Turning to the works of an entirely different type, we note the same tendency in the delightfully human bas-reliefs of the della Robbias. No review of the art of sculpture would be complete without a reference to Luca della Robbia’s marble Singing Gallery. “The Cantoria” was begun in 1431 and was placed in the Cathedral at Florence in 1438. The taste of the seventeenth century, however, demanded the substitution of large balconies of carved and painted wood, and this singing gallery, together with that of Donatello, was taken down. Luca’s carved panels finally found their way to the Museo di Santa Maria del Fiore. Looking at the panels, we first of all note the immense advance in technical skill which enabled Luca della Robbia to represent the very poetry of rhythmic motion in stone. We _note_ this. But we are _moved_ by the human beauty of the whole conception. It is in a very real sense a religious work. The sculptor has taken as his theme the one hundredth and fiftieth psalm: “Praise ye the Lord ... Praise him upon the loud cymbals; praise him upon the high-sounding cymbals.” But the religion of Luca is essentially human. The figures from the “Singing Gallery” are so well known that we have preferred to illustrate the art of Luca della Robbia by the beautiful “Visitation” at Pistoja, particularly as it is a terra-cotta and, therefore, recalls the medium in which the artist made his most constant appeal to his countrymen. The “Visitation” is a comparatively early work and shows that from the beginning Luca’s genius had little in common with that of Donatello. He gives us no hint of the restless search for knowledge which was the first consequence of the Italian’s realization of the powers of humanity. Luca stands to Donatello, the apostle of realism, as an Umbrian painter like Perugino stands to Signorelli. But his quiet self-restraint witnesses to a human virtue at least as noble—a trusting belief in the ultimate reign of peace and love.