[82] The bas-reliefs of S. Petronio were executed between 1425 and 1435. Those of the font in the chapel of S. John (not the lower church of S. John), at Siena, are ascribed to Quercia, and are in his manner; but when they were finished I do not know. They set forth six subjects from the story of Adam and Eve, with a compartment devoted to Hercules killing the Centaur Nessus, and another to Samson or Hercules and the Lion. The choice of subjects, affording scope for treatment of the nude, is characteristic; so is the energy of handling, though rude in detail. It may be worth while to notice here a similar series of reliefs upon the façade of the Colleoni Chapel at Bergamo, representing scenes from the story of Adam in conjunction with the labours of Hercules. [83] Ruskin's _Modern Painters_, vol. ii. chap, vii., Repose. [84] See Flaxman's _Lectures on Sculpture_, p. 310. [85] This criticism of the "Gate of Paradise" sounds even to the writer of it profane, and demands a palinode. Who, indeed, can affirm that he would wish the floating figure of Eve, or the three angels at Abraham's tent-door, other than they are? [86] See the _Commentaries of Ghiberti_, printed in vol. i. of Vasari (Lemonnier, 1846). [87] The patera is at South Kensington, the frieze at Florence. [88] As also the wooden Baptist in the Frari at Venice. [89] There is another "David," by Donatello, in marble; also in the Bargello, scarcely less stiff and ugly than the "Baptist." [90] The cast was published by the Arundel Society. The original belongs to Lord Elcho. [91] It has been suggested, with good show of reason, that Mantegna was largely indebted to these bas-reliefs for his lofty style. [92] This omits the statues of the Scaligers: but no mediaeval work aimed at equal animation. The antique bronze horses at Venice and the statue of Marcus Aurelius must have been in Donatello's mind. [93] The sculptor of a beautiful tomb erected for the Countess of Montorio and her infant daughter in the church of S. Bernardino at Aquila was probably Andrea dell' Aquila, a pupil of Donatello. See Perkins's _Italian Sculptors_, pp. 46, 47. [94] _Istoria della Vita e Fatti dell' eccellentissimo Capitano di guerra Bartolommeo Colleoni_, scritta per Pietro Spino. Republished, 1859. [95] See Vol. I., _Age of the Despots_, p. 310, note 2. [96] Crowe and Cavalcaselle, vol. ii. chap, xvi., may be consulted as to the several claims of the two brothers. [97] His bas-reliefs on Giotto's campanile of Grammar, Astronomy, Geometry, Plato, Aristotle, &c., are anterior to 1445; and even about this date there is uncertainty, some authorities fixing it at 1435. [98] _Purg._ x. 37, and xi. 68. [99] Among the very best works of the later Robbian school may be cited the frieze upon the façade of the Ospedale del Ceppo at Pistoja, representing in varied colour, and with graceful vivacity, the Seven Acts of Mercy. Date about 1525.