193 is even more charming.

For delicacy and vivacity in marble portraiture it would be impossible to surpass the head of Rinaldo della Luna; and the two Medicis are wonderfully real.

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.

Look, for example, at the fleur-de-lis over the door; at the Madonna and Child next it, on the right; at the girl's head next to that; at the baby girl at the other end of the room; and at the older boy and his pendant.

But one does not need to come here to form an idea of the wealth of good sculpture.