Antonio, brother of Bernardo (to return at length to the point whence, with so fair an occasion, I digressed), wrought his sculptures about the year 1490; and since the more men's works display diligence and difficulties the more they are admired, and these two characteristics are particularly noticeable in Antonio's works, he deserves fame and honour as a most illustrious example from which modern sculptors have been able to learn how those statues should be made that are to secure the greatest praise and fame by reason of their difficulties. For after Donatello he did most towards adding a certain finish and refinement to the art of sculpture, seeking to give such depth and roundness to his figures that they appear wholly round and finished, a quality which had not been seen to such perfection in sculpture up to that time; and since he first introduced it, in the ages after his and in our own it appears a marvel. [Illustration: TOMB OF LEONARDO BRUNI (_After =Bernardo Rossellino=. Florence: S. Croce_) _Brogi_] DESIDERIO DA SETTIGNANO LIFE OF DESIDERIO DA SETTIGNANO SCULPTOR Very great is the obligation that is owed to Heaven and to Nature by those who bring their works to birth without effort and with a certain grace which others cannot give to their creations, either by study or by imitation. It is a truly celestial gift, which pours down on these works in such a manner, that they ever have about them a loveliness and a charm which attract not only those who are versed in that calling, but also many others who do not belong to the profession. And this springs from facility in the production of the good, which presents no crudeness or harshness to the eye, such as is often shown by works wrought with labour and difficulty; and this grace and simplicity, which give universal pleasure and are recognized by all, are seen in all the works made by Desiderio.