sommo creatore,
Lo qual fe' tutte cose con amore,
Pesate, numerate ed in misura;
In nove gradi angelica natura,
In ello empirio ciel pien di splendore,
Colui che non si muove ed e motore,
Ciascuna cosa fece buona e pura.
Levate gli occhi del vostro intelletto,
Considerate quanto e ordinato
Lo mondo universale; e con affetto
Lodate lui che l'ha si ben creato;
Pensate di passare a tal diletto
Tra gli Angeli, dov'e ciascun beato.
Per questo mondo si vede la gloria,
Lo basso e il mezzo e l'alto in questa storia.

And to tell the truth, it was very courageous in Buonamico to undertake
to make a God the Father five braccia high, with the hierarchies, the
heavens, the angels, the zodiac, and all the things above, even to the
heavenly body of the moon, and then the element of fire, the air, the
earth, and finally the nether regions; and to fill up the two angles
below he made in one, S. Augustine, and in the other, S. Thomas
Aquinas. At the head of the same Campo Santo, where there is now the
marble tomb of Corte, Buonamico painted the whole Passion of Christ,
with a great number of figures on foot and on horseback, and all in
varied and beautiful attitudes; and continuing the story he made the
Resurrection and the Apparition of Christ to the Apostles, passing well.

Having finished these works and at the same time all that he had gained
Pisa, which was not little, he returned to Florence as poor as he had
left it, and there he made many panels and works in fresco, whereof
there is no need to make further record. Meanwhile there had been
entrusted to Bruno, his great friend (who had returned with him from
Pisa, where they had squandered everything), some works in S. Maria
Novella, and seeing that Bruno had not much design or invention,
Buonamico designed for him all that he afterwards put into execution on
a wall in the said church, opposite to the pulpit and as long as the
space between column and column, and that was the story of S. Maurice
and his companions, who were beheaded for the faith of Jesus Christ.
This work Bruno made for Guido Campese, then Constable of the
Florentines, whose portrait he had made before he died in the year 1312;
in that work he painted him in his armour, as was the custom in those
times, and behind him he made a line of men-at-arms, armed in ancient
fashion, who make a beautiful effect, while Guido himself is kneeling
be