of the Abbey of Florence, in which building it was erected, to entrust Mino with that of Count Ugo,[1] son of the Marquis Uberto di Madeborgo, who bequeathed large possessions to that Abbey, on which he also conferred many privileges. Wherefore, the Monks desiring to do him all possible honour, caused Mino to prepare a sepulchral monument in marble of Carrara, which was the most beautiful work ever performed by this master. There are certain boys, for example, by whom the arms of the Count are borne, and whose attitudes have much spirit, with a childish grace, which is very pleasing. On the sarcophagus, is the statue of the dead Count, and on the wall, above the bier, is the figure of Charity, with children, well grouped and very carefully finished. The same may be remarked of a Madonna, in a half-circle, with the Child in her arms, in which Mino has imitated the manner of Desiderio, to the utmost of his power: and if he had improved his mode of proceeding by reference to the life, there is no doubt that he would have attained great proficiency in art. This monument, with all its consequent expenses, cost 1600 livres; it was finished in 1481; and the artist derived great credit from his work, which was, besides, the cause of his obtaining the commission for constructing another funereal monument, in a chapel in the Episcopal Church of Fiesole, near the principal chapel, and on the right hand, in ascending to the high altar. This was to the memory of the Bishop Lionardo Salutati, Suffragan of that see;[2] and Mino here represented the Prelate himself in his episcopal robes; a portrait from the life, which was as close a resemblance as could possibly be imagined.[3] For the same Bishop, our artist executed a bust of the Saviour, in marble, the size of life, a very well-finished work, which Avas left among other
- ↑ See Dante, Paradiso, xvi.
- ↑ The Bishop is supposed to have ordered this tomb during his lifetime. —Ed. Flor.,1849.
- ↑ In the same chapel is a small altar, whereon there is a relief by Mino, respecting which Cicognara has the following remark. “Never was marble better treated by the Tuscan chisel; and if artists, more imaginative as regards invention, and more learned in composition, had bestowed equal pains on the execution of their works with those given by Mino, they might have approached much nearer to perfection than they have done.” Cicognara has also given an engraving of this work. See tav. xxxi. tom. ii.
