and may be seen the
tomb of M. Lorenzo, Niccola's son, who died at Naples, arid was
brought to Florence and buried there with most honourable obsequies.
Similarly the tomb of the Cardinal S. Croce of the same family, which
is before the high altar in a choir then newly built, contains his
portrait in a marble stone very well executed in the year 1390.

The pupils of Andrea in painting were Bernardo Nello di Giovanni
Falconi of Pisa, who did a number of pictures for the Duomo of Pisa,
and Tommaso di Marco of Florence, who, besides many other things,
painted a picture in the year 1392, which is in S. Antonio at Pisa on
the screen of the church. After Andrea's death, his brother Jacopo,
who, as has been said, professed sculpture and architecture, was
employed in the year 1328 in building the tower and gate of S. Pietro
Gattolini, and it is said that the four gilded stone lions at the
four corners of the principal palace of Florence are by his hand.
This work incurred no little censure, because it was placed there
without reason, and was perhaps a greater weight than was safe. Many
would have preferred the lions to have been made of copper gilded
over and hollow inside, and then set up in the same place, when they
would have been much less heavy and more durable. It is said that the
horse in relief in S. Maria del Fiore at Florence is by the same
hand. It is gilded, and stands over the door leading to the oratory
of S. Zanobi. It is believed to be a monument to Pietro Farnese,
captain of the Florentines, but as I know nothing more of the matter
I cannot assert this positively. At the same time Andrea's nephew
Mariotto made a Paradise in fresco for S. Michel Bisdomini in the via
de' Servi at Florence, over the altar, and another picture with many
figures for Mona Cecilia de' Boscoli, which is in the same church
near the door. But of all Orcagna's pupils none excelled Francesco
Traini, who executed for a lord of the house of Coscia, buried at
Pisa in the chapel of St Dominic in the church of S. Caterina, a
St Dominic on a panel on a gold ground, with six scenes from his life
surrounding him, very vigorous and life-like and excellently
coloured. In the chapel of St Thomas Aquinas in the same church he
made a picture in tempera, with delightful invention, and which is
much admired. He introduced a figure of St Thomas seated, from life;
I say from life because the friars of the place brought a portrait of
him from the abbey of