n clay, and this
led him to wish to do some things in marble to see if he remembered
that art, which he had studied at Pisa, as has been said. Accordingly
he applied himself earnestly to that pursuit, and attained to such a
measure of success that he afterwards made use of it with credit, as
will be said. He next devoted all his energies to the study of
architecture, thinking that he might have occasion to make use of it.
Nor was he mistaken, for in the year 1355 the Commune of Florence
bought some private houses near the palace to enlarge that building
and increase the piazza, and also to make a place where citizens
could withdraw in time of rain, and in winter to do under cover the
things which were done in the uncovered arcade when bad weather did
not interfere. They procured a number of designs for the construction
of a large and magnificent loggia near the palace for this purpose as
well as for a mint for coining money. Among these designs prepared by
the best masters of the city, that of Orcagna was universally
approved and accepted as being larger, finer and more magnificent
than the others, and the large loggia of the piazza was begun under
his direction by order of the Signoria and Commune, upon foundations
laid in the time of the Duke of Athens, and was carried forward with
much diligence in squared stones excellently laid. The arches of the
vaults were constructed in a manner new for that time, not being
pointed as had previously been customary, but in half circles after a
new pattern, with much grace and beauty, and the building was
completed under Andrea's direction in a short time. If it had
occurred to him to erect it next to S. Romolo and to turn its back
towards the north, which he perhaps omitted to do in order that it
should be convenient for the door of the palace, it would have been
a most useful construction for all the city, as it is a most
beautiful piece of work, whereas it is impossible to remain there in
winter owing to the strong wind. In the decoration of this loggia
Orcagna made seven marble figures in half relief between the arches
of the facade representing the seven virtues, theological and
cardinal. These are so fine, that taken in conjunction with the whole
work they prove their author to have been an excellent sculptor as
well as a distinguished painter and architect. Besides this he was in
all his deeds a pleasant, well-bred and amiable man so that his
fellow was never seen. And sinc