CHAPTER XVII. ANDREA DEL VERROCCHIO. We have marked the Pollaiuoli as the exponents of a new fashion in the art of Florence in the fifteenth cent ury. We have noted Andrea del Verrocchio amongst those who form part of the talented group which com prises Antonio, Piero, Botticelli and even Domenico Ghirlandaio. The natural order of the narrative leads us to describe the share which Verrocchio took in the development of the artistic period which he illustrates. He was born in 1432, of Domenico di Michele de’ Cioni. 1 He kept a goldsmith’s shop like that of his comrade Antonio Pollaiuolo; and history preserves the following distinct marks of his artistic activity: 1471 (new style). He founds the plate for the ball above the cupola of S. M. del Fiore at Florence. 1472 (n. s.). He completes the funeral monument of Giovanni and Piero de’ Medici in S. Lorenzo of Florence. 1473 (n. s.). He values the pulpit of Mino da Fiesole and Antonio Rossellino at Prato. 1474 (n. s.). He gives the model for a monument to Cardinal Forteguerri at Pistoia, and founds the bronze bell adorned with bas-reliefs of the Abbey of Montescalari. 1476 (n. s.). Executes the bronze of the youthful David now at the Uffizi. 1477 (n. s. circa). Carves two of the compartments of the dossale or altar table of the Florence baptistery in com pany with Antonio Pollaiuolo. 1478—79. 80. He produces a candelabra with reliefs and 1 His birth is only inferred. \(asari says he died aged 56 and his death occurred in 1488. His father’s name was copied from the inscription on the tomb in S. Ambruogio at Florence.