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ANTONIO See also: brothers, who all practised some branch of the See also: fine arts
.
Almost nothing is known about the See also: life of Antonio, but many of his See also: works exist, and are full of religious sentiment, and executed with the utmost delicacy of touch and technical skill
.
The See also: style of Antonio and his See also: brother Bernardo is a development of that of Donatello and See also: Ghiberti; it possesses all the refinement and sweetness of the earlier masters, but is not equal to them in vigour or originality
.
Antonio's chief See also: work, still in perfect preservation, is the lovely See also: tomb of a See also: young See also: cardinal See also: prince of See also: Portugal, who died in 1459
.
It occupies one See also: side of a small See also: chapel, also built by See also: Rossellino, on the See also: north of the See also: nave of See also: San Miniato al See also: Monte.' The recumbent effigy of the cardinal rests on a handsome sarcophagus, and over it, under the See also: arch which frames the whole, is a beautiful See also: relief of the Madonna between two flying angels
.
The tomb was begun in 1461 and finished in 1466; Antonio received four See also: hundred and twenty-five gold florins for it
.
A See also: reproduction of this tomb with slight
Marble Relief by Antonio Rossellino
.
alterations, and of course a different effigy, was made by Antonio
for the wife of Antonio Piccolomini, duke of See also: Amalfi, in the
' Illustrated by Gonnelli, Mon
.
Sepol. della Tosca•,aa (Florence, 1819), pl. See also: xxiii.See also: church of S
.
Maria del Monte at Naples, where it still exists
.
For the same church he also executed some delicate reliefs, which perhaps err in being too pictorial in style, especially in the treatment of the backgrounds
.
A fine medallion relief by him in marble, originally modelled in terra-cotta, is preserved in the Bargello at Florence (see fig.)
.
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