Brunelleschi, or, as he is called by the Italian historians, Filippo di ser Brunellesco, was contemporary with Donatello. He was an archi tect as well as a sculptor, and was the originator of the bold idea, which he so successfully carried out, of building the cupola of the Duomo of Florence. [BRIINELLESCAI, in Moo. Div.] Donatello died full of years and honour. He left a brother, Simon, who was invited to Rome by the pope, in 1431. 'While there be executed one of the bronze gates of St. Peter's. Giovanni di Pisa was another of the numerous scholars of Donatello. There is a large basso-rilievo in terra cotta by this sculptor over the altar in a chapel of the great church of the Eremitani at Padua, which deserves notice for the simplicity and breadth of the composition, and for the peculiar manner in which it is executed. It represents the Madonna and Child, with three saints on each side, and is remarkable for the flat style of the relief—a mode of working that Donatello frequently adopted, and which, when judiciously managed, has a very broad and fine effect.
Italy was at this time filled with artists, many of them of distiu guished merit, who found ample employment in what may be called church sculpture, and occasionally in executing statues of illustrious persons. Florence perhaps boasted the highest names in the several arts, but Bologna, Padua, Milan, Naples, Siena, Venice, Modena, and even the smaller cities of Italy, all had their schools of artists. The Majani and the two Pollajoli, Andrea Verrochio, Andrea Ferrucci, and Min* (la Fiesole, are among those whose works claim attention among the best production,' of the 15th century.
Andrea Verruchio is chiefly celebrated as having been the master of Llonardo its Vinci, and of Pietro Peritgino, the master of 1fa[fieale. It is said that Verroehio was at first a painter, but having desired Lie nanlo de. Vinci, then a mere lad, to paint an angel in an altar-piece on which he was engaged, Verrochio found the performance of the scholar so superior to his own portion of the work, that in it fit of jealousy he resolve[ to paint no more. and ho soon after devoted himself to the sister art A bronze equestrian statue of Colleoni, by Andrea Verro. chio, may be seen at Venice in the Piazza di S. S. Giovanni l'aolo ; it is interesting as a specimen of art of the time, but it is heavy he form, and the action of the horse is not true to nature. Verrochio provided the design and model for this group. It was cast in bronze by Alessandro Leoparde. Several of the works of Andrea are preserved at Florence.
It is a reproach to the artiste of the 14th and 15th centuries, that, not satisfied with carrying out their own original ideas, and endeavour ing to advance the pmcticas of art within the limits of consistent design, they soddenly had recourse to the incongruous mixture of ancient mythology with the existing religion, an unfortunate innovation which tended to check the steady progress of sculpture by engrafting a totally foreign class of design or ideas upon their own original eenti went ; they only misused or abused the one, and at the same time materially injured the effect of the other.
Michel Angelo Buonarotti was born in 1474. At an early age he became the scholar of Domenico Ghirlandajo, the most celebrated painter of his time, and afterwards studied under Bertoldo, the director of the academy established by Lorenzo (le' Medici at Florence. The genius of 3i. Angelo was remarked by Lorenzo, who received him into his house, giving him apartments In the palace, and otherwise honouring him with marks of peculiar favour. As he increased in years, his wou derful powers as an artist were developed; and his powerful and vigorous genius placed him at once in the distinguished station which he still occupies. Till the thne of Miehel Angelo, the works of art since the revival were all more or less meagre and dry in style, although considerable feeling and talent were occasionally displayed in their con ception (or invention) and composition. Extraordinary efforts were sometimes made, as by Ghiberti and Donatello, to infuse into them a better and more elegant quality of form ; but it was left to Michel Angelo to effect that total revolution in style which has stamped not only his own productions, but the art of his age, with a character pecu liarly its own. The most striking quality in the works of Michel Angelo is an undefinable vastness and grandeur of effect that takes entire possession of the mind. This power is strongly felt in the presence of his colossal statue of Moses, in the monument of Pope Julius II., and of his statues of Lorenzo de' Medici (not "il Magnifico") and Giuliano de' Medici, iu their monuments iu the family chapel at Florence. The Moses is a grand effort of genius. It is as original in conception as it is masterly in execution. The characteristic feature of this statue is its vast energy ; but it ie sufficiently tempered to pre serve the repose which is essential to true dignity. This work requires to be studied with attention : its merits will then be found to com pensate for those minor faults which at first sight offend the fastidious spectator, and which, it must be admitted, the manner of Michel Angelo threw more or less into most of the productions of his chisel and pencil. As a whole, it illustrates the forcible expression applied to the general character of this artist's works, "Di ;dirket Agnol' le tcrribile via." The statue of Lorenzo is also seated. Ile is represented absorbed in thought. He rests his face upon his hand, which partially covers the chin and mouth. The general action is one of perfect repose, and the expression that of deep meditation. It is impossible to look at this figure without being forcibly struck with the mind that pervades it. For deep and intense feeling it is one of the finest works in exist ence. It has been well observed of this statue, that it has no resem blance to the antique, but it rivals the beet excellences of the ancients in expression combined with repose and dignity.