ich lasted until
1433. The whole subject is obscure, and until we have a critical
biography of Michelozzo his relation with various men and monuments of
the fifteenth century must remain problematical. Michelozzo has not
hitherto received his due meed of appreciation. As a sculptor and
architect he frequently held a subordinate position, and it has
been assumed that he therefore lacked independence and originality.
But the man who was Court architect of the Medici, and director of the
Cathedral building staff, was no mere hack; while his sculpture at
Milan, Naples, and Montepulciano show that his plastic abilities were
far from mean. He was a great man with interludes of smallness. When
Donatello required technical help in casting, Michelozzo was called
in. Though Donatello had worked for Ghiberti on the bronze gates, he
was never quite at home in the science of casting. Gauricus says he
always employed professional help--"_nunquam fudit ipse, campanariorum
usus opera semper_."[91] Caldieri cast for him at Padua. Michelozzo
also helped Luca della Robbia in casting the Sacristy gates which
Donatello should have made; the commissions which Donatello threw over
were those for work in bronze. The partnership extended over some of
the best years of Donatello's life, and three tombs, the St. Louis,
and the Prato pulpit are among their joint products. The tombs of Pope
John XXIII. in the Baptistery, that of Aragazzi the Papal Secretary at
Montepulciano, and that of Cardinal Brancacci at Naples, are
noteworthy landmarks in the evolution of sepulchral monuments, which
attained their highest perfection in Italy. In discussing them it will
be seen how fully Michelozzo shared the responsibilities of Donatello.
Baldassare Coscia, on his election to the Papacy, took the title of
John XXIII. He was deposed by a council and retired to Florence, where
he died in 1418. He was befriended by the Medici, who erected the
monument, the last papal tomb outside Rome, to his memory. "_Johannes
Quondam Papa XXIII._" is inscribed on it, and it is said that Coscia's
successful rival objected to this appellation of his predecessor, but
the protest went unheeded. The tomb is remarkable in many ways. Its
construction is most skilful, as it was governed by the two upright
pillars between which the monument had to be fitted. We have a series
of horizontal lines; a frieze at the base, then three Virtues; above
this the effigy, and finally a Madonna beneat