other things, painting a scene of S.
Jerome learning his first letters, he made a master who has caused a boy
to climb on the back of another and is beating him with his rod, in a
manner that the poor lad, kicking out with his legs by reason of the
great pain, appears to be howling and trying to bite the ear of the one
who is holding him; and all this Gherardo expressed gracefully and very
charmingly, as one who was going on investigating on every side the
things of nature. Likewise, in the scene where S. Jerome, at the point
of death, is making his testament, he counterfeited some friars with
beautiful and very ready manner; for while some are writing and others
earnestly listening and gazing on him, they are all hanging with great
affection on the words of their master.

This work having acquired for Starnina rank and fame among the
craftsmen, and his ways of life, with the sweetness of his manners,
bringing him very great reputation, the name of Gherardo was famous
throughout all Tuscany--nay, throughout all Italy--when, being called to
Pisa in order to paint in that city the Chapter-house of S. Niccola, he
sent thither in his stead Antonio Vite of Pistoia, in order not to leave
Florence. This Antonio, having learnt the manner of Starnina under his
teaching, wrought in that chapter-house the Passion of Jesus Christ, and
delivered it finished in that fashion wherein it is seen to-day, in the
year 1403, to the great satisfaction of the Pisans. Starnina having then
finished, as it has been said, the Chapel of the Pugliesi, and the
Florentines being greatly pleased with the stories of S. Jerome that he
made there, by reason of his having represented vividly many expressions
and attitudes that had never been depicted up to that time by the
painters who had lived before him, the Commune of Florence--in the year
when Gabriel Maria, Lord of Pisa, sold that city to the Florentines at
the price of 200,000 crowns, after Giovanni Gambacorti had sustained a
siege of thirteen months, and had at last agreed to the sale--caused him
to paint in memory of this, on the facade of the Palace of the Guelph
party, a picture of S. Dionysius the Bishop, with two angels, and below
him the city of Pisa, portrayed from nature; in which work he used so
great diligence in everything, and particularly in colouring it in
fresco, that in spite of the air, the rains, and its being turned to the
north, it has always remained and still remains at the p