first modern gem of known date, is a portrait of Pope Paul in 1470, now in the Uffizi collection. Giovanni delle Corniuole formed himself on the models in the Medici collection, and attained the perfection conspicuous in his famous head of Savonarola. He had a competitor in the Milanese Domenico de’ Cammei, who worked chiefly for Lodovico il Moro, and to whom is attributed the portrait of Lorenzo on an onyx of three strata, placed with that of the great Dominican in the Uffizi collection. Many other stones, with subjects taken from mythology, sacred history, &c., are works of this period, when, also, much antique work was copied. The name of Lorenzo de’ Medici, to be read on many gems in Florence and elsewhere, recalls the former wealth told of in Latin verses, and in the testimonies of contemporaries.[205] In painting we now witness the development of the tendencies which first appeared in Masaccio, and were so actively reciprocated by the sister-art of sculpture. Here the two branches of art frequently met, and their reciprocal influence is discernible in the character of the work. It was thus with Verrocchio, and the Pollaiuoli. The former, of no great distinction as a painter, recalls his bronze works in his picture of the Baptism of Christ.[206] The brothers Pollaiuoli, whose grave, quiet faces may be seen together on their tomb in San Pietro in Vincoli at Rome, cannot well be separated in their works; and, though Piero occupied himself with painting more than Antonio, the inscription by the latter on the monument of Pope Sixtus IV. shows his excellence in gold and silver work, in painting, and bronze casting. Antonio painted for Lorenzo the Labours of Hercules, of which some small copies are still in existence. The picture of St. James was painted for the chapel of the Cardinal of Portugal; that of the Martyrdom of St. Sebastian,[207] the most famous work of these painters, was executed in 1475, for the Pucci chapel in the entrance-court of the Annunziata. In these works may be recognised the sculptor, and the student of anatomy, to whom fidelity in representing the figure is more important than the feeling for beauty. Alesso Baldovinetti, who was probably a pupil of Uccello, and a fellow-worker of Andrea del Castagno, experienced the influence of sculpture indirectly; and where he might have learned from it, in regard to modelling, he has only acquired a constrained, angular style, which is far from pleasing. An example of this may be seen in his picture of the Madonna enthroned with saints, painted for the villa at Caffaggiuolo, and now in the Uffizi collection. More satisfactory is a work executed from a design of his—the picture of Dante in Sta. Maria del Fiore which represents the _altissimo Poeta_ in the attitude of speaking, with his open book in his hand; on his right is hell, on his left the city of Florence, in the background the Mount of Purgatory, above his head the firmament.