When Verocchio had gone to Venice and had modelled the horse, he was told that the Signory intended to have the rider made by another sculptor. He felt this to be an insult, and broke off the head and legs of the horse, and left Venice for Florence. The Signory issued a decree forbidding him to set foot again on Venetian soil under pain of death. The sculptor replied that he should not take the risk, as he well knew that the Signory could take off his head, and he could not put it on, while he could replace his horse's head with a better one. The Venetians knew that this was true, and repealed their decree, and doubling his pay, asked him to come to complete his work. Verocchio consented to do so, but had not been long in Venice when he died. Verocchio is said to have spent much time in drawing from the antique, and his works prove him to have been diligent and painstaking; these qualities made him the sculptor that he was; but we see no traces in his work of the heaven-born genius which makes the artist great, and so inspires himself that his works fill all beholders with an enthusiasm in a degree akin to his own; the works of such artists as Verocchio, who have only the excellencies which come from patient industry, interest us, but they cannot move our hearts. It often happened in Italy that a number of artists belonged to the same family, as in the case of the Robbias. One such family had the name of GAMBARELLI, but were known in art as the ROSSELLINI. There were five sculptors of this name, all brothers. Two of them had great ability, Bernardo and Antonio. Bernardo was most distinguished as an architect, and some very celebrated edifices were built from his designs; he also executed some excellent sculptures, among which are the fine monument of Lionardo Bruni in the Church of Santa Croce, and that of the Beata Villana in Santa Maria Novella, Florence. The first is one of the best monuments in Tuscany. In the Uffizi are a bust of St. John, a charming work, and a portrait bust of Battista Sforza. ANTONIO ROSSELLINO (1427-1490), called PROCONSOLO, from the quarter of Florence in which he was born, was by far the best sculptor of the family. He is called a pupil of Donatello, but his work very closely resembles that of Ghiberti. Among his best works are the monument to Cardinal Portogallo, in the Church of San Miniato, near Florence; that of Mary of Aragon in Monte Oliveto at Naples; a relief of the Nativity in the same church, and a relief of the Adoring Madonna in the Uffizi Gallery. His characteristics were grace, delicacy of treatment, sweetness of expression, and all these combined with a noble dignity.