Renaissance Bronzes.— Italy made rapid strides in the bronze arts early in this period, and we have the recumbent figures of Sixtus IV, by Antonio Pollajuolo, as well as his Inno cent VIII; Ghiberti's metal gates in the Flor ence baptistery; Benvenuto Cellini's *Nymph of Fontainebleau* and his Perseus masterpiece; also his bust of Cosimo de Medici (Florence Museum) ; Donatello's *Judith and Holofer nee; Giovanni da Bologna's °Neptune at Bologna; Verrochio's °David* (Florence), and his colossal equestrian statue of General Coleoni (finished by Leopardi) at Venice, all belong ing to this period. Other great Renaissance bronze artists were Sansovino, Torrigiano, Simone and Filarete, Luca della Robbia (one work only known). Many lovely medal lions, plaques and pieces for household deco ration belong to this great art epoch. , French Bronzes.— Under. Louis XIV, France commenced an ambitious career in bronze art work. Besides church furniture she produced pieces of merit for household use such as candelabra, candlesticks, bracket clocks, vases, lovely statuettes finely chiseled, also con soles, sedan-chairs, even carriages of state re ceived beautiful decorative inserts or mounts in delicately worked bronze-gilt devices. From Louis XIV to the Empire art in bronze was represented by such men of genius as Jacques and Philippe Caffieri, Gouthiere, Thomire, Du plessis, Prieur, etc. And to this day the French have held a very high place in the bronze art world with their statuary castings, furniture fittings, mirror-frames, chimney ornaments, clocks, etc.
German Peter Vischer, after his practical studies in Italy in the 16th century, brought Germany into closer line with the great Italian work in bronze. His efforts in Nurem berg, and, later, those of his sons, brought forth sepulchral monuments, statues, as well as house hold art materials. In the 16th century we have the second Peter Vischer, Benedict Wur zelbauer (both of Nuremberg), A. de Vries of Augsburg and P. Candido of Munich. Their bronze fountains, for instance, rank high, but baptismal fonts, candlesticks and other apparatus of the Church were added to monu mental work of this century. There was a fall ing off in the output of large bronze pieces in the following two centuries. Germany's later founders of note were A. Schlueter, R. Donner, etc.
England's Many fine old bronze statue effigies exist in Great Britain, such as the Earl of Salisbury at Salisbury (1227), the recumbent figures of Henry VI (1272) and Queen Eleanor (1291) in Westminster Abbey, by William Torrell. In Canterbury is a fine effigy of the Black Prince (1376) and in West minster Abbey are the effigies, by Nicholas Broker and Godfrey Prest, of Richard II and his Queen (1395). In that same abbey are the effigies of Henry VII and his Queen by the Florentine, Tomgiani; also the figures of the Countess of Richmond and the Duke of Buck ingham (1628). .
A separate group of bronzes is that of the Orient—Persia, India, China and Japan. In all Buddhist lands the casting of bronze dates back to early historic times. To this category belongs the Siam bronze termed samrit, an an cient alloy that stands severe climatic condi tions in a most remarkable way for many cen turies; so much so that, while the old temples have fallen into decay, they have left their old great images of Buddha enclosed in great for est trees and in perfect condition still. Large bells also have been made by Orientals since early times. See BELLS.
Japanese No nation excels the Japanese in the art of bronze-working. Dur ing the olden times of the Daimios and the Samurai the wonderful bronze inlays, chased work, etc., in their elaborate armor and swords are present proof of their wonderful excellence in the past; their superlative modern bronze art work in the decorative arts and the extraor dinary low price of the product are the ad miration of the connoisseur and the despair of the manufacturer. The Japanese ability to excel in patina, fire-gilt, enamels, lac quers in bronze articles, and the originality of design and motif, have set American, as well as European, craftsmen a pace that is proving beneficial to our modern concepts of art prog ress. An expert of Nippon declares Japanese workers have no less than 70 different bronze alloys in which to display their diversity of production. Thirty of these alloys are still much in use. Favorites are Shakudo (deep bluish to black patina) ; shibuishi (silver bronze) ; seido (green copper) ; mokume, imi tating, in metal, the grain of wood; sentoku do, an artificial copper-gold like the ancient Corinthian alloy, etc. The Japanese hira-zog wan• (metal pictures in nature's colors) and ukibori (chasing) are working methods much favored. The utensils and pieces used in their cult are naturally found chiefly in Japanese old pieces such as koro (incense burner), kogo (incense box), images of their *seven gods of good-fortune,* etc. The present output is strictly industrial and consists of decorative goods made to order, with Japanese motifs, chiefly for the European.and American markets.
Chinese Bronzes.-In Buddhist and Brah man temples is found elegant art work in bronze ceremonial services, such as censers, bowls, vases, etc., displaying the most perfect workmanship and decoration. Household orna ments and utensils in this metal are in high de mand with connoisseurs and collectors; the patina, enamel and other inlay work are greatly admired, and the peculiar yet artistic forms place their origin clearly.