MINO DI GIOVANNI (1431-1484)  , called DA

FIEsoLE, Italian sculptor, was born at Poppi in the Casentino . He had property at Fiesole . Vasari's account of him is very inaccurate . Mino was a friend and fellow-worker with Desiderio da Settignano and Matteo Civitale, all three being about the same age . Mino's sculpture is remarkable for its finish and delicacy of details, as well as for its spirituality and strong devotional feeling . Of Mino's earlier works, the finest are in the duomo of Fiesole, the altarpiece and tomb of Bishop Salutati, executed before 1466 . In the Badia of Florence are an altarpiece and the tombs of Bernardo Giugni (1466) and the Margrave Hugo (1481), all sculptured in white marble, with life-sized recumbent effigies and attendant angels . The pulpit in Prato Cathedral, in which he collaborated with Antonio Rossellino, finished in 1473, is very delicately sculptured with bas-reliefs of great minuteness, but somewhat weakly designed . Soon after the completion of this work Mino went to Rome, where he executed the tomb of Pope Paul II . (now in the crypt of St Peter's), the tomb of Francesco Tornabuoni in S . Maria sopra Minerva, and a beautiful little marble tabernacle for the holy oils in S . Maria in Trastevere .

There can be little doubt that he was also the sculptor of several monuments in S . Maria del Popolo, especially those of Bishop Gomiel and

Archbishop Rocca (1482), and the marble reredos given by Pope Alexander VI . Some of Mino's portrait busts and profile bas-reliefs are preserved in the Bargello at Florence; they are full of life and expression, though without the extreme realism of Verrocchio and other sculptors of his time . See Vasari, Milanesi's ed . (1878-1882); Perkins's Italian Sculptors, Winckelmann and D'Agincourt, Storia della scultura (1813) ; Hans Semper, Architekien der Renaissance (Dresden, 188o); Wilhelm Bode, Die italienische Plastik (Berlin, 1893) .