xpressing such an ecstasy of love and devotion.

[Footnote 45: Acts, chapter i., verse 3.]

[Footnote 46: St. Mark, chapter xvi., verse 14; St. John, chapter xx.,
verse 26.]

[Footnote 47: St. John, chapter xxi., verse 4.]

[Footnote 48: St. Matthew, chapter xxviii., verses 19, 20.]

[Footnote 49: St. Luke, chapter xxiv., verses 50, 51; Acts, chapter
i., verses 9-11.]

[Footnote 50: St. John, chapter xx., verse 17.]

XIII

TOMB OF THE CARDINAL OF PORTUGAL

BY ANTONIO ROSSELLINO

In the church of San Miniato, on a hill overlooking Florence, is a
memorial chapel built in honor of a Portuguese cardinal who is buried
here. Architecture, painting, and sculpture are here united to make a
perfect artistic whole. The room was designed by the architect Antonio
Manetti; the altar and walls are adorned with paintings by Pollaiuolo
and Baldovinetti, the roof is decorated with medallions of Delia
Robbia ware, and at one side is the cardinal's tomb.

This prelate, Jacopo di Portogallo, died in Florence while visiting
the city on a diplomatic mission. He was a young man under thirty
years of age, a cousin of the reigning king of Portugal, and was
besides the cardinal archbishop of Lisbon. Naturally he was received
as a guest of unusual distinction, and his amiable qualities won him
warm friends among the Florentines. Though dying in a foreign land, he
was buried with such honors as his own countrymen could hardly have
surpassed. This was in 1459, at a time when Antonio Rossellino was a
prominent sculptor of Tuscany. He was the artist chosen by the Bishop
of Florence to construct the Portuguese cardinal's tomb.

On a richly carved base stands the sarcophagus or marble coffin in an
arched niche. Just over this, on a bier, lies the portrait figure of
the cardinal in his ecclesiastical robes. All this is surrounded by a
square framework, not unlike a mantelpiece in style, on the two upper
corners of which are kneeling angels. The wall space above is
ornamented by angels holding over a simulated window a medallion
containing a Madonna and child.

Our illustration shows this portion of the wall, and includes a part
of the angel figures kneeling at the upper corners of the tomb. The
angel on the left side holds the crown, which is the reward of a
faithful life. It is the "crown of righteousness," the "crown of
life," or the "crown of glory which fadeth not away."[31] His
companion must once have carried a palm branch