nfounded. The Coscia tomb is among the earliest of that composite
type which soon pervaded Italy. At least one other monument was
directly copied from it, that of Raffaello Fulgosio at Padua. This was
made by Giovanni da Pisa, and the sculptor's conflict between respect
for the old model, and his desires after the new ideas, is apparent in
the whole composition.

[Footnote 90: See "Arch. Storico dell' Arte," 1893, p. 209.]

[Footnote 91: "De Sculptura," 1504, folio e. 1. On the other hand, the
sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and
artillery for the Venetian Republic.]

[Footnote 92: _Op. cit._ p. 70. In this drawing two _putti_ are also
shown holding a shield, above the monument; this has now
disappeared.]

* * * * *

[Sidenote: The Aragazzi Tomb.]

In the _Denunzia de' beni_ of 1427 Donatello states that he was
working with Michelozzo on the tomb of Bartolommeo Aragazzi, and the
monument has therefore been ascribed to them both. But recent research
has established that, though preparatory orders were given in that
year, a fresh contract was made two years later, and that Donatello's
share in the work was nil. Michelozzo alone got payment up to 1436 or
thereabouts, when the tomb was completed. Donatello's influence would,
perhaps, have been visible in the design, but unhappily we can no
longer even judge of this, for the tomb is a wreck, having been broken
up to make room for structural alterations.[93] Important fragments
are preserved, scattered about the church; but the sketch of the tomb,
said to be preserved in the local library, has never yet been
discovered. The monument had ill-fortune from the very beginning. An
amusing letter has come down to us, pathetic too, for it records the
first incident in the tragedy. Leonardo Aretino writes to Poggio, that
when going home one day he came across a party of men trying to
extricate a wagon which had stuck in the deep ruts. The oxen were out
of breath and the teamsmen out of temper. Leonardo went up to them and
made inquiries. One of the carters, wiping the sweat from his brow,
muttered an imprecation upon poets, past, present and future (_Dii
perdant poetas omnes, et qui fuerunt unquam et qui futuri sunt_.)
Leonardo, a poet himself, asked what harm they had done him: and the
man simply replied that it was because this poet, Aragazzi, who was
lately dead, ordered his marble tomb to be taken all the way to