The reliefs that, set some five-and-twenty feet from the ground, are so difficult to see, are the work of Andrea Pisano, the sculptor of the south gate of the Baptistery. Born at Pontedera, the pupil of Giovanni Pisano, this great and lovable artist has been robbed of much that belongs to him. Vasari tells us--and for long we believed him--that Giotto helped him to design the gate of the Baptistery; and again, that Giotto designed these reliefs for Andrea to carve and found. It might seem impossible to believe that the greatest sculptor then living, fresh from a great triumph, would have consented to use the design of a painter, even though he were Giotto. However this may be, the reliefs really speak for themselves: those on the south side--early Sabianism, house-building, pottery, training horses, weaving, lawgiving, and exploration--are certainly by Andrea; while among the rest the Jubal, the Creation of Man, the Creation of Woman, seem to be his own among the work of his pupils. It is to quite another hand, however, to Luca della Robbia, that the Grammar, Poetry, Philosophy, Astrology, and Music must be given. The genius of Andrea Pisano, at its best in those Baptistery gates, in the panel of the Baptism of our Lord, for instance, or in those marvellous works on the facade of the Duomo at Orvieto, so full of force, vitality, and charm, is, as I think, less fortunate in its expression when he is concerned with such work as these statues of the prophets in the niches on the south wall of the Campanile,--if indeed they be his. Seen as these figures are, beside the large, splendid, realistic work of Donatello, so wonderfully ugly in the Zuccone, so pitiless in the Habakkuk, they are quickly forgotten; but indeed Donatello's work seems to stand alone in the history of sculpture till the advent of Michelangelo. I speak of Donatello elsewhere in this book,[92] but you will find one of his best works among much curious, interesting litter from the Duomo in the Opera del Duomo, the Cathedral Museum in the old Falconieri Palace just behind the apse of the Cathedral. A bust of Cosimo Primo stands over the entrance, and within you find a beautiful head of Brunellesco by Buggiano. It is, however, in a room on the first floor that you will find the great organ lofts, one by Donatello and the other by Luca della Robbia, which I suppose are among the best known works of art in the world. Made for the Cathedral, these galleries for singers seem to be imprisoned in a museum.