophagus, with a structure
above it in the Renaissance style. At the corners of the sarcophagus
there are griffins of excellent workmanship, and on the sides reliefs
and statuettes of the Four Fathers of the Church; on the lid repose the
figures of the royal pair, executed in a grand and dignified
simplicity.

CHAPTER VII.

ITALIAN SCULPTURE IN THE SIXTEENTH CENTURY--CELLINI, MICHAEL ANGELO, AND
OTHERS.

By the beginning of the sixteenth century sculpture occupied a different
place with relation to architecture from that which it had held in the
previous centuries which we have just considered. The architecture of
Italy became much more plain, and its union with sculpture in any large
degree was rare.

Painting, too, had now an effect to lessen the sphere of sculpture. This
art was always preferred by the Christians, as has been shown before,
and now, when it had reached most satisfactory heights, it was used in
many places where sculpture had before been placed. One important
example of this is seen in the decoration of altars; where bas-reliefs
had been used paintings were now preferred, and the end of all was that
sculpture was limited to monuments and to separate pieces--reliefs or
single statues or groups of figures.

In some ways this separation of the arts was a benefit to all. Under the
old rule sculptors had often been forced to sacrifice their design to
the needs of the architecture their work adorned. At other times they
were compelled to put aside their own feeling and their artistic ideas
as to how a subject should be treated, and suit themselves to such forms
as were approved by the particular priest or bishop whose church they
decorated. Now, when left to itself, sculpture became more individual
in its expression, and far more free and interesting in itself. In the
beginning of the sixteenth century the works of Italian sculpture were
splendid in the extreme. It was delicate and beautiful; the drapery was
made to show the figure and its natural motion, while it added an
exquisite grace to the whole; many works of this period were fine in
conception, good in their arrangement, and executed in a noble, spirited
manner. Some critics believe that during the first four decades of this
era Italian sculpture equalled the antique art of the Romans. Others
make 1520,