Even at Rimini we cannot account for the carvings in low relief, so fanciful, so delicately wrought, and so profusely scattered over the side chapels of S.Francesco, without the intervention of two Florentines, Bernardo Ciuffagni and Donatello's pupil Simone; while in the palace of Urbino we trace some hand not unlike that of Mino da Fiesole at work upon the mouldings of door and architrave, cornice and high-built chimney.[110] Not only do we thus find Tuscan craftsmen or their scholars employed on all the great public buildings throughout Italy; but it also happens that, except in Tuscany, the decoration of churches and palaces is not unfrequently anonymous.
This does not, however, interfere with the truth that sculpture, like all the arts, assumed a somewhat different character in each Italian city.

The Venetian stone-carvers leaned from the first to a richer and more passionate style than the Florentine, reproducing the types of Cima's and Bellini's paintings.[111] Whole families, like the Bregni--classes, like the Lombardi--schools, like that of Alessandro Leopardi, worked together on the monumental sculpture of S.Zanipolo.In the tombs of the Doges the old Pisan motive of the curtains (first used by Arnolfo di Cambio at Orvieto, and afterwards with grand effect by Giovanni Pisano at Perugia) is expanded into a sumptuous tent-canopy.

Pages and genii and mailed heroes take the place of angels, and the marine details of Roman reliefs are copied in the subordinate decoration.

At Verona the mediaeval tombs of the Scaligers, with their vast chest-like sarcophagi and mounted warriors, exhibit features markedly different from the monuments of Tuscany; while the mixture of fresco with sculpture, in monuments like that of the Cavalli in S.Anastasia, and in many altar-pieces, is at variance with Florentine usage.

On the terra-cotta mouldings, so frequent in Lombard cities, I have already had occasion to touch briefly.