While producing these works in enamelled earthen-ware, Robbia also painted on the flat. Of this work there are twelve circular medallions in the South Kensington Museum, and several specimens in Florence--a tondo, some tiles, and a lunette. The medallions are enamelled, and the paintings are allegorical representations of the months (Fig. 206). Vasari says in regard to the tiles: “For the bishop of Fiesole, in the church of San Brancazio, he also made a marble tomb, on which are the recumbent effigy of the bishop and three other half-length figures besides; and on the pilasters of that work he painted, on the flat, certain festoons and clusters of fruit and foliage so skilfully and naturally, that were they even painted in oil on panel, they could not be more beautifully or forcibly rendered.” [Illustration: Fig. 208.--Modern Imitation Robbia Ware. (Boston Museum of Fine Arts.)] [Illustration: Fig. 209.--S. Sebastian, by Giorgio. (South Kensington Museum.)] Luca died in 1481, leaving the full knowledge of the process he had perfected to his nephew Andrea, who, however, was less successful than his uncle. His art is less pure (Fig. 207). He becomes elaborate where Luca was simple, especially in his heavy borders of fruit. Andrea was born in 1457, and died in 1528, and left the transmissible part of his art to his four sons, Giovanni, Luca, Ambrosio, and Girolamo. Of these, Girolamo became a monk, and one specimen of his work is said to be at Siena. Giovanni’s works are signed, and cannot, therefore, lead to any confusion. Luca, junior, settled in Rome, and Girolamo went to France, where he executed several works. Luca, the elder, had also two assistants, Agostino and Ottaviano, the former of whom displayed great talent, and worked in Perugia. The special art was carried to Spain by Nicoloso Francesco, of Pisa, who made some bas-reliefs for a church in Seville. Of the other successors of Luca we need only refer to Maestro Giorgio Andreoli, of Gubbio, who is said to have produced some pieces after the Della Robbia type (Fig. 209). The style finally passed away in the earlier part of the sixteenth century. The demand for it appears to have failed about that time. Stanniferous enamel continued to be used here and there after Luca’s death, and after the lapse of some years came gradually into general use. The oldest piece not of his style is dated 1475. For the sake of lucidity it may also be here mentioned, that the metallic lustre, for which the first pressure of public demand was felt toward the close of the fourteenth century, passed into oblivion in less than a hundred years, until revived in more modern times. [Illustration: Fig. 210.--Chaffagiolo Pitcher. (South Kensington Museum.)]