ubjects in
the centre and objects in the side panels and below the seats. It is
signed and dated 1536. The whole collection of panels is well worth a
stay at Pisa to see, even if there were not other attractions in that
pleasant little town. In the registers of the "Opera" is an annual
charge for two "sbirri," or two servants of the captain of the people,
to watch the seats of the Cathedral "so that children may not damage
them in the obscurity," which shows that even Italian children could not
always be trusted not to be mischievous.

[Illustration: Plate 8.--_Figure intarsia from the Sacristy of the
Cathedral, Florence._

THE NATIVITY.

_To face page 20._]

[Illustration: Plate 9.--_Figure intarsia from the Sacristy of the
Cathedral, Florence._

THE PRESENTATION IN THE TEMPLE.

_To face page 21._]

[Illustration: Plate 10.--_Panel from Sacristy of S. Croce, Florence._

_To face page 23._]

[Illustration: _To face page 24._

Plate 11.--_Detail of frieze from the Sacristy of S. Croce, Florence._]

[Illustration: Plate 12.--_Lower Seats of Choir, Cathedral, Perugia._]

[Illustration: Plate 13.--_Upper Seats of Choir, Cathedral, Perugia._

_To face page 26._]

[Illustration: Plate 14.--_One panel from upper series, Cathedral,
Perugia._]

Il Francione had a pupil called Il Cecca. His name was really Francesco
d'Agnolo, but like most men at that time he went by a nick-name. Cecca
is a corruption of Francesco into Cecco, Cecca, from being Francione's
companion and disciple. He was born in 1447; his father was Angelo di
Giovanni, a mender of leather or "galigajo." He came to Florence from
Tonda, a little place near S. Miniato al Tedesco. His father died in
1460; he and three older sisters were left to his mother, Monna Pasqua.
So the 13 year-old boy went bravely to work to keep his mother and
sisters, and entered Il Francione's workshop. When he was 25 he left him
and set up for himself, taking a shop in the Borgo de' Greci, where he
lived and slept as well as worked. In 1481 he had a commission from the
magistrates, called "degli ufficiali di Palazzo," for all the wood-work
of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
Afterwards he did other work for different parts of the Palace and for
other places, all of which has perished. Finally, he spent most of his
time as architect and engineer, and had a great deal to do with the
fortification of various places and with the great cars for