re for careful preservation and that
whoever has fifty centimes might take pleasure in seeing it; but the
great silver altar is from the Baptistery, and being made for that
temple is naturally dedicated to the life of John the Baptist. Although
much of it was the work of not the greatest modellers in the second
half of the fourteenth century, three masters at least contributed
later: Michelozzo adding the statue of the Baptist, Pollaiuolo the
side relief depicting his birth, and Verrocchio that of his death,
which is considered one of the most remarkable works of this sculptor,
whom we are to find so richly represented at the Bargello. Before
leaving this room, look for 100^3, an unknown terra-cotta of the
Birth of Eve, which is both masterly and amusing, and 110^4, a very
lovely intaglio in wood. I might add that among the few paintings,
all very early, is a S. Sebastian in whose sacred body I counted no
fewer than thirty arrows; which within my knowledge of pictures of
this saint--not inconsiderable--is the highest number.

The next room is given to models and architectural plans and
drawings connected with the cathedral, the most interesting thing
being Brunelleschi's own model for the lantern. On the stairs are a
series of fine bas-reliefs by Bandinelli and Giovanni dell' Opera from
the old choir screen of the Duomo, and downstairs, among many other
pieces of sculpture, is a bust of Brunelleschi from a death-mask and
several beautiful della Robbia designs for lunettes over doors.

CHAPTER IV

The Campanile and the Baptistery

A short way with Veronese critics--Giotto's missing spire--Donatello's
holy men--Giotto as encyclopaedist--The seven and twenty
reliefs--Ruskin in American--At the top of the tower--A sea of
red roofs--The restful Baptistery--Historic stones--An ex-Pope's
tomb--Andrea Pisano's doors--Ghiberti's first doors--Ghiberti's second
doors--Michelangelo's praise--A gentleman artist.

It was in 1332, as I have said, that Giotto was made capo-maestro,
and on July 18th, 1334, the first stone of his campanile was laid, the
understanding being that the structure was to exceed "in magnificence,
height, and excellence of workmanship" anything in the world. As
some further indication of the glorious feeling of patriotism then
animating the Florentines, it may be remarked that when a Veronese
who happened to be in Florence ventured to suggest that the city
was aiming rather too high, he was at once thr