One other statue of this Sixtus which formerly adorned Rome would now be of surpassing interest. It was erected at the Capitol in the Pope’s lifetime, and was the work of that gifted young Florentine artist, Taddeo Landini, who modelled the bronze boys in the Tartarughe fountain. The night the Pope died this statue was covered by boards for fear of the violence of the mob, and soon after it was removed; but it is probably still in existence, and the increasing interest in Sixtine Rome may some day bring it to light. In this mortuary chapel in Santa Maria Maggiore there is also the tomb of Pope Pius V, erected by Sixtus V, and one of the panels in the Vatican Library depicts the solemn removal of the old saint’s body to this splendid resting-place. Sixtus V saw this accomplished in his lifetime, for his devotion to the Pope, who, like himself, had begun life as a friar, and who had made him cardinal and stood his friend in trouble, never wavered nor grew cold. Historians have dwelt much upon Sixtus V’s parsimony. Economy was said to be his favorite virtue. But the best of the Quattro Fontane is that which represents the virtue of fidelity; and this is the only one of them which is decorated with the emblems of Sixtus V. TARTARUGHE [Illustration] TARTARUGHE Giacomo della Porta, Domenico and Giovanni Fontana, Carlo Maderno, and Bernini are the Roman masters in the gentle art of fountain-making. Giacomo della Porta stands first chronologically, and he has also created the loveliest of the lovely. This is the Tartarughe fountain for which the Senate and people of Rome paid over twelve hundred scudi, evidently a large sum at that time for a fountain, as Baglioni mentions it particularly. Giacomo della Porta delighted in rare marbles and for his fountain of the Tartarughe he carved the broad shallow bowl of the classic drinking cup in the centre in _bigio morrato fasciato_, or veined gray marble, while he made the stem of a mottled yellow marble called Saravezza. The cup stands upon a Carrara base, moulded and carved with decorative shields or escutcheons, from the four corners of which project huge shells of rare beauty and distinction of form carved in different varieties of African marble. It rises from a shallow travertine basin, gracefully shaped and slightly sunk below the level of the present pavement. So far there is nothing to distinguish this fountain from others of its kind except the richness of its marbles and the shape of the shells, but its four bronze figures so harmoniously composed give this design the dignity of a work of art, and make it the most exquisite of Roman fountains. They are by Taddeo Landini, whose early death was a distinct loss to the world of art.