1910] on Renaissance Monuments in the Roman Churches. 883 



was one of the first independent commissions obtained by the 

 Lombard artist, it might account for the exceptional care and finish 

 bestowed on the figures, before great press of work compelled him to 

 leave execution to pupils. The St. Peter and St. Paul, rendered on 

 the lines laid rudely down by Paolo Romano, fixed the type ever 

 afterwards followed in Rome. The reliefs in the niches are among 

 the most beautiful works of the Renaissance in the city. The 

 St. Michael is a little masterpiece, both of design and execution. 

 The recumbent figure is evidently an excellent piece of portraiture. 

 At present there is little ornamentation. Eight or ten years later 

 Bregno had learned to cover base and pilaster and architrave with 

 every elaboration of arabesque and floral design. 



In the Salviati chapel of St. Gregorio there is an altar erected 



by an abbot of the church in 1469, the manner of which suggests 



Lombard traditions. It is now generally attributed to Bregno, and 



a comparison of its details with those of the great altar of the Madonna 



della Querela at Viterbo, carried out by him some twenty years later, 



is, I think, convincing. Next in chronological order comes the altar 



of Sta. Maria del Popolo, executed for Roderigo Borgia in 1473, 



and about the same time are the tombs of Pietro Riario and of Cardinal 



Forteguerra, where I have little doubt Bregno was the artist who 



collaborated with Mino da Fiesole, as well as the Roverella grave in 



St. Clemente, where he worked in combination with Giovanni 



Dalmata. The scheme of the Lebretto grave was reproduced in 



that of Cardinal Alanus in S. Prassede in about 1475, but the two 



female saints in the pilaster niches seem to be by another sculptor, 



who is responsible for a good many of the figures in the Roman 



graves, but who remains for the present unidentified. Some of 



Bregno's best work in design and portraiture belongs to the years 



1478-79. The fine tomb of Cardinal Cocca, of which I have not 



got a slide, in the Minerva, and the beautiful monument of Cardinal 



Cristofero delle Rovere in Sta. Maria del Popolo, are of this period ; 



the Madonna of the lunette in this last, however, once more by 



Mino da Fiesole. Some of the decorative work in this monument 



repeats motives found in the Piccolomini altar at Siena. The very 



dignified figure of the cardinal is a little soft for Mino, and is no 



doubt rightly attributed to Bregno, of whose manner the angels on 



either side of the Madonna are typical. This monument was so 



much admired that it was constantly reproduced. In one instance, 



in that of Cardinal Ferici, in the cloisters of the Minerva church, 



the Madonna also appears to be from a design by Mino. Other 



instances are the tombs of Cardinal Superanzi in the Minerva, of 



Cardinals Rocca, Pallavicini and Giustiniani in Sta. Maria del Popolo, 



and that of Cardinal Diego Yaldez, who died in 1506, carried out in 



his lifetime, in Sta. Maria in Monserrato. All these copies are, with 



the exception of the first, very inferior in execution to the original. 



There are a great number of other monuments of this period of 



