are a little too full of detail in the carving. This work induced the Abbot and Monks of the Badia of Florence, in which place the said tomb was erected, to entrust Mino with the making of one for Count Ugo, son of the Marquis Uberto of Magdeburg, who bequeathed great wealth and many privileges to that abbey. And so, desiring to honour him as much as they could, they caused Mino to make a tomb of Carrara marble, which was the most beautiful work that Mino ever made; for in it there are some boys, upholding the arms of that Count, who are standing in very spirited attitudes, with a childish grace; and besides the figure of the dead Count, with his likeness, which he made on the sarcophagus, in the middle of the wall above the bier there is a figure of Charity, with certain children, wrought with much diligence and very well in harmony with the whole. The same is seen in a Madonna with the Child in her arms, in a lunette, which Mino made as much like the manner of Desiderio as he could; and if he had assisted his methods of work by studying from the life, there is no doubt that he would have made very great progress in his art. This tomb, with all its expenses, cost 1,600 lire, and he finished it in 1481, thereby acquiring much honour, and obtaining a commission to make a tomb for Lionardo Salutati, Bishop of Fiesole, in the Vescovado of that place, in a chapel near the principal chapel, on the right hand as one goes up; on which tomb he portrayed him in his episcopal robes, as lifelike as possible. For the same Bishop he made a head of Christ in marble, life-size and very well wrought, which was left among other bequests to the Hospital of the Innocenti; and at the present day the Very Reverend Don Vincenzio Borghini, Prior of that hospital, holds it among his most precious examples of these arts, in which he takes a delight beyond my power to express in words.