hey were to the taste of that
age. The greater part is omitted by us, in order not to weary others
with such things, which are not pertinent and little pleasing, not to
mention that the greater part of these inscriptions being effaced, the
remainder is little less than fragmentary. After these works, in making
the Judgment, Orcagna set Jesus Christ on high above the clouds in the
midst of His twelve Apostles, judging the quick and the dead; showing on
one side, with beautiful art and very vividly, the sorrowful expressions
of the damned who are being dragged weeping by furious demons to Hell,
and, on the other, the joy and the jubilation of the good, whom a body
of angels guided by the Archangel Michael are leading as the elect, all
rejoicing, to the right, where are the blessed. And it is truly a pity
that for lack of writers, in so great a multitude of men of the robe,
chevaliers, and other lords, that are clearly depicted and portrayed
there from the life, there should be not one, or only very few, of whom
we know the names or who they were; although it is said that a Pope who
is seen there is Innocent IV, friend[18] of Manfredi.

[Illustration: ANDREA DI CIONE ORCAGNA: CHRIST ENTHRONED

(_Florence: S. Maria Novella, Strozzi Chapel. Fresco_)]

After this work, and after making some sculptures in marble for the
Madonna that is on the abutment of the Ponte Vecchio, with great honour
for himself, he left his brother Bernardo to execute by himself a Hell
in the Campo Santo, which is described by Dante, and which was
afterwards spoilt in the year 1530 and restored by Sollazzino, a painter
of our own times; and he returned to Florence, where, in the middle of
the Church of S. Croce, on a very great wall on the right, he painted in
fresco the same subjects that he painted in the Campo Santo of Pisa, in
three similar pictures, excepting, however, the scene where S. Macarius
is showing to three Kings the misery of man, and the life of the hermits
who are serving God on that mountain. Making, then, all the rest of that
work, he laboured therein with better design and more diligence than he
had done in Pisa, holding, nevertheless, to almost the same plan in the
invention, the manner, the scrolls, and the rest, without changing
anything save the portraits from life, for those in this work were
partly of his dearest friends, whom he placed in Paradise, and partly of
men little his friends, who were put by him in Hell. Among the