Lovers of art in this period appear to possess a certain refinement of feeling that the Romans did not have, they stand more as friends to the artist, esteem him more, and thus their pursuit has a wider scope. Even Ghiberti, with all the restrictions placed on his taste by his infatuation for the antique, was, according to Vasari who describes his collection, no narrow specialist in the so much praised modern meaning of the word, namely, a collector who may be useful to the history of art and to knowledge at large, but who does not as a rule possess a spark of love for art or artistic feeling. As is often the case to-day, the heirs of these old collectors were at times more greedy for money than a reputation for art. Many fine collections were scattered to the four winds, which was also the fate meted out to Ghiberti’s collection by his relatives and heirs. Fortunately a few pieces of this stupendous collection have been saved: a fine torso of a Satyr can now be seen in the Uffizi. There are other pieces too that have come down to us, but the finest works, those attributed to Polycletus, among them a rare ornamented vase, are now lost. The new artistic feeling perpetuated itself in architecture from Brunelleschi to Alberti. The latter built for Malatesta what purported to be a church, but which is in fact nothing but a temple to Love, which the tyrant of Rimini erected and dedicated to the memory of his lady-love, Isotta Atti. The revolution in sculpture effected by Donatello seems to be felt in Padua and Venice. Imitations of all sorts, and probably faked antiques, date from this time. It is difficult to decide whether Donatello’s genuine pagan sentiment, his second artistic nature, was solely due to his passion or to a desire to accommodate the general taste for the antique; Italian artists are far too versatile. However that may be, he was no faker; the art of the faker flourished when imitators had lost all artistic personality, becoming mere craftsmen catering as usual to a momentary mania. Then was the time one saw Filarete indulging in most absurd medals and portraits of dubious, very dubious, historical correctness; Riccio in Padua fabricating and flooding the market with charming little bronzes in which the imitation is so evident that it brings up the question as to what the art of Andrea Briesco (called _il Riccio_) might have been, had he chanced to be born at another epoch. Vellano also alternates fine pieces of work with little bronzes that must have been in great vogue with collectors of antiques. It is to be noted that the mania is not confined to Italy, it takes that country by storm because of its tremendous artistic activity and the fact that in art it is the foremost country of the time; but others were affected too. France is the first as being the nearest tributary to Italian supremacy in art. There are many examples of what we have said, but perhaps one of