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Updated: May 21, 2025
Over the altar of Mino's little chapel is a large tabernacle from his hand, in which the gayest little Boy gives the benediction, own brother to that one by Desiderio at S. Lorenzo.
It is not quite of the rank of Mino's in the Badia; but it is a noble and beautiful thing marked in every inch of it by modest and exquisite thought. In short, one cannot be too glad that, since he had to die, death's dart struck down this Portuguese prelate while he was in Rossellino's and Luca's city.
And if we consider the Renaissance sculpture, its complexity is so great, its individuality is so pronounced, that one is apt to lose sight of the important part which style really plays in it. In a work by Donatello we see first of all his thought; in a Madonna of Mino's it is the idea that charms us; the Delia Robbia frieze at Pistoja is pure genre.
Everything in Mino's work is thoughtful and exquisite, while the unusual type of face which so attracted him gives him freshness too. This room and that next it illustrate the wealth of fine sculptors which Florence had in the fifteenth century, for the works by the unknown hands are in some cases hardly less beautiful and masterly than those by the known.
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