by being decorative sculptors, the building being treated chiefly as a space to load with decoration. The production of Amadeo’s prolific talent, during a long and prosperous career, was very large, and continued till shortly before his death. Amadeo shares the naturalistic tendency of the Mantegazza and their native mannerisms, especially that of the crumpled paper folds. A love of story-telling, amounting to loquacity, appears in his subject reliefs, with their multitudinous figures and redundant action. The florid, extravagant fancy of his decorative work is not restrained by his sense of proportion, and in his indiscriminating use of classical motives borrowed from other schools—heads of emperors, allegorical conceits, etc.—a want of culture and scholarship is evident. The vulgarity of Lombard art in comparison with the Tuscan is exemplified in Amadeo, but is redeemed by the sympathetic qualities of gaiety, spontaneity and artlessness, which give his work often much charm and sweetness. Amadeo’s activity was at its height at the time when Leonardo was working in Milan upon the equestrian statue of Francesco Sforza. Duke Galeazzo Maria’s failure to find a native to do the work shows the limitations of the Lombard sculptors. All shunned the problem of casting a bronze figure on so large a scale. But Lodovico il Moro, taking up the interrupted project after his brother’s death, found in the Tuscan Leonardo one who feared no difficulties. The completion of the model of the horse, after years of preliminary study, was the greatest sculptural event that ever happened in Milan. But it remains outside the story of the Lombard sculptors. Unlike the painters, they seemed to have been little disturbed in their course by the tremendous personality of the Florentine. If traces of his influence appear in their work, it is in types borrowed from his paintings.