de lo alabastro (13, viii. 46).  Employment was also given to Jacomo, a goldsmith (9, v. 48), to Squarcione the painter (21, xi. 47), to Moscatelo, the maker of majolica (v. 49), and to Giovanni da Becato, who made a metal grille behind the altar.  Francesco del Mayo and Andrea delle Caldiere were the chief bronze casters; a dozen or fifteen other names are recorded.  None of these can have had much influence on the sculpture itself; but there were men of greater calibre, Giovanni da Pisa, Urbano da Cortona, Antonio Celino of Pisa, and Francesco Valente of Florence.  Though called garzoni and disipoli of Donatello (June and Sept. 47), they soon became men of trained capacity, and were specifically mentioned in some of the contracts.  Thus it appears that each was entrusted with one of the evangelist’s symbols; they were also largely responsible for the bronze choristers (27, iv. 46).  Their whims and idiosyncrasies are visible in many particulars:  in the halos for instance.  The gospel emblems all have halos, likewise most of the singing children, whereas there are none on the Madonna and the great statues of canonised saints on the altar.  But it is impossible here to enter upon the most interesting problem of their respective shares on the altar sculpture, and how far they were independent of Donatello beyond the chiselling and polishing of the bronze; the subject would need discussion at too great length.  It is, however, worth while to refer to some of their work, for which they were exclusively responsible.  Thus the Fulgosio tomb in the Santo, and the superaltar in the Eremitani at Padua (though much disfigured by paint), show that Giovanni da Pisa was influenced by Donatello to a remarkable degree.  The composition of the altar consists of a broad relief of the Madonna with three saints on either side of her:  below it is a predella divided into three panels; above, a frieze of dancing children similar to those on the pulpits of San Lorenzo.  The composition is crowned by a tympanum and putti suggested by Donatello’s Annunciation.  Several of the larger figures might almost be the work of Donatello, though the personality of Giovanni makes itself felt throughout.  Urbano of Cortona was another interesting man.  He received a commission to decorate the chapel of the Madonna delle Grazie in the Sienese Cathedral,[204] and he had to make the Symbols of the Evangelists:  nel fregio ... si debi fare IIII. evangelisti in forma d’animali.  Donatello himself, excellentissimus sculptor, seu magister sculture,[205] was commissioned later on to work in this chapel; but there can be no doubt that the angel of St. Matthew, now preserved in the Opera del Duomo,[206] is the work of Urbano.  It is the identical design of the emblem on the Paduan altar, pleasant in its way, but differing in all the material elements of charm; but it is an important document in that it shows a further stage in the evolution of Donatello through the hand of a painstaking pupil.