Sculpture, no less than architecture, was in full activity. Here also we find in the foremost rank those artists whom the Medici had attached to themselves; among whom Donatello stood first, while his pupils benefited by the favour shown to him. The Medici mansion was full of Donatello’s works. Over the arches in the front court are eight medallions by him, with reliefs in marble; and he restored many of the antique heads over the doors. His other works are all scattered. During Cosimo’s exile, the bronze David with his foot on the head of Goliath was taken away and set up in the palace-yard of the Signoria. The owner seems to have been shy of reclaiming it, and finally, in May 1476, his grandsons sold it to the municipality.[133] During the second exile of the Medici, another work of Donatello’s was taken from their house and placed at the great gate of the same palace, with an inscription recalling the events of 1494.[134] This is the group of Judith and Holofernes, full of expression, but forced and offending against the rules of plastic composition. A loss to be regretted is that of the bronze bust of Madonna Contessina, which Donatello executed for her husband. San Lorenzo still contains many of his works, placed there by the indefatigable benefactor of this church. Besides the decorations of the sacristy, &c., there are the reliefs on the pulpits; artistically they are in fault by their superabundance and want of repose, but the fault is one of a man of talent. In point of technical execution, they show a distinct retrogression when compared with contemporary works. It was not only in works of this kind that Donatello displayed an extravagance that belies the sense of beauty. He did so even in the dancing children executed in marble relief for the organ at Sta. Maria del Fiore.