so restored
some works in that church, likewise in mosaic, which were spoilt.
Without Florence, too, in S. Giovanni fra l'Arcora without the Porta a
Faenza, a church which was destroyed in the siege of the said city, he
painted in fresco, beside a Passion of Christ wrought by Buffalmacco,
many figures which were held very beautiful by all who saw them. In
like manner, in certain little hospitals at the Porta a Faenza, and in
S. Antonio within the said gate, near the hospital, he painted certain
beggars in fresco, in diverse beautiful manners and attitudes; and
within the cloisters, with beautiful and new invention, he painted a
vision wherein he represented S. Anthony gazing on the snares of the
world, and beside these the will and the desires of men, who are drawn
by both the first and the second to the diverse things of this world;
and all this he painted with much thought and judgment. Lippo also
wrought works in mosaic in many parts of Italy, and in the Palace of the
Guelph party in Florence he made a figure with the head glazed; and in
Pisa, also, there are many of his works. But none the less it can be
said that he was truly unfortunate, not only because the greater part of
his labours are now thrown down, having gone to ruin in the havoc of the
siege of Florence, but also because he ended the course of his life very
unhappily; for Lippo being a litigious person and fonder of discord than
of peace, and having one morning used very ugly words towards an
adversary at the tribunal of the Mercanzia,[4] he was waylaid by this
man one evening when he was returning to his house, and stabbed in the
breast with a knife so grievously, that a few days afterwards he died
miserably. His pictures date about 1410.

[Footnote 4: The Tribunal of commerce.]

About the same time as Lippo there was in Bologna another painter,
Dalmasi, also called Lippo, who was an able man, and who painted, among
other works, in the year 1407 (as it may be seen in S. Petronio in
Bologna), a Madonna which is held in great veneration; and in fresco,
the arch over the door of S. Procolo; and in the Church of S. Francesco,
in the tribune of the high-altar, he made a large Christ between S.
Peter and S. Paul, with good grace and manner, and below this work there
is seen his own name written in large letters. He drew passing well, as
it may be seen in our book; and he taught the art to M. Galante da
Bologna, who afterwards drew much better than he, as it