MINO DA FIBSOLE, mee-no dah fee-ay so-lay, Florentine sculptor: b. Popi in the Cosentino in 1431; d. Florence, 11 ,July 1484. His real name was Mino di Giovanni. He be as a stonecutter for Desiderio da who always remained his master and friend. His home was Florence, but he worked in Rome in 1454, 1463 and 1464. Of Mino's early works the best are in the Duomo of Fiesole — altarpiece and tomb of Bishop Salutati extecuted before 1466. In the Badia of Florence are an altarpiece and the tombs of Bernardo Giugni (1466) and the Margrave Hugo (1481). These are carved in white mar ble with life-size sleeping effigies and attend ant angels all in the beautiful Renaissance style. After finishing the pulpit in the Prato Cathedral, in collaboration with Antonio Ros sdlino in 1473, a work remarkable for its deli cately sculptured bas-relief depicting the life of the Virgin, he went to Rome where he executed the tomb of Pope Paul II (now in the crypt of Saint Peter's) ; the tomb of Francesco Torna buoni in Santa Maria sofra Minerva; and a much-admired little tabernacle for the holy oil in Santa Maria in Trastevere. He is also
thought to have been the sculptor of several monuments in Santa Maria del Popolo, particu larly those of Bishop Gomiel and Archbishop Rocca. The marble reredos here presented by Pope Alexander VI is also said to have been the work of his hands. There are several tabernacles by him in Santa Croce, Florence, and in the Muzio Nazionale are busts of Piero de' Medici (1453) ; Giuliano de' Medici and Rinaldo della Luna (1461). Other portrait busts and profile bas-reliefs are preserved in the Bargello, Florence. They are full of life and expression. The Museum of Ber lin possesses a female bust and a portrait of Niccolo Strozzi. The Louvre contains a San Giovannino. Consult Vasari, 'Lives of the Painters) (Vol. II) ; Perkins, C. C., 'Handbook of Italian Sculpture) (1883) ; Bode, Wilhelm, `Denkrnahler der Renaissance Skiilptur Tos canus' (1892-1905); Angeli, 'Minn da Fiesole) (1905); Winckelmann and D'Agincourt, della Scultura' (1813) •, Semper, 'Architektea der Renaissance) (1880).