fresco, on the vaulting of the principal apse, the
Madonna with the Child in her arms, surrounded by a circle of sunlight,
and beneath is the Emperor Octavian, to whom the Tiburtine Sibyl is
showing Jesus Christ, and he is adoring Him; and the figures in this
work, as it has been said in other places, have been much better
preserved than the others, because those that are on the vaulting are
less injured by dust than those that are made on the walls.

After these works Pietro went to Tuscany, in order to see the works of
the other disciples of his master Giotto and those of Giotto himself;
and with this occasion he painted many figures in S. Marco in Florence,
which are not seen to-day, the church having been whitewashed, except
the Annunciation, which stands covered beside the principal door of the
church. In S. Basilio, also, in the Canto alla Macine, he made another
Annunciation in fresco on a wall, so like to that which he had made
before in S. Marco, and to another one that is in Florence, that some
believe, and not without probability, that they are all by the hand of
this Pietro; and in truth they could not be more like, one to another,
than they are. Among the figures that he made in the said S. Marco in
Florence was the portrait of Pope Urban V from the life, with the heads
of S. Peter and S. Paul; from which portrait Fra Giovanni da Fiesole
copied that one which is in a panel in S. Domenico, also of Fiesole; and
that was no small good-fortune, seeing that the portrait which was in S.
Marco and many other figures that were about the church in fresco were
covered with whitewash, as it has been said, when that convent was taken
from the monks who occupied it before and given to the Preaching
Friars, the whole being whitewashed with little attention and
consideration.

[Illustration: _Alinari_

HEAD OF AN APOSTLE

(_Detail from_ "The Last Judgment," _after the fresco by_ Pietro
Cavallini. _Rome: Convent of S. Cecilia_)]

Passing afterwards, in returning to Rome, through Assisi, not only in
order to see those buildings and those notable works made there by his
master and by some of his fellow-disciples, but also to leave something
there by his own hand, he painted in fresco in the lower Church of S.
Francesco--namely, in the transept that is on the side of the
sacristy--a Crucifixion of Jesus Christ, with men on horseback armed in
various fashions, and with many varied and extravagant costumes of
diverse for