The tomb of Henry VII., an interesting example of the Italian Renaissance style in England, at an early period of its introduction, and the fine bronze monument of Cardinal Zeno from Venice, occupy the further end; and the equestrian statue of Gattamelata, by Donatello, forms a conspicuous feature in this portion of the Court, where also is a fine bust of Cosmo de’ Medici, by Benvenuto Cellini. Under the gallery at the further end are two fine equestrian groups in bronze of Castor and Pollux, by San Giorgio of Milan. The originals stand in that beautiful city. Here also, in a corresponding position to the statue of Gattamelata, but nearer towards the nave, is the superb statue of Colleone. In the glass cases on the side next the Transept may be seen a most interesting collection of casts from ivory carvings, from the 2nd to the 15th century. These have been published by the Arundel Society.[19] [19] The Arundel Society has been formed by a number of gentlemen, lovers of the Fine Arts, for the laudable purpose of publishing such works as, however valuable in themselves, are not likely by an extensive sale to repay a publisher; its means for this purpose being provided by such annual subscriptions as it may secure. For minute and interesting information respecting the monuments, and all the statues on this side of the Palace, the visitor is referred to the Handbooks of the Mediæval and Italian Courts (by Messrs. M. D. Wyatt and J. B. Waring), where they are fully described. Crossing the great transept to the west, we proceed towards the south end of the building, and, keeping to the right-hand, commence our pilgrimage through the Industrial Courts. The first that we arrive at is THE STATIONERY COURT.[20]