Two Florentine sculptors of note, Benedetto da Rovezzano and Giovanni da Maiano, were at work here throughout the whole of Holbein’s sojourn in England. It is probable that they were brought over by Wolsey on purpose to work on the great tomb and monument he was erecting for himself in the tomb-house at St. George’s Chapel, Windsor, and after Wolsey’s fall, when Henry VIII seized upon the materials and such of the work as had been finished and proceeded to adapt it for a tomb of his own, the two sculptors were retained in the King’s service, though Benedetto, at least, was anxious to return to Florence before Wolsey’s downfall. Their names occur constantly in the royal accounts. Rovezzano is sometimes entered as “Benedict, the King’s tomb-maker.” Giovanni da Maiano was a noted worker in terra-cotta, and Wolsey employed him on such work at Hampton Court. On the 18th June 1521 he rendered an account to Wolsey for ten roundels of terra-cotta (_rotundæ imagines ex terra depictæ_) at £2, 6_s._ 8_d._ each, and three histories of Hercules at £4 each, “for the Palace at Anton Cort.”[621] These were the roundels already spoken of in connection with Toto. Maiano was one of the artists associated with Holbein in the decoration of the Greenwich Banqueting House, in the accounts of which he is entered as John Demyans. He was in the royal service, and received a salary of £20, being entered in October 1528 as “John Demayns, gravour.”[622] In 1526 his name occurs in the accounts of Thomas, Lord Rocheford. “To Mane, the painter, for making the pattern of your seal of arms, 3_s._ 4_d._,” and it was as a seal-engraver that he was largely engaged at the Court. In Cromwell’s accounts the two sculptors are sometimes entered as Benedict Rovesham or Rovesame and John de Manion or Manino. Their work on Henry’s tomb appears to have gone on until 1536, when the project was abandoned for a time. Both men seem to have left England shortly afterwards. Nicolas Bellin of Modena was one of the most prominent of the Italian artists engaged at the English Court during the latter half of Holbein’s residence in England. Mr. Lionel Cust[623] suggests that “the similarity of name would lead to a possible identification of this Niccolo with Niccolo dell’ Abbate da Modena, who arrived in France after the accession of Henri II, and took an important share in the decorative paintings at Fontainebleau, where he died in 1571”; but the latter, who, as a painter, was by far the more important artist of the two, did not reach France from Italy until 1552, whereas Bellin had been in the employment of Francis I as early as 1517.[624]