id church, very well wrought, for Taddeo
Peppoli, Conservator of the people and of Justice in Bologna. And in the
same year, which was the year 1347, or a little before, this tomb being
finished, Maestro Jacopo went to his native city of Venice and founded
the Church of S. Antonio, which was previously of wood, at the request
of a Florentine Abbot of the ancient family of the Abati, the Doge being
Messer Andrea Dandolo. This church was finished in the year 1349.
Jacobello and Pietro Paolo, also, Venetians and disciples of Agostino
and Agnolo, made a tomb in marble for Messer Giovanni da Lignano, Doctor
of Laws, in the year 1383, in the Church of S. Domenico at Bologna.

All these and many other sculptors went on for a long space of time
following one and the same method, in a manner that with it they filled
all Italy. It is believed, also, that the Pesarese, who, besides many
other works, built the Church of S. Domenico in his native city, and
made in sculpture the marble door with the three figures in the round,
God the Father, S. John the Baptist, and S. Mark, was a disciple of
Agostino and Agnolo; and to this the manner bears witness. This work was
finished in the year 1385. But, seeing that it would take too long if I
were to make mention minutely of the works that were wrought by many
masters of those times in that manner, I wish that this, that I have
said of them thus in general, should suffice me for the present, and
above all because there is not any benefit of much account for our arts
from such works. Of the aforesaid it has seemed to me proper to make
mention, because, if they do not deserve to be discussed at length, yet,
on the other hand, they were not such as to need to be passed over
completely in silence.

STEFANO AND UGOLINO SANESE

LIFE OF STEFANO, PAINTER OF FLORENCE, AND OF UGOLINO SANESE

[_UGOLINO DA SIENA_]

Stefano, painter of Florence and disciple of Giotto, was so excellent,
that he not only surpassed all the others who had laboured in the art
before him, but outstripped his own master himself by so much that he
was held, and deservedly, the best of all the painters who had lived up
to that time, as his works clearly demonstrate. He painted in fresco the
Madonna of the Campo Santo in Pisa, which is no little better in design
and in colouring than the work of Giotto; and in Florence, in the
cloister of S. Spirito, he painted three little arches in fresco. In the
first of the