upport the feet of the
Madonna, &c. One of his first works was done for S. Mark's, Venice, in
1450. His reputation was much increased by the stalls of the Cathedral
of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
by Mastro Angelo de Piacenza, one of their pupils. He also worked at
Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
upon Lorenzo, "who, in the said art (perspective), was in his time
supreme, as he showed in all his famous works, as in tarsia in the
worthy choir of the Santo and its sacristy, and in Venice in the Cha
Grande, as well as in painting in the same places and elsewhere. And at
the present time his son, Giovan Marco, my dear comrade, who is worthy
of his paternity, as his work at Rovigo shows, and that in the choir of
our convent in Venice, and in Mirandola, the architecture of which
fortress is well understood." In the sacristy of the Cathedral at Lucca
are five panels from the seats which once surrounded it, signed
"Cristopharus de Canociis de Lendinaria fecit opus, MCCCCLXXXVIII." One
shows S. Martin, the bishop, full length, the others perspectives,
perhaps of various streets of the city as then existing. He did these in
conjunction with Matteo Civitale, and they were his last works. He died
in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
later, and was a citizen of that town and of Modena, was son of
Cristoforo, who was also citizen of those cities from 1463.

[Illustration: Plate 15.--_Two panels from the Sala del Cambio,
Perugia._

_To face page 28._]

[Illustration: Plate 16.--_Frieze from S. Mark's, Venice._

_To face page 30._]

[Illustration: _To face page 32._ Plate 17.--_Frieze from S. Mark's,
Venice._]

[Illustration: Plate 18.--_Stalls from the Cathedral, Lucca._]

The stalls from the Cathedral at Lucca, which are illustrated, are now
in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
in 1620 the choir was spoilt (they thought that they were making grand
improvements) they were moved to the church of the Riformati of S.
Cerbone, being badly mutilated to adapt them to their new position.
There, in two centuries of neglect they became in such a state that the
brothers thought them no longer decent, and wished to sell them and make
a new choir. The Opera of the Cathedral and the Commission of Art paid
them something for them, and thus preserved them as they now are, having
executed some restora