. The grammar of ornament . year 1413, in the Cathedralof that city, a monument to Ilaria di Caretto, wife of Giunigi di Caretto, Lord of the City. In thisinteresting work (of which a good cast may be seen in the Crystal Palace) Jacopo exhibited a carefulrecourse to nature, both in the surrounding festoons of the upper part of the pedestal and the puttini,or chubby boys supporting them; the simplicity of his imitation being revealed by the little bandylegs of one of the puttini. His great work, however, was the fountain in the Piazza del MercatoSiena, which was completed at an expense of two t
. The grammar of ornament . year 1413, in the Cathedralof that city, a monument to Ilaria di Caretto, wife of Giunigi di Caretto, Lord of the City. In thisinteresting work (of which a good cast may be seen in the Crystal Palace) Jacopo exhibited a carefulrecourse to nature, both in the surrounding festoons of the upper part of the pedestal and the puttini,or chubby boys supporting them; the simplicity of his imitation being revealed by the little bandylegs of one of the puttini. His great work, however, was the fountain in the Piazza del MercatoSiena, which was completed at an expense of two thousand two hundred gold ducats, and even in itspresent sad state of decay offers unmistakable evidence of his rare ability. After his execution ofthis capo dopera, he was known as Jacopo della Fonte. This work brought him much distinction,and he was made Warden of the Cathedral in that city, where, after a life of much labour andmany vicissitudes, he died in the year 1424, aged sixty-four. Although one of the unsuccessful. RENAISSANCE ORNAMENT; candidates for the second bronze door of the Florence Baptistery, as we shall presently see, he wasmuch esteemed during his life, and exercised a great and salutary influence on sculpture after hisdeath. Great, however, as were his merits, he was far surpassed in the correct imitation of nature,and in grace, dexterity, and facility in ornamental combination, by Lorenzo Ghiberti, who was oneof his immediate contemporaries. In the year 1401, Florence, under an essentially democratic form of government, had risen to beone of the most flourishing cities of Europe. In this civic democracy the trades were distinguishedas guilds, called Arti, represented by deputies (consoli). The Consuls resolved in the above-mentioned year to raise another gate of bronze to the Baptistery, as a pendant to that of AndreaPisano, which had been previously executed in a very noble, but still Gothic style. The Signoria, or executive government, made known this re
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