It will be noticed that in the whole decorative scheme of the monument there is nothing to suggest the idea of mourning. There is here no sense of gloom in the presence of death. The rejoicing of the angels, the smile of the mother and child, and the peaceful sleep of the cardinal, all express the Christian hope of immortality beyond the grave. The sentiment is particularly appropriate to the character of the man whose memory is honored here. The Florentine writer Vespasiano Bisticci described him as being "of a most amiable nature, a pattern of humanity, and an abundant fountain of good, through God, to the poor.... He lived in the flesh as if he were free from it, rather the life of an angel than a man, and his death was holy as his life."[52] Allowing something for the extravagance of speech which was the fashion of that time, we may still believe that the Cardinal of Portugal was a man whose character was singularly pure in an age when good men were none too common. Of the sculptor Rossellino also fair words are spoken. Vasari declared that he "was venerated almost as a saint for the admirable virtues which he added to his knowledge of art." The custom of erecting elaborate marble tombs was an interesting feature of the Renaissance art in Italy. Such monuments formed an important part of the interior decoration of churches. Church dignitaries took great pride in the thought that their names would be immortalized in these works of art. Some had their tombs made while still living, that they might make sure of a satisfactory design.[53] Others gave directions on the subject with their dying breath, as in Browning's poem, "The Bishop Orders his Tomb at St. Praxed's." Of the many fine tombs in the churches of Tuscany, this monument of the Cardinal of Portugal is counted one of the three best.[54] [Footnote 51: 2 Timothy, chapter iv., verse 8; St. James, chapter i., verse 12; 1 Peter, chapter v., verse 4. The symbolism of the crown is explained in Mrs. Jameson's _Sacred and Legendary Art_, page 28.] [Footnote 52: In _Vite di Uomini Illustri del Secolo XV_.] [Footnote 53: As Bishop Salutati, whose tomb is mentioned in Chapter IV.] [Footnote 54: By C. C. Perkins in _Tuscan Sculptors_.] XIV EQUESTRIAN STATUE OF GATTAMELATA BY DONATELLO In the fifteenth century Italy was divided into numerous independent states, among which there was more or less rivalry. The two great powers of the north were Venice and Milan, both striving for the possession of Lombardy. To the Venetian republic already belonged an extensive territory on the mainland, and she was determined on conquest at any cost. To this end condottieri were employed to carry on the several campaigns.