Alesso lived eighty years, and when he began to draw near to old age, as one who wished to be able to attend with a quiet mind to the studies of his profession, he retired into the Hospital of S. Paolo, as many men are wont to do. And perhaps to the end that he might be received more willingly and better treated (or it may have been by chance), he had a great chest carried into his rooms in the said hospital, giving out that it contained a good sum of money. Wherefore the Director and the other officials of the hospital, believing this to be true, and knowing that he had bequeathed to the hospital all that might be found after his death, showed him all the attention in the world. But on the death of Alesso, there was nothing found in it save drawings, portraits on paper, and a little book that explained the preparation of the stones and stucco for mosaic and the method of using them. Nor was it any marvel, so men said, that no money was found there, because he was so open-handed that he had nothing that did not belong as much to his friends as to himself. A disciple of Alesso was the Florentine Graffione, who wrought in fresco, over the door of the Innocenti, that figure of God the Father and those angels that are still there. It is said that the Magnificent Lorenzo de' Medici, conversing one day with Graffione, who was an original, said to him, "I wish to have all the ribs of the inner cupola adorned with mosaic and stucco-work;" and that Graffione replied, "You have not the masters." To which Lorenzo answered, "We have enough money to make some." Graffione instantly retorted, "Ah, Lorenzo, 'tis not the money that makes the masters, but the masters that make the money." This man was a bizarre and fantastic person. In his house he would never eat off any table-cloth save his own cartoons, and he slept in no other bed than a chest filled with straw, without sheets. But to return to Alesso; he took leave of his art and of his life in 1448, and he was honourably buried by his relatives and fellow-citizens. [Illustration: THE TRINITY (_After the panel by =Graffione=. Florence: S. Spirito_) _Alinari_] VELLANO DA PADOVA LIFE OF VELLANO DA PADOVA SCULPTOR So great is the effect of counterfeiting anything with love and diligence, that very often, when the manner of any master of these our arts has been well imitated by those who take delight in his works, the imitation resembles the thing imitated so closely, that no difference is discerned save by those who have a sharpness of eye beyond the ordinary; and it rarely comes to pass that a loving disciple fails to learn, at least in great measure, the manner of his master.