sing a fine upon
whoever _dicesse vilania o parole ingiuriose al retore_: Art. 55.
Milanesi, i. 25.]

* * * * *

[Illustration: _Alinari_

TOMB OF GIOVANNI, SON OF GENERAL GATTAMELATA

PADUA]

[Illustration: _Alinari_

TOMB OF GENERAL GATTAMELATA

SANT' ANTONIO, PADUA]

[Illustration: SHRINE OF ST. JUSTINA

LONDON]

[Sidenote: Bellano and the Gattamelata Tombs.]

One other sculptor, Bellano, is said by Vasari to have been so much
affected by Donatello's influence that the work of the two men was
often indistinguishable. This places Bellano too high. Scardeone, it
is true, says he was _mirus coelatura_;[208] but Gauricus is more
accurate in calling him _ineptus artifex_.[209] He was really a
lugubrious person, though on rare occasions he made a good thing,
such, for instance, as the statuette of St. Jerome, belonging to M.
Gustave Dreyfus. But his large bas-relief of St. Anthony and the
Mule[210] is stiff and laboured. The tomb of Roycelli, the _monarcha
sapientie_ in the Santo, with its wealth of poverty-stricken
decoration, shows that Bellano was a man who could work on a large
scale, but whose sense of fitness and harmony was weak. So also the
Roccabonella fragments, in spite of a rugged, rough-hewn appearance,
show an absence of ethical and intellectual qualities; while the fussy
and breathless reliefs round the choir of the Santo are farcical in
several respects. There was another man influenced by Donatello, who
must be nameless pending further investigation: his style cannot be
identified with anything on the great altar, but he was a sculptor of
immense power. He made the so-called shrine of Santa Giustina in
London,[211] and the two Gattamelata monuments in the Santo. These
tombs are very simple, consisting of the effigies of the two
Condottieri, fully armed, but with bared heads. Below is a broad stone
relief of children holding the scroll between them, as on the Coscia
tomb in Florence. Above is a lunette containing painting, the whole
composition being framed by a severe moulding, and surmounted by the
family crest and badge. They are most remarkable. The two recumbent
figures lie calm and peaceful: they show the ennobling aspect of
death, the belief in a further existence. This sculptor with his
sensitive touch makes us realise the migration. To "make the good end"
was, indeed, a product of Christianity: antiquity was content if a
man parted from life "ha