It is with the second half of the fifteenth century that the art contrived for the delight of private persons, for the decoration of palaces, of chapels, and of tombs, begins. Already Donatello had worked for Cosimo de' Medici, and had made portrait busts, and, as it might seem, the work of Luca della Robbia was especially suited for private altars or oratories, or the cool rooms of a people which had not yet divided its religion from its life. And then, in Florence at any rate, all the great churches were finished, or almost finished; it was necessary for the artist to find other patrons. Among those workers in metal who had assisted Ghiberti when he cast the reliefs of his first baptistery gate was the father of a man who had with his brother learned the craft of the goldsmiths. His name was Antonio Pollajuolo. Born in 1429, he was the pupil of his father and of Paolo Uccello, learning from the latter the art of painting, which he practised, however, like a sculptor, his real triumph being, in that art at any rate, one of movement and force. His best works in sculpture seem to me to be his tombs of Sixtus IV and Innocent VII in S. Pietro in Rome; but here in the Bargello you may see the beautiful bust in terra-cotta of a young condottiere in a rich and splendid armour, and a little bronze group of Hercules and Antaeus. In the Opera del Duomo his silver relief of the Birth of St. John Baptist is one of the finest works of that age; but his art is seen at its highest in that terra-cotta bust here in the Bargello, perhaps a sketch for a bronze, where he has expressed the infinite confidence and courage of one of those captains of adventure, who, with war for their trade, carried havoc up and down Italy. It is, however, in the work of another goldsmith--or at least the pupil of one, whose name he took--that we find the greatest master of the new age, Andrea Verrocchio. Born in 1435, and dead in 1488, he was preoccupied all his life with the fierce splendour of his art, the subtle sweetness that he drew from the strength of his work. The master, certainly, of Lorenzo di Credi and Leonardo, and finally of Perugino also, he was a painter as well as a sculptor; and though his greatest work was achieved in marble and bronze, one cannot lightly pass by the Annunciation of the Uffizi, or the Baptism of the Accademia. Neglected for so long, he is at last recognised as one of the greatest of all Italian masters of the Renaissance.