A characteristic design for these tombs is that of an enframe ment of marble architectural forms—of arabesqued pilasters deli cately wrought, with moulded and carved archivolts, entablatures and bases—enriched with statues placed in niches or in a pediment, and surrounding a sarcophagus upon which rests the effigy of the deceased. All parts of this enframement are exquisitely carved.
The "Tomb of Pietro Mocenigo" (c. 1462), by Pietro Lombardi in the church of SS. Giovanni e Paolo, Venice, is a superb example of this sepulchral art. The doge, in his robes of State, stands up right upon the sarcophagus, which is borne on the shoulders of three soldiers clad in classic armour. The "Tomb of Christolphe Felici" (1486) by Ambrose Lorenzetti, in Siena; the "Tomb of Leonardo Bruni" (1444) by Bernardo Rossellino, in S. Croce, Florence; the "Tomb of Carlo Marsuppini" by Desiderio da Settignano, also in S. Croce are other examples of this art that attains at its best a perfection of technique never surpassed.
In the 16th century, the Italian tombs lose this exquisite orna ment. A more sober and studied style, in which scale, dignity and classic correctness are the ideals sought for, appears. The new feeling is foreshadowed in the almost perfect "Tomb of Ilaria del Carretto" (1405) by Jacopo della Quercia, in the cathedral at Lucca. The 16th century master of tomb design is Andrea Sanso vino, whose "Tomb of Ascanio Maria Sforza," in the church of S. Maria del Popolo, Rome, takes the form and dignity of a Roman triumphal arch. The "Tombs of the Medici" (1523-34), in San Lorenzo, Florence, and the "Design for the Tomb of Julius II.," only partly executed, both of which are by Michelangelo, are the greatest examples of the mature and powerful art of this century. (See MICHELANGELO.) The monumental sculpture of renaissance Italy was not, however, confined to tombs. Donatello revived the equestrian statue in his "Statue of Gattamalata" (1443-53) in Padua, bringing monu mental sculpture into the open air and giving it once more a civic, rather than a religious significance. The "Statue of Colleoni" (1465) by Verrocchio, in Venice and the "Designs for a Statue to Francesco Sforza" (1506-1o) by Leonardo da Vinci, followed.
Michelangelo set his heroic figure of the nude David (15o1) in front of the Palazzo Vecchio of Florence, while Niccolo Tribolo, also a Florentine, created the precedents in fountain design which were to be developed into the monumental fountains of the next century.
In France the renaissance created many decorated tombs of the greatest beauty among which the "Tomb of Cardinal Amboise" (1525) in Rouen cathedral, the "Tomb of Francis II. of Brittany" (1507) by Michel Colombe, in the cathedral of Nantes, and the "Tomb of Francis I." (1525) at St. Denis, by Pierre Bontemps, are perhaps the most celebrated. Jean Goujon, the greatest of French sculptors, has given us an example of his vital and gracious style in the "Fountain of the Nymphs," Paris; and Germain Pilon, whose work exemplifies the noblest classic tradition, achieves in his "Effigy of Rene Birague," in the Louvre, a most perfect balance between a sympathetic naturalism and monumental re straint.
The splendid "Tombs at Brou" (1505-26) near Bourg, built for Margaret of Austria, by Konrad Meit of Worms, are char acteristic of the somewhat ornate renaissance of Germany, where the Thirty Years' War greatly limited the production of monu ments. In Spain an army of Flemish and Italian ornamentalists, attracted by the prosperity which followed the discovery of America, embellished with sumptuous tombs the newly-built Gothic cathedrals, and founded with their Spanish pupils a school of decorative art which lasted well into the 16th century. "The Tombs of the Catholic Kings, Isabella and Ferdinand" (1517) by Dominico Fancelli of Florence, and "Dona Juana la Loca y Don Felipe el Hermoso" (1520) by Bartolome Ordoliez, both of which are in the splendid Capilla Real of Granada cathedral, are two of the finest sepulchres of Europe. Other examples are the "Tomb of the Infante Don Juan" (1512) in the church of Santo Tomas, Avila ; "The Tomb of Bishop Gorzalo de Terma" (c. 1525) by Diego de Silve, in Burgos cathedral; and recessed "Tomb of Enrique II. and Catherine of Lancaster" by Alanso de Covarrubias, in Toledo cathedral.