merous other
figures, which are omitted for the sake of brevity. The ornamentation
of the altar is thirteen braccia high, and the predella two braccia.
The interior is hollow and is approached by a staircase through a
small iron door, very well arranged. Many valuable relics are
preserved there, which may be seen from the outside through two iron
gratings in the front. Among others is the head of St Donato, bishop
and protector of Arezzo. In a chest of various materials, three
braccia high, which I have caused to be newly made, are the bones of
four saints. The predella of the altar, which entirely surrounds it,
has in front of it the tabernacle or _ciborium_ of the Sacrament, in
carved wood, all gilt, about three braccia high, and it may be seen
from the choir side as well as from the front. As I have spared
neither pains nor expense, since I considered myself bound to do my
best to honour God, I may venture to affirm that, so far as my
ability would allow, this work lacks nothing in the way of ornament,
whether of gold, carving, painting, marble, trevertine, porphyry, or
other stones.

Now to return to Pietro Laurati. When he had completed the picture
mentioned above, he did many things for St Peter's at Rome, which
were afterwards destroyed in building the new church. He also
executed some works at Cortona and at Arezzo, besides those already
mentioned, and some others in the church of S. Fiore e Lucilla, a
monastery of black monks, notably a representation in a chapel of St
Thomas putting his hand into the wound in Christ's side.

A pupil of Pietro was Bartolommeo Bologhini of Siena, who executed
many pictures at Siena and other places in Italy. There is one by his
hand at Florence, on the altar of the chapel of St Silvester in S.
Croce. The paintings of this man were executed about the year 1350.
In my book, which I have so often referred to, may be seen a drawing
by Pietro, representing a shoemaker sewing in a simple but most
natural manner with an admirable expression. It affords a good
example of Pietro's peculiar style. His portrait by the hand of
Bartolommeo Bologhini was in a picture at Siena, where not many years
ago I copied it, in the manner seen above.

Andrea Pisano, Sculptor and Architect.

While the art of painting has flourished, sculptors have never been
lacking who could produce excellent work. To the attentive mind, the
works of every age bear testimony to this fact, for the two arts