he deserves the memorial set
up to him in the church on the side opposite the campanile, with
these lines carved in the marble in round letters:--

"Anno millenis centum bis octo nogenis
Venit legatus Roma bonitate donatus
Qui lapidem fixit fundo, simul et benedixit
Praesule Francisco, gestante pontificatum
Istud ab Arnolpho templum fuit aedificatum
Hoc opus insigne decorans Florentia digne
Reginae coeli construxit mente fideli
Quam tu, Virgo pia, semper defende, Maria,"

I have written the life of Arnolfo with the greatest possible brevity
because, although his works do not nearly approach the perfection of
those of the present time, yet he none the less deserves to be
remembered with affection, since, in the midst of so great darkness,
he pointed out the road to perfection to those who came after him.
The portrait of Arnolfo, by the hand of Giotto, may be seen in S.
Croce, next to the principal chapel, where the friars are mourning
the death of St Francis. He is represented in the foreground as one
of the two men who are talking together. A representation of the
exterior of the church of S. Maria del Fiore, with the dome, by the
hand of Simon of Siena, may be seen in the chapter-house of S. Maria
Novella. It was taken from the actual model of wood which Arnolfo
made. From this representation it is clear that Arnolfo proposed to
begin to vault his space, starting immediately above the first
cornice, whilst Filippo di Ser Brunellesco, desiring to lighten the
weight and make the appearance of the structure more graceful, added
above this the whole of the space which contains the round windows
before he began his vaulting. This matter would be even more obvious
than it is had not the negligence and carelessness of those who had
charge of the works of S. Maria del Fiore in past years allowed
Arnolfo's own model, as well as those of Brunellesco and others, to
be lost.

Niccola and Giovanni Pisani, Sculptors and Architects.

Having discussed the arts of design and painting in dealing with
Cimabue, and that of architecture in the life of Arnolfo Lapo, we now
propose to treat of sculpture, and of the very important
architectural works of Niccola and Giovanni Pisani. Their
achievements in both sculpture and architecture are alike remarkable
for the manner in which they have been conceived as well as for the
style in which they are executed, since to a great extent they
ema