O BOTTICELLI
The Adoration of the Magi
Florence: Uffizi, 1286 250

SANDRO BOTTICELLI
The Calumny of Apelles
Florence: Uffizi, 1182 254

BENEDETTO DA MAIANO
Pulpit
Florence: S. Croce 258

ANDREA VERROCCHIO
David
Florence: Bargello 266

ANDREA VERROCCHIO
Detail: Corner and Foot of the Medici Sarcophagus
Florence: S. Lorenzo 270

ANDREA VERROCCHIO
Statue of Bartolommeo Colleoni
Venice: Campo SS. Giovanni e Paolo 272

ANDREA MANTEGNA
The Martyrdom of S. James
Padua: Eremitani 278

ANDREA MANTEGNA
Madonna and Angels
Milan: Brera, 198 282

ANDREA MANTEGNA
Judith with the Head of Holofernes
Dublin: N. G. 286

ANTONIO FILARETE AND SIMONE

LIVES OF ANTONIO FILARETE AND SIMONE

SCULPTORS OF FLORENCE

If Pope Eugenius IV, when he resolved to make the bronze door for S.
Pietro in Rome, had used diligence in seeking for men of excellence to
execute that work (and he would easily have been able to find them at
that time, when Filippo di Ser Brunellesco, Donatello, and other rare
craftsmen were alive), it would not have been carried out in the
deplorable manner which it reveals to us in our own day. But perchance
the same thing happened to him that is very often wont to happen to the
greater number of Princes, who either have no understanding of such
works or take very little delight in them. Now, if they were to consider
how important it is to show preference to men of excellence in public
works, by reason of the fame that comes from these, it is certain that
neither they nor their ministers would be so negligent; for the reason
that he who encumbers himself with poor and inept craftsmen ensures but
a short life to his works or his fame, not to mention that injury is
done to the public interest and to the age in which he was born, for it
is firmly believed by all who come after, that, if there had been better
masters to be found in that age, the Prince would have availed himself
rather of