tion 1350; and
in my book, so many times cited, there is seen a drawing by the hand of
Pietro, wherein a shoemaker who is sewing, with simple but very natural
lineaments, shows very great expression and the characteristic manner of
Pietro, the portrait of whom, by the hand of Bartolommeo Bologhini, was
in a panel in Siena, when I copied it from the original in the manner
that is seen above.

[Illustration: _Anderson_

THE DEPOSITION FROM THE CROSS

(_After the fresco of the_ Roman School. _Assisi: Upper Church of S.
Francesco_)]

ANDREA PISANO

LIFE OF ANDREA PISANO,

SCULPTOR AND ARCHITECT

The art of painting never flourished at any time without the sculptors
also pursuing their exercise with excellence, and to this the works of
all ages bear witness for the close observer, because these two arts are
truly sisters, born at one and the same time, and fostered and governed
by one and the same soul. This is seen in Andrea Pisano, who, practising
sculpture in the time of Giotto, made so great improvement in this art,
that both in practice and in theory he was esteemed the greatest man
that the Tuscans had had up to his times in this profession, and above
all in casting in bronze. Wherefore his works were honoured and rewarded
in such a manner by all who knew him, and above all by the Florentines,
that it was no hardship to him to change country, relatives, property
and friends. He received much assistance from the difficulties
experienced in sculpture by the masters who had lived before him, whose
sculptures were so uncouth and worthless that whosoever saw them in
comparison with those of this man judged the last a miracle. And that
these early works were rude, witness is borne, as it has been said
elsewhere, by some that are over the principal door of S. Paolo in
Florence and some in stone that are in the Church of Ognissanti, which
are so made that they move those who view them rather to laughter than
to any marvel or pleasure. And it is certain that the art of sculpture
can recover itself much better, in the event of the essence of statuary
being lost (since men have the living and the natural model, which is
wholly rounded, as that art requires), than can the art of painting; it
being not so easy and simple to recover the beautiful outlines and the
good manner, in order to bring the art to the light, for these are the
elements that produce majesty, beauty, grace and adornment in the works
that