In S. Croce he made a tomb for Messer Carlo Marsuppini of Arezzo, which not only amazed the craftsmen and the people of understanding who saw it at that time, but still fills with marvel all who see it at the present day; for on the sarcophagus he wrought some foliage, which, although somewhat stiff and dry, was held--since but few antiquities had been discovered up to that time--to be something very beautiful. Among other parts of the said work are seen certain wings, acting as ornaments for a shell at the foot of the sarcophagus, which seem to be made not of marble but of feathers--difficult things to imitate in marble, seeing that the chisel is not able to counterfeit hair and feathers. There is a large shell of marble, more real than if it were an actual shell. There are also some children and some angels, executed with a beautiful and lively manner; and consummate excellence and art are likewise seen in the figure of the dead, portrayed from nature on the sarcophagus, and in a Madonna in low-relief on a medallion, wrought after the manner of Donato with judgment and most admirable grace; as are many other works that he made in low-relief on marble, some of which are in the guardaroba of the Lord Duke Cosimo, and in particular a medallion with the head of Our Lord Jesus Christ and with that of John the Baptist as a boy. At the foot of the tomb of the said Messer Carlo he laid a large stone in memory of Messer Giorgio, a famous Doctor, and Secretary to the Signoria of Florence, with a very beautiful portrait in low-relief of Messer Giorgio, clad in his Doctor's robes according to the use of those times. [Illustration: TOMB OF CARLO MARSUPPINI (_After =Desiderio da Settignano=. Florence: S. Croce_) _Alinari_] If death had not snatched so prematurely from the world a spirit which worked so nobly, he would have done so much later on by means of experience and study, that he would have outstripped in art all those whom he had surpassed in grace. Death cut the thread of his life at the age of twenty-eight, which caused great grief to those who were looking forward to seeing so great an intellect attain to perfection in old age; and they were left in the deepest dismay at such a loss. He was followed by his relatives and by many friends to the Church of the Servi; and a vast number of epigrams and sonnets continued for a long time to be placed on his tomb, of which I have contented myself with including only the following: COME VIDE NATURA DAR DESIDERIO AI FREDDI MARMI VITA, E POTER LA SCULTURA AGGUAGLIAR SUA BELLEZZA ALMA E INFINITA, SI FERMO SBIGOTTITA E DISSE; OMAI SARA MIA GLORIA OSCURA. E PIENA D'ALTO SDEGNO TRONCO LA VITA A COSI BELL' INGEGNO. MA IN VAN; CHE SE COSTUI DIE VITA ETERNA AI MARMI, E I MARMI A LUI.