Antonio Rossellino and Desiderio da Settignano. Filippo’s bust, preserved by his descendants in the Strozzi Palace, shows the marked, expressive features of the energetic man. Benedetto’s capabilities in decorative sculpture are displayed in the marble doors of the audience-chamber in the palace of the Signoria, where he worked, as has been mentioned, with his brother. Time and ignorance have not spared this fine work, and the statuette of the youthful Baptist, which once adorned it, is now in the Uffizi collection. The two finest works of Mino da Fiesole which adorn the Benedictine Abbey-Church, were executed about 1470; one represents the artist’s own time, the other the earlier days of Florence. They are the monuments of Bernardo Giugni, and of the Marquis Hugo. The former, and his services to the State have been already mentioned. The figure of an elderly man, in his long robe, with his hands crossed on his breast, lies on the sarcophagus; between Ionian pilasters is a semi-circular niche, in which is a figure of Justice in relief, and in the lunette is a medallion profile of the deceased.[198] The other monument, finished in 1481, is richer, but very like the first in general arrangement. It is a token of gratitude from the monks to their founder—the half-mythical Marquis who, in Emperor Otto’s days, is said to have come from the neighbourhood of the Elbe and the Havel—the ‘great Baron’ of the ‘Divine Comedy,’ whose arms are quartered on the armorial bearings of the chief Florentine families.[199] His effigies rest on a low couch on the top of the sarcophagus, two genii support shields at his head and feet; there is a group in relief, representing Charity, and in the lunette a medallion of the Virgin and Child. As in all Mino’s sculpture, careful workmanship is manifest in the accessories. This attention to detail and richness of ornamentation long remained a characteristic of the Florentines, who carried it to Rome and Naples. In the early decades of the following century, when the revolution in monumental style, introduced chiefly by Michel Angelo, was beginning to make its way, and ornamentation was compelled to take refuge in painting, admirable works in the old manner were raised in Florence. Such were the tombs of Oddo Altoviti, and Pier Soderini, both by Benedetto da Rovezzano; also the monument to Cardinal Luigi de’ Rossi, cousin of Leo X., said to be by Raffaello da Montelupo. With regard to ornamentation, a distinct position is held by two monuments, companions to each other, which tradition ascribes to Giuliano da Sangallo—those of Francesco Sassetti and his wife, in their family chapel in Sta. Trinità.[200] They consist of black marble sarcophagi, decorated with rams’ heads, and standing beneath an arch adorned with antique arabesques and medallions, and a frieze, in the middle of which are medallion heads of the husband and wife, surrounded by small figures representing ceremonies of heathen worship. They are clearly