by subduing all the curves which indicate solid form, and throwing the whole into low relief.
The life of Luca, a life of labour and frugality, with no adventure and no excitement except what belongs to the trial of new artistic processes, the struggle with new artistic difficulties, the solution of purely artistic problems, fills the first seventy years of the fifteenth century. After producing many works in marble for the Duomo and the Campanile of Florence, which place him among the foremost sculptors of that age, he became desirous to realise the spirit, the manner, of that sculpture in a humbler material, to unite its science, its exquisite and expressive system of low relief, to the homely art of pottery, to introduce those high qualities into common things, to adorn and cultivate daily household life. In this he is profoundly characteristic of the Florence of that century, of that in it which lay below its superficial vanity and caprice, a certain old-world modesty and seriousness and simplicity. People had not yet begun to think that what was good art for churches was not so good or less fitted for their own houses. Luca's new work was of plain white at first, a mere rough imitation of the costly, laboriously wrought marble, finished in a few hours. But on this humble path he found his way to a fresh success, to another artistic grace. The fame of oriental
