54 THE FINE ARTS. 
sculpture, ¢. g. the enormous model of the statue of Mars, whose head 
served as a sleeping chamber, a bronze relief known by the name of the 
Nymph of Fontainbleau, and some others, among them the Knight's 
Shield, now in England (in St. George’s Hall, Windsor Castle). Being 
permitted to revisit Florence, he entered into the service of Duke Cosmo, 
where he executed the famous but rather jejune statue of Perseus (pl. 7, 
jig. 16) for the market-place, which now stands in the Loggia Lanzi. In 
casting this statue more than 9000 pounds of metal were employed. The 
artist, however, received but a small part of his honorarium ; for the duke, 
instead of the 16,000 gold seudi at which the work was valued, caused him 
to be paid only 3500, and that in sums of from 25 to 100 scudi. Cellini’s 
last work was a Saviour on the Cross of the size of life admirably sculp- 
tured in marble, and which is now in the Escurial, Cosmo having presented 
it to King Philip Il. of Spain. Cellini died in 187 2. 
Bigrade: da Bologna (Giambologna), born in Douay, 1524, was a pupil 
of Michael Angelo, and distinguished himself as a sculptor and architect. 
When he once showed M. Angelo a prettily executed model in clay, the 
master chid him harshly, and told him he should first learn to design before 
he began to execute. This severity irritated the young man so greatly, 
that he applied himself to study day and night, with the resolve that his 
works should yet surpass those of his master; and in fact they were worthy 
to be placed beside the productions of the greatest artists. He lived till 
the year 1608. One of his finest works is the Rape of the Sabines, of 
which a copy was made in bronze for the king of France, while the marble 
original stands in the Loggia de Lanzi. His Mercury as messenger of the 
gods (pl. 7, jig. 17),an admirable marble statue, remains in Florence; 
and in Bologna the fine statue of Veptune in the principal market is from 
his hand, as are likewise the bronze gate of the Cathedral at Pisa, and the 
equestrian statue of Cosmo I. in Florence. Giovanni was emulated by his 
pupil Camillo Mariani of Vicenza, by whom there are several excellent 
works in the Vatican, in St. John’s in the Lateran, and other principal 
churches of Rome. The same may be said of the works of Francesco 
Mocchi of Montevarchio, who owed his artistic education to Mariani. 
Mocchi was born 4n 1580, and studied very diligently; among his best 
works are the statue of St. ve. 22 feet high, for St. Peter’s at Rome, 
and the two fine statues of the apoEtles Peter and Paul before the Porta 
del Popolo in Rome. There are other productions of his in the church of 
San Andrea della Valle and Santa Maria Maggiore in Rome; in which 
last mentioned place is the marble statue of the Angel of the Annuncia- 
tion, copied in jig. 15, which proves that the works of Mocchi are distin- 
guished for freedom of action, well managed drapery, correct drawing, and 
characteristic expression in the heads. 
After it had thus taken three centuries to elevate art from the deep 
degradation to which true Vandalism and a long period of warfare had 
brought it, a single individual succeeded in again bringing it down to a low 
ebb. This man was Lorenzo Bernini, born in Naples in 1598, a pupil of 
his father Pietro Bernini. The boy, who was gifted with a great deal of 
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