tor Rossellino also fair
words are spoken. Vasari declared that he "was venerated almost as a
saint for the admirable virtues which he added to his knowledge of
art."

The custom of erecting elaborate marble tombs was an interesting
feature of the Renaissance art in Italy. Such monuments formed an
important part of the interior decoration of churches. Church
dignitaries took great pride in the thought that their names would be
immortalized in these works of art. Some had their tombs made while
still living, that they might make sure of a satisfactory design.[53]
Others gave directions on the subject with their dying breath, as in
Browning's poem, "The Bishop Orders his Tomb at St. Praxed's." Of the
many fine tombs in the churches of Tuscany, this monument of the
Cardinal of Portugal is counted one of the three best.[54]

[Footnote 51: 2 Timothy, chapter iv., verse 8; St. James, chapter i.,
verse 12; 1 Peter, chapter v., verse 4. The symbolism of the crown is
explained in Mrs. Jameson's _Sacred and Legendary Art_, page 28.]

[Footnote 52: In _Vite di Uomini Illustri del Secolo XV_.]

[Footnote 53: As Bishop Salutati, whose tomb is mentioned in Chapter
IV.]

[Footnote 54: By C. C. Perkins in _Tuscan Sculptors_.]

XIV

EQUESTRIAN STATUE OF GATTAMELATA

BY DONATELLO

In the fifteenth century Italy was divided into numerous independent
states, among which there was more or less rivalry. The two great
powers of the north were Venice and Milan, both striving for the
possession of Lombardy. To the Venetian republic already belonged an
extensive territory on the mainland, and she was determined on
conquest at any cost. To this end condottieri were employed to carry
on the several campaigns.

These condottieri were military leaders who made war a business. It
mattered nothing to them on what side they fought or against what
enemy, so long as they were well paid for their services. As a rule
they were men of unscrupulous character, many of whom betrayed the
cause entrusted to them. To this rule a notable exception was
Gattamelata,[55] the subject of the equestrian statue in our
illustration.

The man's real name was Erasmo da Narni. It was as first lieutenant in
the Venetian army that he came into notice, serving under Gonzaga.
When later this Gonzaga went over to the cause of the Milanese enemy,
the lieutenant was promoted to the command. He threw into the work
before him, says the historian, "an honest he