This sculptor may be said to have had four different styles of work. The St. Sebastian was in his earliest manner, and is simply realistic; his second manner was the best; it is pure and dignified in conception, while deep feeling pervades all; the tomb of Noceto was in this second style; his third manner was more free and less pure, while the fourth, as seen in his work at Genoa, is full of extravagant exaggeration. Next to the sculptors of the Tuscan or Florentine school of this period were those of Venice in importance and independence of manner. This school was much influenced by that of Tuscany because of the nearness of the two cities and the constant communication between them, as well as by the fact that Tuscan sculptors were more or less employed in Venice. One of the earliest Venetian sculptors was ANTONIO GIOVANNI BREGNO, called ANTONIO RIZZO or RICCIO (about 1430-1498?). Although he was born in Verona, and there had the opportunity to study the Roman ruins which are the pride of the city, he is yet essentially an artist of Venice, since he spent most of his life there, and was even at the head of the workshop for the sculptors who worked upon the palace. One little episode in the life of this artist was an expedition to Scutari with the Venetian soldiers, who went to its defence against the Turks. Rizzo showed himself so brave in action, and was so severely wounded, that after his return to Venice the Senate gave him a pension which lasted through twenty years. Rizzo so won the confidence of the Venetians that he was appointed to important offices with large salaries, and it is sad to be forced to add that he proved to be a dishonest man, and when his accounts were examined he fled to Foligno, where he soon died. We will not speak of him as an architect; as a sculptor he is known by statues of Adam and Eve in niches opposite the Giant's Staircase in the Ducal Palace, and by sepulchral monuments in the Church of the Frari. While his works cannot be highly praised for beauty, they do show the style of the Renaissance distinctly. LOMBARDO is the family name of three sculptors of this period in Venice. They were PIETRO and his two sons, TULLIO and ANTONIO, and the three together are spoken of as the Lombardi. Pietro, the father, was as much an architect as a sculptor, and the works of the father and son are so associated that it is difficult to speak of them separately. We know that Tullio was the superior artist of the three, but there are no works of theirs that command a detailed description here. The monument to the Doge Pietro Mocenigo, in the Church of SS. Giovanni e Paolo, the angels of the font in San Martino, an altar-relief in the altar of San Giovanni Crisostomo, reliefs on the front of the Scuola di San Marco, and two reliefs in the Church of San Antonio at Padua, are the principal sculptures of the Lombardi.