oy the same manner, so that they filled all Italy with examples
of it. It is further believed that the native of Pesaro, who besides
many other things did the door of the church of S. Domenico in his
native town, with the three marble figures of God the Father, St John
the Baptist and St Mark, was a pupil of Agostino and Agnolo, and the
style of the work gives colour to the supposition. This work was
completed in the year 1385. But since it would take much too long to
enter into particulars of the works made in this style by many
masters of the time, I will let what I have said, in this general
way, suffice, chiefly because they have not exercised a great
influence upon our arts. Yet I thought it good to mention these men,
because even if they do not deserve a long notice, yet they are not
so insignificant as to be altogether passed over in silence.

Stefano, Painter of Florence, and Ugolino of Siena.

Stefano, painter of Florence and pupil of Giotto, was so excellent
that not only did he surpass all the artists who had studied the arts
before him, but he so far surpassed his master himself that he was
deservedly considered the best of the painters up to that time, as
his works clearly prove. He painted the Madonna in fresco for the
Campo Santo at Pisa, and it is somewhat superior in design and
colouring to the work of Giotto. In the cloister of S. Spirito at
Florence he painted three arches in fresco, in the first of which,
containing the Transfiguration with Moses and Elias, he represented
the three disciples in fine and striking attitudes. He has formed a
fine conception of the dazzling splendour which astonished them,
their clothes being in disorder, and falling in new folds, a thing
first seen in this picture, as he tried to base his work upon the
nude figures, an idea which had not occurred to anyone before, no not
even to Giotto himself. Under that arch, in which he made a Christ
releasing a demoniac, he drew an edifice in perspective, perfectly,
in a style then little known, displaying improved form and more
science. He further executed it in the modern manner with great
judgment, and displayed such art and such invention and proportion in
the columns, doors, windows and cornices, and such different methods
from the other masters that it seemed as if he had begun to see some
glimpses of the light of the good and perfect manner of the moderns.
Among other ingenious things he contrived a very difficult fl