Having acquired the name of an excellent master by means of these works, above all through many works in metal, in which he took much delight, he made a tomb of bronze in S. Lorenzo, wholly in the round, for Giovanni and Pietro di Cosimo de' Medici, with a sarcophagus of porphyry supported by four corner-pieces of bronze, with twisted foliage very well wrought and finished with the greatest diligence. This tomb stands between the Chapel of the Sacrament and the Sacristy, and no work could be better done, whether wrought in bronze or cast; above all since at the same time he showed therein his talent in architecture, for he placed the said tomb within the embrasure of a window which is about five braccia in breadth and ten in height, and set it on a base that divides the said Chapel of the Sacrament from the old Sacristy. And over the sarcophagus, to fill up the embrasure right up to the vaulting, he made a grating of bronze ropes in a pattern of mandorle, most natural, and adorned in certain places with festoons and other beautiful things of fancy, all remarkable and executed with much mastery, judgment, and invention. Now Donatello had made for the Tribunal of Six of the Mercanzia that marble shrine which is now opposite to S. Michael, in the Oratory of Orsanmichele, and for this there was to have been made a S. Thomas in bronze, feeling for the wound in the side of Christ; but at that time nothing more was done, for some of the men who had the charge of this wished to have it made by Donatello, and others favoured Lorenzo Ghiberti. Matters stood thus as long as Donatello and Ghiberti were alive; but finally the said two statues were entrusted to Andrea, who, having made the models and moulds, cast them; and they came out so solid, complete, and well made, that it was a most beautiful casting. Thereupon, setting himself to polish and finish them, he brought them to that perfection which is seen at the present day, which could not be greater than it is, for in S. Thomas we see incredulity and a too great anxiety to assure himself of the truth, and at the same time the love that makes him lay his hand in a most beautiful manner on the side of Christ; and in Christ Himself, who is raising one arm and opening His raiment with a most spontaneous gesture, and dispelling the doubts of His incredulous disciple, there are all the grace and divinity, so to speak, that art can give to any figure. Andrea clothed both these figures in most beautiful and well-arranged draperies, which give us to know that he understood that art no less than did Donato, Lorenzo, and the others who had lived before him; wherefore this work well deserved to be set up in a shrine made by Donatello, and to be ever afterwards held in the greatest price and esteem.