In 1440 Ghiberti finished for the cathedral the shrine of St. Zanobi, one of his finest works. To Piero de’ Medici he furnished goldsmith’s work which brought him great admiration and commissions from Pope Eugene IV. Besides this master, now growing old, the Medici employed a younger one, Luca della Robbia. His style is graceful rather than grand; full of tender and lively expression of feeling, and pleasing execution in drapery and grouping. His works in the cathedral show equal fertility of invention and technical skill. One is the marble relief for the organ gallery, representing a boy and girl playing and dancing, executed in 1438 as a companion-piece to that of Donatello;[139] and the other, not so good, is the door of the sacristy, finished in 1463, with its bronze reliefs of the Madonna, the Evangelists, and the Fathers of the Church.[140] The monument to Benozzo Federighi, Bishop of Fiesole[141] (who died in 1450), with the figure lying on the bier, displays his capabilities in this direction. But Luca della Robbia is less distinguished by his sculptures in marble and brass than by the reliefs in glazed earth which, called after him, were supplied by his descendants for 100 years. They still abound in Florence and the whole of Tuscany, even to the mountain convents of the Apennines and the modest churches of remote towns, while numbers of them have wandered into foreign lands. Anyone taking a walk in Florence may enjoy these charming creations: lunettes or groups above the doors of churches and houses, medallions of infants on the portico of the Foundling Hospital, heads of saints, tabernacles, heraldic escutcheons, some plain white on a blue ground, some with a judicious mixture of colours and a rich border of entwined leaves and fruit. These works form an almost inexhaustible treasury, with a marked character of graceful earnestness and truth to nature; a help to architecture as long as the decorative element kept its place in the old manner, which in the fourteenth century employed both glass and colour. But they were invaluable for interior decoration, for which Brunelleschi used work in ‘Terra della Robbia’ in the Pazzi chapel. Luca himself decorated for Cosimo de’ Medici a room in his palace and the buildings in Sta. Croce, and for Piero the tabernacle in San Miniato; in the latter church he also assisted in giving to the chapel of the Cardinal of Portugal the charm of harmonious perfection.