Messer Lorenzo, son of the said Niccola, who, dying at Naples, was
brought to Florence and laid to rest there with the most honourable pomp
of funeral obsequies. In like manner, in the tomb of Cardinal Santa
Croce of the same family, which is in a choir then built anew in front
of the high-altar, there is his portrait on a slab of marble, very well
wrought in the year 1390.

Disciples of Andrea in painting were Bernardo Nello di Giovanni Falconi
of Pisa, who wrought many panels in the Duomo of Pisa, and Tommaso di
Marco of Florence, who, besides many other works, made in the year 1392
a panel that is in S. Antonio in Pisa, set up against the tramezzo[19]
of the church.

After the death of Andrea, his brother Jacopo, occupied himself in
sculpture, as it has been said, and in architecture, was employed in the
year 1328 on the foundation and building of the Tower and Gate of S.
Piero Gattolini, and it is said that he made the four marzocchi[20] of
stone which were placed on the four corners of the Palazzo Principale of
Florence, all overlaid with gold. This work was much censured, by reason
of there being laid on those places, without necessity, a greater weight
than peradventure was expedient; and many would have been pleased to
have the marzocchi made rather of plates of copper, hollow within, and
then, after being gilded in the fire, set up in the same place, because
they would have been much less heavy and more durable. It is said, too,
that the same man made the horse, gilded and in full relief, that is in
S. Maria del Fiore, over the door that leads to the Company of S.
Zanobi, which horse is believed to be there in memory of Piero Farnese,
Captain of the Florentines; however, knowing nothing more about this, I
could not vouch for it. About the same time Mariotto, nephew of Andrea,
made in fresco the Paradise of S. Michele Bisdomini, in the Via de'
Servi in Florence, and the panel with an Annunciation that is on the
altar; and for Monna Cecilia de' Boscoli he made another panel with many
figures, placed near the door of the same church.

But among all the disciples of Orcagna none was more excellent than
Francesco Traini, who made a panel with a ground of gold for a nobleman
of the house of Coscia, who is buried at Pisa in the Chapel of S.
Domenico, in the Church of S. Caterina; which panel contained a S.
Dominic standing two braccia and a half high, with six scenes of his
life on either side of him, animated and v