the work of an artist well acquainted with classical antiquity; who, in this case, has certainly made rather a strange use of his studies. That Giuliano da Sangallo was expert in the use of the chisel and thoroughly understood the working of the Fiesolian stone, employed in this monument, is shown by his famous mantelpiece in the Gondi Palace, which served as a model for that by Benedetto da Rovezzano in the Casa Rosselli del Turco, near Sant’Apostolo.[201] Tuscan sculptors of ornamental work, particularly those from Fiesole, Settignano, Rovezzano, and the neighbourhood, found occupation all over Italy, like the architects and sculptors from the Lake of Como, the _maestri Comacini_, in the Middle Ages. In our own days the Tuscans still show great ability in working both marble and _macigno_ (the greyish stone of the neighbourhood of Florence) in which they produce objects of beautifully delicate workmanship. Other arts at this time rose to a highly flourishing condition. The connection between architecture and cabinet-making, and that between sculpture and goldsmith’s work, have been repeatedly referred to. The architect and cabinet-maker were often one, down to the middle of the following century, when the Del Tasso family continued their double occupation. But artistic cabinet-work was also connected with sculpture and painting, as may be seen by the rich choir-stalls of many churches; the ceilings and other woodwork of the palaces, with their fine reliefs, elegant panelling, and wood-mosaic (_tarsia_), much used to represent perspective as well as to imitate flowers and foliage. Many of the artists mentioned furnished work of this kind to the cathedral of Sta. Maria del Fiore, and to the palace of the Signoria. The goldsmith’s art was in its glory, followed as it was by great sculptors, who found excellent assistants in those who never rose to the height of sculpture. The finest work of this kind in Florence is the silver reredos for the Baptistery (mentioned at p. 130), which was never quite finished. The growing taste for ornamental vessels and other objects favoured this branch of art; as did also the custom of presenting silver helmets or pieces of plate to commanders and others who had deserved well of the Republic. As early as the summer of 1397, 436 florins were paid to the goldsmiths Piero, Matteo and Donato, for silver gold and enamel, for dishes (_bacinetti_) intended for the generals Paolo Orsini, Giovanni Colonna and Bernardin de Serre. Antonio del Pollaiuolo made a large silver dish for the Signoria, and various ornaments for rich families; and the churches were adorned with silver crucifixes and elegant lamps.