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The very perfection of this kind of work is Benedetto da Maiano's bust of Pietro Mellini in the Bargello at Florence.
With this art which produced works like Desiderio da Settignano's Carlo Marsuppini and Benedetto da Maiano's Pietro Mellini, is intimately connected the art of the great medallists of the Renaissance Pasti, Guacialotti, Niccolò Fiorentino, and, greatest of all, Pisanello.
The wrinkles and creases in a face like that of Benedetto da Maiano's Mellini would probably be ugly and perhaps disgusting in the real reddish, flaccid, discoloured flesh; while they are admirable in the solid and supple-looking marble, in its warm and delicate bistre and yellow.
Giotto chose the following scenes, one or two of which coincide with those on Benedetto da Maiano's pulpit, which came of course many years later: the "Confirmation of the Rules of the Franciscans," "S. Francis before the Sultan and the Magi," "S. Francis Sick and Appearing to the Bishop of Assisi," "S. Francis Fleeing from His Father's House and His Reception by the Bishop of Assisi," and the "Death of S. Francis". Giotto's Assisi frescoes, which preceded these, anticipate them; but in some cases these are considered to be better, although in others not so good.
John of the Louvre, and Benedetto da Maiano's: they will soon be poring over the Vita Nuova and Petrarch. Two other St. Johns I am speaking of Donatello's have turned out differently.
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