When Donatello was old Duke Cosimo gave him an allowance which would support himself and four workmen; but in spite of this Donatello wore such shabby clothes that Cosimo sent him a red surcoat, a mantle and hood. These Donatello returned, saying they were far too fine for him. When the sculptor at length became feeble and bedridden his benefactor had died, but Piero de' Medici, the son of Cosimo, was careful to keep him in comfort; and when he died his funeral was attended with much ceremony. He was buried near Duke Cosimo, in the Church of San Lorenzo. Several of Donatello's works are in this church, and are a more suitable monument to his memory than any that could be made by other hands. The works of Donatello are numerous, both in marble and bronze, and in both these substances he made statues and reliefs. We cannot speak in detail of all that he accomplished; but as he lived in an age when every advance in art was an event in history, we must not forget to say that he made the first equestrian statue which had been produced since the time of the Romans. This statue is in Padua, in front of the Church of San Antonio; it is of colossal size, and represents the Venetian General Gattamelata; and though it does not satisfy our conception as an equestrian statue, it is worthy of some praise when we remember all the circumstances of its origin. It is not probable that Donatello had ever seen an antique equestrian statue, unless it might have been that of Marcus Aurelius, which was found in the Forum in 1187; no modern statues existed as examples for him; he was not familiar with the modelling of horses, and for every reason it was a bold thing for him to undertake such a work. Donatello had more influence upon the art of his time than any other Tuscan sculptor, with the single exception of Michael Angelo. As a man he was honest, simple, and upright in all his dealings; as a friend he was loyal and faithful; as a Christian he was humble and charitable, and left behind him a name which has been handed down through more than four centuries with respect and honor. LUCA DELLA ROBBIA (1400-1481) is another native of Florence, whose name is widely known. Like many others, he began life as a goldsmith, and in this way gained a mastery over detail and a finish of style that are remarkable in all his works. He turned his attention to sculpture early in life, and was so enthusiastic in his pursuit of this art that he worked night and day, minding neither cold nor hunger and fatigue; in the beginning he made numerous wax models, which have perished, and with all his industry we have no work of his before he was forty-five years old, except the reliefs of Music, Philosophy, Geometry, Grammar and Astronomy, Plato and Aristotle, Ptolemy and Euclid, and a man playing a lute, which are set into the side of the Campanile at Florence, and two scenes from the life of St. Peter, which are in the Uffizi.