angels, is ascending to Heaven. In one of these
Apostles he portrayed himself in marble, old, as he was, with the beard
shaven, with the cap wound round the head, and with the face flat and
round, as it is seen above in his portrait, drawn from that one. Besides
this, he inscribed these words in the marble below: ANDREAS CIONIS,
PICTOR FLORENTINUS, ORATORII ARCHIMAGISTER EXTITIT HUJUS, MCCCLIX.

It is known that the building of this Loggia and of the marble shrine,
with all the master-work, cost ninety-six thousand florins of gold,
which were very well spent, for the reason that it is, both in the
architecture and in the sculptures and other ornaments, as beautiful as
any other work whatsoever of those times, and is such that, by reason of
the parts made therein by him, the name of Andrea Orcagna has been and
will be ever living and great.

He used to write in his pictures: FECE ANDREA DI CIONE, SCULTORE; and in
his sculptures: FECE ANDREA DI CIONE, PITTORE; wishing that his painting
should be known by his sculpture, and his sculpture by his painting.
There are throughout all Florence many panels made by him, which are
partly known by the name, such as a panel in S. Romeo, and partly by the
manner, such as one that is in the Chapter-house of the Monastery of the
Angeli. Some of them that he left unfinished were completed by Bernardo,
his brother, who survived him, but not for many years. And because, as
it has been said, Andrea delighted in making verses and various forms of
poetry, when already old he wrote some sonnets to Burchiello, then a
youth; and finally, being sixty years of age, he finished the course of
his life in 1389, and was borne with honour from his dwelling, which was
in the Via Vecchia de' Corazzai, to his tomb.

There were many men able in sculpture and in architecture at the same
time as Orcagna, of whom the names are not known, but their works are to
be seen, and these are worthy of nothing but praise and commendation.
Among their works is not only the Monastery of the Certosa of Florence,
made at the expense of the noble family of the Acciaiuoli, and in
particular of Messer Niccola, Grand Seneschal of the King of Naples, but
also the tomb of the same man, whereon he is portrayed in stone, and
that of his father and one of his sisters, which has a covering of
marble, whereon both were portrayed very well from nature in the year
1366. There, too, wrought by the hand of the same men, is the tomb of