e figures,
Temperance, Prudence and Justice, and as it was then considered a
work of great beauty, it was placed in the middle of the church as a
remarkable object. Before he left Pistoia he made the model for the
campanile of S. Jacopo, the principal church of the city, although
the work was not then begun. The tower is situated beside the church
in the piazza of S. Jacopo, and bears the date A.D. 1301. On the
death of Pope Benedict IX. at. Perugia, Giovanni was sent for to make
his tomb, which he executed in marble in the old church of S.
Domenico of the Friars Preachers, placing the Pope's effigy, taken
from life, and in his pontifical habit, upon the sarcophagus with two
angels holding a curtain, one on either side, and Our Lady above,
between two saints, executed in relief, as well as many other
ornaments carved on the tomb. Similarly in the new church of the same
order he made the tomb of M. Niccolo Guidalotti of Perugia, bishop of
Recanati, who was the founder of the new University of Perugia. In
this same new church, which had been previously founded by others, he
directed the construction of the principal nave, and this part of the
building was much more securely founded than the rest, which leans
over to one side, and threatens to fall down, owing to the faulty
laying of the foundations. And in truth he who undertakes to build or
perform any things of importance ought always to take the advice, not
of those who know little, but of those most competent to help him, so
that he may not afterwards have to repent with loss and shame that he
was ill-directed when he was in most need of assistance.

When he had completed his labours in Perugia, Giovanni wished to go
to Rome to learn from the few antique things there, as his father had
done, but being hindered by good reasons, he was never able to fulfil
his desire, chiefly because he heard that the court had just gone to
Avignon. So he returned to Pisa, where Nello di Giovanni Falconi,
craftsman, entrusted to him the great pulpit of the Duomo, which is
fixed to the choir on the right hand side as one approaches the high
altar. He set to work on this, and on a number of figures in full
relief, three braccia high, which he intended to use for it, and
little by little he brought it to its present form, resting in part
on the said figures and in part upon lions, while on the sides he
represented scenes from the life of Jesus Christ. It is truly a sin
that so much money,