or the Mint where the money is struck. Among these designs, made by the
best masters in the city, that of Orcagna being universally approved and
accepted as greater, more beautiful, and more magnificent than all the
others, by decree of the Signori and of the Commune there was begun
under his direction the great Loggia of the square, on the foundations
made in the time of the Duke of Athens, and it was carried on with
squared stone very well put together, with much diligence. And what was
something new in those times, the arches of the vaulting were made no
longer quarter-acute, as it had been the custom up to that time, but
they were turned in half-circles in a new and laudable method, which
gave much grace and beauty to this great fabric, which was brought to
completion in a short time under the direction of Andrea. And if there
had been taken thought to put it beside S. Romolo and to turn the arches
with the back to the north, which they did not do, perchance, in order
to have it conveniently near to the gate of the Palace, it would have
been as useful a building for the whole city as it is beautiful in
workmanship; whereas, by reason of the great wind, in winter no one
can stand there. In this Loggia, between the arches on the front wall,
in some ornamental work by his own hand, Orcagna made seven marble
figures in half-relief representing the seven Theological and Cardinal
Virtues, as accompaniment to the whole work, so beautiful that they made
him known for no less able as sculptor than as painter and architect;
not to mention that he was in all his actions as pleasant, courteous,
and lovable a man as was ever any man of his condition. And because he
would never abandon the study of any one of his professions for that of
another, while the Loggia was building he made a panel in distemper with
many large figures, with little figures in the predella, for that chapel
of the Strozzi wherein he had formerly made some works in fresco with
his brother Bernardo; on which panel, it appearing to him that it could
bear better testimony to his profession than the works wrought in fresco
could do, he wrote his name with these words: ANNO DOMINI MCCCLVII,
ANDREAS CIONIS DE FLORENTIA ME PINXIT.

[Illustration: _Alinari_

THE DEATH AND ASSUMPTION OF THE VIRGIN

(_Relief on the Tabernacle by_ Andrea di Cione Orcagna, _Or San Michele,
Florence_)]

This work completed, he made some pictures, also on panel, which were
sent to the