David, although he drew and worked much, yet did not greatly surpass Benedetto: and this may have come about from his being too prosperous, and from not keeping his thoughts fixed on art, who is never found save by him who seeks her, and, when found, must not be abandoned, or she flies away. By the hand of David, in the garden of the Monks of the Angeli in Florence, at the head of a path that is opposite to a door that leads into that garden, are two figures in fresco at the foot of a Crucifix--namely, S. Benedict and S. Romualdo--with some other similar works, little worthy to have any record made of them. But, while David himself would not give attention to art, it was not a little to his credit that he caused his nephew Ridolfo, the son of Domenico, to devote himself to it with all diligence, and set him on the right way; for that Ridolfo, who was under the care of David, being a lad of beautiful genius, was placed by him to practise painting, and provided with all facilities for study by his uncle, who repented too late that he had not studied that art, and had spent all his time on mosaic. David executed on a thick panel of walnut-wood, which was to be sent to the King of France, a Madonna in mosaic, with some Angels about her, which was much extolled. And, living at Montaione, a township in Valdelsa, where he had furnaces, glass, and wood at his command, he executed there many works in glass and mosaic, and in particular some vases, which were presented to the Magnificent Lorenzo de' Medici, the elder, and three heads, that of S. Peter, that of S. Laurence, and that of Giuliano de' Medici, on a dish of copper, which are now in the guardaroba of the Duke. [Illustration: CHRIST BEARING THE CROSS (_After the painting by =Ridolfo Ghirlandajo=. London: National Gallery, 1143_) _Mansell_]