io._]

Although this equestrian statue is called by Verocchio's name, he did
not live to see it completed; and though it was without doubt made from
his design, still some credit for its execution is due to Alessandro
Leopardo, who finished it. When Colleoni died he left all his large
fortune to the Republic of Venice on condition that they should erect
an equestrian monument to him in the square of St. Mark. As it was
forbidden by the laws of Venice to place such things in the Piazza of
St. Mark, it was placed in its present position, before the Church of
San Giovanni e Paolo, on the square of the School of St. Mark, and it
was thought that this answered the requirements of the will.

[Illustration: FIG. 88.--STATUE OF COLLEONI. _By Verocchio._]

When Verocchio had gone to Venice and had modelled the horse, he was
told that the Signory intended to have the rider made by another
sculptor. He felt this to be an insult, and broke off the head and legs
of the horse, and left Venice for Florence. The Signory issued a decree
forbidding him to set foot again on Venetian soil under pain of death.
The sculptor replied that he should not take the risk, as he well knew
that the Signory could take off his head, and he could not put it on,
while he could replace his horse's head with a better one. The Venetians
knew that this was true, and repealed their decree, and doubling his
pay, asked him to come to complete his work. Verocchio consented to do
so, but had not been long in Venice when he died. Verocchio is said to
have spent much time in drawing from the antique, and his works prove
him to have been diligent and painstaking; these qualities made him the
sculptor that he was; but we see no traces in his work of the
heaven-born genius which makes the artist great, and so inspires himself
that his works fill all beholders with an enthusiasm in a degree akin to
his own; the works of such artists as Verocchio, who have only the
excellencies which come from patient industry, interest us, but they
cannot move our hearts.

It often happened in Italy that a number of artists belonged to the same
family, as in the case of the Robbias. One such family had the name of
GAMBARELLI, but were known in art as the ROSSELLINI. There were five
sculptors of this name, all brothers. Two of them had great ability,
Bernardo and Antonio. Bernardo was most distinguished as an architect,
and some very celebrated edifices were built from his designs; h