A fine monumental work of this period is the tomb of St. Peter the Martyr, in the Church of St. Eustorgio at Milan, by Balducco di Pisa, 1308-47. The QUATTRO-CENTO period, of which Lorenzo Ghiberti (1381-1465), was the great master, is remarkable for its vitality and naturalism. Ghiberti’s chief works are the two bronze gates for the Florentine Baptistery; the first gate is dated 1403-24, and the second 1425-50. Both have panels modelled in low relief, the first with incidents from the New, and the second from the Old Testament. The frame-work of these gates has a series of single figures in niches, with circular medallions between them. The bronze architrave round each of the Ghiberti gates, in addition to the one he placed round the earlier gate, by Andrea Pisano, are rich examples of Quattro-cento design. The details are natural fruits, flowers, and foliage, banded-together with ribbons, with the introduction of birds, squirrels, &c. The egg-plant and pomegranate portion (fig. 1) is a familiar example. [Illustration] Other masters of this period were Jacopo della Quercia (1371-1438) who executed the beautiful monument here shown, to Ilaria di Carretto, in the cathedral at Lucca. The recumbent figure of Ilaria is sculptured in white marble with perfect simplicity and beauty; another famous work of Jacopo was the fountain at Siena. Luca della Robbia (1400-82) executed a beautiful organ gallery in marble for the Cathedral at Florence, with admirable singing and dancing figures in relief. But beautiful as this work is, Luca’s reputation rests upon his Enamelled Terra Cotta, which he perfected to a remarkable degree. Modelled first in clay and coated with tin enamel (see Maiolica), he produced a marvellous series of these reliefs, which were invariably surrounded with the typical quattro-cento border of modelled fruit and flowers, enamelled in bright colours. His nephew, Andrea della Robbia (1445-1525) continued the traditions, methods, and skill, with marked success; and also Andrea’s son Giovanni (1524) who executed a beautiful frieze upon the façade of the hospital at Pistoja. Andrea’s other sons, Girolamo and Luca carried the art into France under Francis I. (1531.) Donatello (1386-1466) was remarkable for the singular grace and sincerity of his portraiture, especially of children; the dancing figures in relief on the panels of the singing gallery of the Cathedral of Florence, are perfect examples of his art. Donatello also carried the art of low flat relief called “_Stiacciato_” to the greatest perfection. An illustration of Donatello’s work, from the high altar of St. Antonio at Padua, is here given. [Illustration] [Illustration]