See also:

• MARCUS

MARCUS VERRIUS See also:

• FLACCUS

FLACCUS (c. ro B.C.)  , See also:

• ROMAN

Roman grammarian and teacher, flourished under See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus and Tiberius . He was a freedman, and his manumitter has been identified with Verrius See also:

• FLACCUS

Flaccus, an authority on pontifical See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law; but for See also:

• CHRONOLOGICAL

chronological reasons the name of Veranius Flaccus, a writer on augury, has been suggested (See also:

• TEUFFEL, WILHELM SIEGMUND (1820–1878)

Teuffel-See also:

• SCHWABE, SAMUEL HEINRICH (1789–1875)

Schwabe, Hist. of Roman Lit . 199, 4) . He gained such a reputation by his methods of instruction that he was summoned to See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court to bring up See also:

• GAIUS

Gaius and See also:

• LUCIUS

Lucius, the grandsons of Augustus . He removed there with his whole school, and his See also:

• SALARY

salary was greatly increased on the See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition that he took no fresh pupils . He died at an advanced See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age during the reign of Tiberius (Suetonius, De Grammaticis, 17), and a statue in his See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour was erected at See also:

• PRAENESTE (mod. Palestrina)

Praeneste, in a marblerecess, with See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions from his See also:

• FASTI

Fasti . Flaccus was also a distinguished philologist and antiquarian investigator . For his most important See also:

• WORK

work (De Verborum Significatu) see See also:

• FESTUS (? RuFUS or RUFIUS)
• FESTUS, SEXTUS POMPEIUS

FESTUS, SEXTUS . Of the See also:

• CALENDAR

calendar of Roman festivals (Fasti Praenestini) engraved on See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble and set up in the See also:

• FORUM (Lat. from foris, " out of doors ")

forum at Praeneste, some fragments were discovered (1771) at some distance from the See also:

• TOWN

town itself in a See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• BUILDING

building of later date, and some consular fasti in the forum itself (1778) . The collection was subsequently increased by two new fragments . Other lost See also:

• WORKS

works of Flaccus were: De 0r"thographia: De Obscuris Catonis, an elucidation of obscurities in the writings of the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• CATO, DIONYSIUS
• CATO, MARCUS PORCIUS (234—149 B.c.)
• CATO, MARCUS PORCIUS (95-46 B.c.)
• CATO, PUBLIUS VALERIUS

Cato; Saturnus, dealing with questions of Roman See also:

• RITUAL (from Lat. ritus, a custom, especially a religious rite or custom)

ritual; Rerum memoria dignarum libri, an encyclopaedic work much used by See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny the elder; Res Etruscae, probably on augury . For the fragments of the Fasti see Corpus Inscriptionum Latinarum, i. pp .

311, 474; G . Gatti, " Due nuovi Frammenti del Calendario di Verrio Flacco," in Atti See also:

• DELTA (from the shape of the Gr. letter A, delta, originally used of the mouth of the Nile)

delta r . Accademia dei Lincei, 5th See also:

• SER

ser., vol . 5, pt . 2, p . 421 (1898) ; See also:

• WINTHER, CHRISTIAN (1796–1876)

Winther, De fastis Verrii Flacci ab Ovidio adhibitis (1885) ; J . E . See also:

• SANDYS, FREDERICK (1832-1904)
• SANDYS, GEORGE (1578-1644)
• SANDYS, SIR EDWIN (1561-1629)

Sandys, Classical Scholarship (ed . 1906), vol. i., See also:

• INDEX

index, s.v . " Verrius "; fragments of Flaccus in C . O . Mtiller's edition of Festus; see also H .

See also:

• NETTLESHIP, HENRY (1839-1893)
• NETTLESHIP, RICHARD LEWIS (1846-1892)

Nettleship, Lectures and Essays . VERROCCHIO, See also:

• ANDREA, GIOVANNI (1275-1348)

ANDREA DEL (1435-1488), See also:

• ITALIAN

Italian See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold-See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

smith, sculptor and painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . He was the son of Michele di See also:

• FRANCESCO
• FRANCESCO, 210

Francesco de' Cioni, and took his name from his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, the See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith Giuliano Verrocchi . Except through his works, little is known of his See also:

• LIFE

life . As a painter he occupies an important position from the fact that Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci and Lorenzo di See also:

• CREDI, LORENZO DI (1459-1537)

Credi worked for many years in his bottega as pupils and' assistants . Only one existing See also:

• PAINTING

painting can be attributed with See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute certainty to Verrocchio's See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the celebrated " See also:

• BAPTISM

Baptism of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," originally painted for the monks of See also:

• VALLOMBROSA

Vallombrosa, and now in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of Florence . The figures of Christ and the Baptist are executed with See also:

• GREAT

great vigour and refinement of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, but are rather hard and angular in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . The two angels are of a much more graceful See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast; the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of one is of especial beauty, and See also:

• VASARI, GIORGIO (1511-1571)

Vasari is probably right in saying that this See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head was painted by the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Leonardo . Other pictures from Verrocchio's bottega probably exist, as, for example, two in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of See also:

• LONDON

London formerly attributed to See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

Ant . Pollaluolo—" Tobias and the See also:

• ANGEL

Angel " (No 781) and the very lovely " Madonna and Angels " (No . 296), both very brilliant and See also:

• JEWEL, JOHN (1522-1571)

jewel-like in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . This exquisite painting may possibly have been painted from Verrocchio's See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design by Lorenzo di Credi while he was under the immediate See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of his wonderful See also:

• FELLOW

fellow-See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, Da Vinci.' In examining Verrocchio's work as a sculptor we are on surer ground .

One of his earliest works was the beautiful marble medallion of the Madonna, over the See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb of Leonardo See also:

• BRUNI, LEONARDO (1369-1444)

Bruni of See also:

• AREZZO (anc. Arretium)

Arezzo in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of See also:

• SANTA

Santa Croce at Florence . In 1472 Verrocchio completed the See also:

• FINE

fine tomb of Giovanni and See also:

• PIERO (1443—1496)

Piero de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici, between the See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy and the See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady See also:

• CHAPEL

chapel of See also:

• SAN

San Lorenzo at Florence . This consists of a great See also:

• PORPHYRY (IlopcPisptos) (A.D. 233-c. 304)

porphyry See also:

• SARCOPHAGUS (Gr. vapsorg yos, literally " flesh-eating," from vapt, flesh, ¢ayeiv, to eat)

sarcophagus enriched with magnificent See also:

• ACANTHUS (the Greek and Latin name for the plant, connected with &sib a sharp point)

acanthus foliage in See also:

• BRONZE

bronze . Above it is a graceful open bronze grill, made like a network of cordage . In 1474 Verrocchio began the See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument to See also:

• CARDINAL (Lat. cardinalis)

Cardinal Forteguerra at the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

west end of See also:

• PISTOIA
• PISTOIA, SYNOD OF

Pistoia See also:

• CATHEDRAL

cathedral . The kneeling figure of the cardinal was never completed, and now lies in a See also:

• ROOM

room of La Sapienza, but the whole design is shown in what is probably Verrocchio's See also:

• ORIGINAL

original See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch, now in the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington Museum . Though this work was designed by Verrocchio, the actual See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of it was entrusted to his assistant, the Florentine Lorenzetto . In 1476 Verrocchio modelled and cast the fine but too realistic bronze statue of See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David, now in the Bargello (Florence); and in the following See also:

• YEAR

year he completed one of the reliefs of the magnificent See also:

• SILVER

silver See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-frontal of the Florentine See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

baptistery, that representing the " See also:

• BEHEADING

Beheading of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John." Verrocchio's other works in the See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious metals are now lost, but Vasari records that he made many elaborate pieces of See also:

• PLATE

plate and See also:

• JEWELRY (O. Fr. jouel, Fr. joyau, perhaps from joie, joy; Lat. gaudium; retranslated into Low Lat. jocale, a toy, from jocus, by misapprehension of the origin of the word)

jewelry, such as morses for copes, as well as a See also:

• SERIES (a Latin word from serere, to join)

series of silver statues of the Apostles for the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope's chapel in the Vatican . Between 1478 and 1483 he was occupied in making the bronze See also:

• GROUP

group of the " Unbelief of St See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas," which still stands in See See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe and Cavalcaselle, Painting in See also:

• ITALY
• ITALY (Italia)

Italy (London, 1864), ii. pp . 400 seq . one of the See also:

• EXTERNAL

external niches of Or San Michele (Florence) . He received Boo florins for these two figures, which are more remarkable for the excellence of their technique than for their sculpturesque beauty .

The attitudes are rather rigid and the faces hard in expression . V e r r o cchio's See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief master-piece was the See also:

• COLOSSAL

colossal bronze equestrian statue of the Venetian See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general Bartolommeo See also:

• COLLEONI, BARTOLOMMEO (1400-1475)

Colleoni, which stands in the piazza of SS . Giovanni e See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . Verrocchio received the See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order for this statue in 1479, but had only completed the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model when he died in 1488 . In spite of his See also:

• REQUEST, LETTERS OF

request that the casting should be entrusted to his pupil Lorenzo di Credi, the work was given to Alessandro See also:

• LEOPARDI, GIACOMO, COUNT (1798-1837)

Leopardi by the Venetian See also:

• SENATE (Lat. senatus, from root sen-, as in senex, old; the root is the Sanskrit sana, cf. Gr. 'vos; the same element appears in senor, seigneur, seneschal)

senate, and the statue was gilt and unveiled in 1496.1 There appears to be no doubt that the model was completed by Verrocchio himself, and that nothing more than its See also:

• REPRODUCTION

reproduction in bronze should be attributed to the much feebler hand of Leopardi, who, however, has set his own name alone on the belly-See also:

• BAND

band of the See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse—See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

ALEXANDER - LEOPARDVS V . F . See also:

• OPUS ('O7rois)

OPUS . This is perhaps the noblest equestrian statue in the See also:

• WORLD

world, being in some respects See also:

• SUPERIOR

superior to the See also:

• ANTIQUE (Lat. antiquus, old)

antique bronze of See also:

• MARCUS

Marcus Aurelius in See also:

• ROME
• ROME (Roma)

Rome and to that of Gattamelata at See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua by See also:

• DONATELLO (diminutive of Donato) (c. 1386-1466)

Donatello . The horse is designed with wonderful See also:

• NOBILITY

nobility and spirit, and the easy pose of the great general, combining perfect See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance with absolute ease and See also:

• SECURITY (Lat. securus, free from care, safe)

security in the See also:

• SADDLE (a word common to Teutonic languages, cf. Ger. Sattel, Dut. zadel, also in Russ. siedlo and Lat. sella, for sedla; it is not derived directly from Lat. sedile, which means a chair, but all the words are to be referred to the root sad-, which gives

saddle, is a marvel of sculpturesque ability . Most remarkable skill is shown by the way in which Verrocchio has exaggerated the strongly marked features of the general, so that nothing of its powerful effect is lost by the lofty position of the head . According to Vasari, Verrocchio was one of the first sculptors who made a See also:

• PRACTICAL

practical use of casts from living and dead subjects . He is said also to have produced plastic works in terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta, See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood and in See also:

• WAX

wax decorated with colour .

As a sculptor his chief pupil was Francesco di See also:

• SIMONE (1457—1508)

Simone, the son of that Simone whom Vasari wrongly calls a See also:

• BROTHER

brother of Donatello . Another pupil was Agnolo di See also:

• POLO (Tibetan pulu, ball)
• POLO, GASPAR GIL (?153o-1591)
• POLO, MARCO (c. 1254-1324)

Polo (Paolo), who worked chiefly in terra-cotta . Verrocchio died in Venice in 1488, and was buried in the church of St Ambrogio in Florence . See also Hans Mackowsky, " Verrocchio . . . Mit 8o Abbildungen " (1901), Kiinster Monographien, No . 52 . (J . H .