Nanni di Banco 7
III. ST. JOHN THE BAPTIST. By Donatello 13
IV. THE INFANT JESUS AND ST. JOHN. By Mino da Fiesole 19
V. BOYS WITH CYMBALS. By Luca della Robbia 25
VI. TOMB OF ILARIA DEL CARRETTO (Detail). By Jacopo
della Quercia 31
VII. MADONNA AND CHILD (Detail of lunette). By Luca
della Robbia 37
VIII. THE MEETING OF ST. FRANCIS AND ST. DOMINICK. By
Andrea della Robbia 43
IX. ST. GEORGE. By Donatello 49
X. BAMBINO. By Andrea della Robbia 55
XI. THE ANNUNCIATION. By Andrea della Robbia 61
XII. THE ASCENSION. By Luca della Robbia 67
XIII. TOMB OF THE CARDINAL OF PORTUGAL. By Antonio
Rossellino 73
XIV. EQUESTRIAN STATUE OF GATTAMELATA. By Donatello 79
XV. SHRINE. By Mino da Fiesole 86
XVI. IL MARZOCCO (THE HERALDIC LION OF FLORENCE)
By Donatello (See Frontispiece) 91

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS 95

NOTE: With one exception the pictures were made from photographs
by Alinari; the "Musical Angels" was made from a photograph
by Naya.

INTRODUCTION

I. ON SOME CHARACTERISTICS OF TUSCAN SCULPTURE
IN THE FIFTEENTH CENTURY.

"The Italian sculptors of the earlier half of the fifteenth century
are more than mere forerunners of the great masters of its close, and
often reach perfection within the narrow limits which they chose to
impose on their work. Their sculpture shares with the paintings of
Botticelli and the churches of Brunelleschi that profound
expressiveness, that intimate impress of an indwelling soul, which is
the peculiar fascination of the art of Italy in that century."

These words of Walter Pater define admirably the quality which, in
varying degree, runs through the work of men of such differing methods
as Donatello, the della Robbia, Mino da Fiesole, and Rossellino. It is
the quality of expressiveness as distinguished from that abstract or
generalized character which belongs to Greek sculpture. Greek
sculpture, it is true, taught some o