Not content with this, there arose in his mind a very great inclination for sculpture; and this took effect, for Donatello, then a youth, being held an able sculptor and one of great promise, Filippo began to be ever in his company, and the two conceived such great love for each other, by reason of the talents of each, that one appeared unable to live without the other. Whereupon Filippo, who was most capable in various ways, gave attention to many professions, nor had he practised these long before he was held by persons qualified to judge to be a very good architect, as he showed in many works in connection with the fitting up of houses, such as the house of Apollonio Lapi, his kinsman, in the Canto de' Ciai, towards the Mercato Vecchio, wherein he occupied himself greatly while the other was having it built; and he did the same in the tower and in the house of Petraia, at Castello without Florence. In the Palace that was the habitation of the Signoria, he arranged and distributed all those rooms wherein the officials of the Monte had their office, and he made doors and windows there in the manner copied from the ancient, which was then little used, for architecture was very rude in Tuscany. In Florence, a little later, there was a statue of lime-wood to be made for the Friars of S. Spirito, representing S. Mary Magdalene in Penitence, to be placed in a chapel; and Filippo, who had wrought many little things in sculpture, desiring to show that he was able to succeed in large works as well, undertook to make the said figure, which, when put into execution and finished, was held something very beautiful; but it was destroyed afterwards, together with many other notable works, in the year 1471, when that church was burnt down.