The tomb is exceedingly fine, the work of Donatello and his partner Michelozzo, who were engaged to make it by Giovanni de' Medici, the ex-pontiff's friend, and the father of the great Cosimo.

The design is all Donatello's, and his the recumbent cleric, lying very naturally, hardly as if dead at all, a little on one side, so that his face is seen nearly full; the three figures beneath are Michelozzo's; but Donatello probably carved the seated angels who display the scroll which bears the dead Pope's name.

The Madonna and Child above are by Donatello's assistant, Pagno di Lapo Portigiani, a pretty relief by whom we saw in the Museum of the Cathedral.

Being in red stone, and very dusty, like Ghiberti's doors (which want the hose regularly), the lines of the tomb are much impaired.

Donatello is also represented here by a Mary Magdalene in wood, on an altar at the left of the entrance door, very powerful and poignant.
In the ordinary way, when visitors to Florence speak of the Baptistery doors they mean those opposite the Duomo, and when they go to the Bargello and look at the designs made by Ghiberti and Brunelleschi in competition, they think that the competition was for those.