health to Florence, where he died in 1459 aged twenty-six. In the basilica, then belonging to the Olivetans, where he was buried, was built a chapel, unrivalled in symmetry of form and beauty of detail. The roof is set off with reliefs in glazed earth, the walls are inlaid with marble, the altar, the bishop’s throne, and the floor of _opus Alexandrinum_ are admirable. What was formerly the altar-piece—by Pollaiuolo—is now in the Uffizi. The monument stands in a large niche, with a curtain slightly drawn back. The sarcophagus is an imitation of the coffer afterwards used for the tomb of Pope Clement XII. in the Lateran. The figure of the departed, wearing his mitre, rests on a pall held by two seated boys; an architectural wall-drapery is terminated by a cornice, at each end of which is a kneeling angel bearing a crown and a palm-branch; in the arch above are the Virgin and Child surrounded by a rich garland and upheld by angels in relief. The figure of the cardinal surpasses all else of its kind in grace, dignity, and beauty, while in technical work it is perfection. The head and the folded hands were modelled from nature.[145] A blessed peace seems diffused over the whole figure, which realizes what Vespasiano da Bisticci says of the departed, whom he had known in life: ‘He was outwardly handsome, but his soul was more beautiful than his body; and by the holiness of his life and conversation he was fitted to stand beside the saints of old.’[146] To these artists must be added Mino da Fiesole, who, though a pupil of Desiderio da Settignano—his senior only by a few years—seemed to have formed himself more on the model of Donatello. His groups of figures in relief, of which the chief are at Rome, are not always happy; his monumental statues, of which the two most remarkable in Florence are of later date, have great dignity and beauty. In his portrait-heads there is a peculiar delicacy and truth, indicating careful study of nature, and of which the bust of Bishop Leonardo Salutati, in the cathedral of Fiesole, is an excellent example.[147] In the Medici house were busts by him of Piero and his wife, the former of which is now in the Uffizi. In ornamentation, particularly in arabesque, Mino is inferior to none; and it is impossible to mistake his influence in this respect at Rome, where, from the time of Nicolas V., the number of monuments rapidly increased. The works of Giuliano da Majano in Florence, where he was occupied in 1463-1465 with inlaid woodwork for San Domenico, near Fiesole, and the sacristy of Sta. Maria del Fiore, are of much less importance. Neither he nor Antonio Filarete, founder of the great door of St. Peter’s, are known to have done any work for the Medici. That the latter was one of their _protégés_, however, may be seen not only by the dedication to Piero of his treatise on architecture, but also by a letter addressed by him to Piero from Milan, December 20, 1451, thanking him for a recommendation