1910] on Renaissance Monuments in the Roman Churches. 887 



his workshop. Thus there are several ciboria, or tabernacles for holy 

 oil, which may be catalogued under his name. One of these is in the 

 hospital, close to his remarkable relief of the crucifixion. The most 

 interesting and elaborate of them is in the church of the Quattro 

 Coronati. All his own peculiar paraphernalia of ornament are found 

 here : the hanging lamps, the coruncopia of the Bonsi toml), the can- 

 delabra and the strings of beads. The angels resemble those of the 

 tomb, and the cliiselling of the wings shows the identity of workman- 

 ship in both." A Virgin and Child over the door of the hospital 

 of the Consolazione, where there is so much of his work, resembles that 

 of the Bonsi tomb so closely that it must also be assigned to him, and 

 from these two Madonnas we are able to identify others in other 

 monuments of Rome, of which, however, it would be unprofitable to 

 trouble you with a list. There is, however, one important attribution 

 which I have been enabled to make, and which is, I believe, entirely 

 new. In the crypt of St. Peter's are many fragments of a tabernacle 

 made in the reign of Innocent VIII. to contain the relic of the Holy 

 Lance. The three sides represented doors guarded by angels. The 

 figure of the Saviour over the central doors reveals the same 

 hand as the crucified figure in the hospital relief, and the angels, 

 though executed by different marble cutters, are all designed by the 

 artist of the ciborium, which I have just shown you. I have only one 

 slide representing a pair of these angels, put together with a number 

 of fragments from some other monument, but the type of Capponi's 

 angel is sufficiently marked to leave no doubt that he was the author 

 of the reliquary of the Holy Lance. 



In the brief time available it has only been possible to deal with 

 a small proportion of the great quantity of sculpture produced in 

 Rome during the second half of the fifteenth century. If it was not 

 all of the highest quality, it has at any rate the interest of remark- 

 able decorative workmanship, and includes a great number of first- 

 rate portraits. With the close of the century the sense of restraint gave 

 way to extravagance and over-elaboration, and the devotional and re- 

 verential quality disappeared. I should like, in conclusion, to show you 

 one last example, which has a particular interest for Englishmen, 

 because it is the monument of Cardinal Bainbridge, Archbishop of 

 York : a most truculent and quarrelsome prelate, whose ungovern- 

 able temper brought him to an untimely end, being poisoned by a 

 servant he had castigated. An unknown artist has, however, made 

 his effigy immortal in the little church of the English college, where 

 he lies an embodiment of saintly repose. 



[R. R.] 



