Desiderio da Settignano, that the grace imparted by that artist to his heads of women, to his boys, and to all other figures executed by him, appeared to Mino something superior to Nature herself; insomuch that, solely occupied in following his master, he abandoned the study of natural objects as superfluous, whence he became rather graceful in manner than solidly based in art.
It was on the hill of Fiesole, a most ancient city, now in decay, near to Florence, that the sculptor, Mino di Giovanni was born: and he, being placed as a stone-cutter with Desiderio da Settignano, a young sculptor of great excellence, displayed much attachment to his calling; and while occupied with the squaring of stones, he acquired the art of imitating in terra the works executed by Desiderio in marble. These he copied so closely, that his master, seeing him likely to make progress in art, took pains to bring him forward, and set him to execute certain parts of the sculptures in m.arble on which he was himself engaged. Thus employed, Mino gave the most earnest attention to his work, keeping carefully close to the sketch before him; nor had any long time elapsed before he attained to considerable proficiency. This pleased Desiderio greatly, but still more entirely was Mino satisfied with the great kindness of his master, whom he found always ready to instruct him how best to avoid the errors into which those who exercise that art are liable to fall. When Mino was thus entering on the path to excellence in his profession, his evil fortune would have it that Desiderio should depart to a better life; and this loss was so great a calamity to Mino, that, full of despair, he departed from Florence, like one desperate, and repaired to Rome. In that city he became assistant to the masters who were then occupied with different works in marble (tombs of cardinals and other things), for the church of San Pietro, but which, in the erection of the new fabric, have now been destroyed. Mino soon became known as an able and experienced artist, and he was engaged by the Cardinal Guglielmo Destovilla,[1] whom his manner greatly pleased, to construct the marble altar in the church of Santa Maria Maggiore, beneath which repose the remains of San Girolamo St. Jerome. This he
- ↑ Cardinal D’Estouteville, that is to say.—Ed. Flor., 1849.
