Wonders of sculpture . e of thesacristy, behind the altar, also of bronze; anastonishing work, at which Tatti is said to havelaboured for thirty years. Amongst the designson this gate, Sansovino has placed his own bust inrelief, between those of his tuo friends, Titian andAretino, who, however, can lay little claim tosanctity. The equestrian statue of the famous cojidottiereBartolommeo Colleoni of Bergamo, in the smalllateral piazza of the church of San Giovantii SanPaolo (in common parlance, San Zanipolo) atVenice, also belongs to the fifteenth century. Itwas designed by the Florentine Andrea
Wonders of sculpture . e of thesacristy, behind the altar, also of bronze; anastonishing work, at which Tatti is said to havelaboured for thirty years. Amongst the designson this gate, Sansovino has placed his own bust inrelief, between those of his tuo friends, Titian andAretino, who, however, can lay little claim tosanctity. The equestrian statue of the famous cojidottiereBartolommeo Colleoni of Bergamo, in the smalllateral piazza of the church of San Giovantii SanPaolo (in common parlance, San Zanipolo) atVenice, also belongs to the fifteenth century. Itwas designed by the Florentine Andrea Verrocchio—who was a painter, sculptor, engraver, jeweller,and musician—and was cast in bronze by Ales-sandro Leonardo, who also executed the graceful ITALIAN SCULPTURE. 201 Corinthian pedestal which supports it. This cele-brated equestrian statue, one of the first producedby the Renaissance, is eulogised by Cicognara inthe following terms : The horse seems ready todescend from its pedestal. Its movements are full. Fig. 43.—Equestrian statue of Bartolommeo Colleoni. of energy, without being exaggerated. The rideris majestic, and, although clothed in iron mail, hecould not sit more easily and gracefully. Withoutprejudice to progress, we think we may say that nomore beautiful work has since been produced inthis style. 208 ITALIAN SCULP TUBE. This age can ^llso claim one of the most mar-vellous works ever produced by sculpture, which isplaced in the kind of semicircular gallery whichruns round the choir of the Djiomo of Milan. It isthe statue of a flayed man, called St. Bartholomew,on account of the legend. Imagine a human body,as large as life, entirely deprived of its skin, fromthe crown of the head to the soles of the feet,standing in the natural position of a man free frompain, and wearing this skin flung over his shoulderhke a mantle. Imagine, further, the greatest beautyof form, the strictest truth of action, the mostincredible perfection of execution of the muscles,t
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