Ser Ciappelletto, but he was discovered and put to
death for sacrilege. Moved by this deed, the people of Prato proposed
to make a strong and suitable receptacle in which the girdle should
be kept with greater security, and sent for Giovanni, who was now an
old man. Acting upon his advice, they constructed the chapel in the
principal church, where Our Lady's girdle now reposes. They then
greatly increased their church also from his plans, and incrusted
both the church and the campanile with white and black marble on the
outside, as may be seen. At length Giovanni died at a ripe old age in
the year 1320, after having completed many works in sculpture and
architecture besides those which are mentioned here. And in truth a
great debt is due to him and to Niccola his father, since in an age
which lacked every element of good design, in the midst of all the
darkness they threw so much light on those arts in which they were
really excellent.

Giovanni was honourably buried in the Campo Santo, in the same tomb
in which his father Niccola was laid. Many disciples of his
flourished after him, but especially Lino, sculptor and architect of
Siena, who made the chapel which contains the body of St Ranieri in
the Duomo of Pisa, richly decorated with marble; and also the
baptismal font of that cathedral which bears his name. Let no one
marvel that Niccola and Giovanni executed so many works, for besides
the fact that they lived to a good age, they were the foremost
masters in Europe of their time, so that nothing of importance was
undertaken without their taking part in it, as may be seen in many
inscriptions besides those which have been quoted. Whilst speaking of
these two sculptors and architects, I have often referred to Pisa, so
that I do not hesitate at this stage to quote some words written on
the pedestal of a vase mounted on a column of porphyry and supported
by a lion, which is situated on the steps of the new hospital there.
They are as follows:

"This is the talent which the Emperor Caeesar gave to Pisa, to the
intent that the tribute which they rendered to him should be
regulated thereby. The talent was set upon this column and lion in
the time of Giovanni Rosso, master of the work of S. Maria Maggiore,
Pisa, A.D. MCCCXIII., the second Indiction, in March."

Andrea Tafi, Florentine Painter.

Just as the works of Cimabue excited no small amount of wonder in the
men of that time, since he introduced a better