THE ART OF FOUNDING IN BRASS, COPPER AND BRONZE. 489 



ber 23, 1403, A. D., and the gates completed and fixed April 24, 1424 a. d. 

 They are truly a magnificent piece of art workmanship, remarkable in several re- 

 spects as specimens of figure and ornamental modeling of the greatest possible ex- 

 cellence, and which have formed the models in this style for artists of all the fol- 

 lowing years, and of metal casting which cannot be surpassed. 



The subjects of the twenty-eight panels of the gates are from the life of Christ. 



On January 2, 1424, a. d. , Ghiberti received the commission for the second 

 pair of gates for the same building, and these, containing subjects from the Old 

 Testament, were completed and fixed June 16, 1452 A. d. The Martinengo 

 Tomb, in Brescia, erected about the year 1530 a. d. to Marcantonio Martinengo, 

 though by what artist is unknown, is a fine specimen of this period. The bas- 

 reliefs of bronze are subjects from profane history, and a triumphant procession 

 in bronze adorns the principal frieze. 



This development of taste extended to Naples, Rome, Milan, and Venice. 

 Even Raphael designed ornaments for the molders, of purest taste and most ex- 

 quisite fancy. 



In the sixteenth century it is found carried on with extraordinary skill in 

 Germany at Nuremberg, Augsburg, Munich, and Coburg. 



In France also we find the art gaining importance, as may be seen from the 

 bas reliefs in the Chateau d'Anet, the residence of Diana of Poictiers, which was 

 restored under Philibert de Lorme, 1547-8 a. d. , and the monument erected to 

 the memory of Charles VIII, 1499 a. d., around which were figures of the Vir- 

 tues, executed in gilt bronze. Since then the art of sculpture in bronze may be 

 said to have reverted to nearly its original limits, namely, the production of 

 statues and groups in the round. 



In 1699 a bronze equestrian statue of Louis XIV. was erected in the Place 

 Vendome, Paris. This was of gigantic size, containing 60,000 pounds of bronze. 

 It was demolished during one of the revolutions, 1792 a. d. 



The wood furniture during the Renaissance period was decorated and inlaid 

 with brass and bronze. In the eighteenth century we find Ciseleurs mentioned 

 as makers of such brass edgings for furniture. 



Perhaps the grandest bronze work of modern times is the colossal statue of 

 Bavaria, completed and inaugurated at Munich, October 3, 1850. This statue 

 was, at the suggestion of King Ludwig, designed by Schwanthaler, the sculptor, 

 and his friend, Lazarini, who modeled the figure under his direction. For the 

 casting it was necessary to melt twenty tons of bronze, a most perilous labor. To 

 give some tangible idea of the size of the figure : In the head or upper part of the 

 bust twenty-five men have found room, in the central part of the figure thirty-five 

 to forty persons could dine, and the space of ground covered by the lower section 

 is enormous in proportion. The figure of this colossal maiden, with the lion by 

 her side, is fifty- four feet in height — nearly twice the height of the equestrian 

 statue of Wellington, opposite Hyde Park corner — Van No strand' s Engineering 

 Mamzine. 



