From another contemporary and possibly a scholar of Giotto, Bernardo Daddi, we have many panel pictures and a few frescoes at Santa Croce. He is an admirable craftsman, and a sincere illustrator, within his limitations, applying very competently to panel painting something of the panoramic realism of Ambrogio Lorenzetti. A prolific artist, his exquisitely finished little panels are quite common. In America are good examples in the New York Historical Society, in the Platt Collection, Englewood, and a more monumental piece in the Johnson Collection, Philadelphia. He lived well beyond the middle of the century. Giottino, who possibly is to be identified with Giotto’s pupil Maso, is a more delicate spirit with unusual resources of pathos. His best work is an altar-piece of the Deposition, Figure 27, painted about 1360 for the Church of San Remigio at Florence and now in the Uffizi. A preference for isolated figures and for vertical lines is noteworthy, as is the wistfulness of the attendant donors. Similar qualities of delicate precision as of dispersion are in the frescoes in Santa Croce which represent the Miracles of Pope Sylvester. The note is feminine and rather Sienese than genuinely Florentine. [Illustration: FIG. 28. Andrea Orcagna. Christ conferring authority upon St. Peter and St. Thomas Aquinas.—_Strozzi Chapel, Santa Maria Novella._ ] Outside of Giotto’s _bottega_ arose the rare continuers of his tradition. Such an artist flourished about the middle of the century in the person of Andrea di Cione, better known by his nickname of Orcagna. He was more of a sculptor and architect than a painter, a man of dignity and force, a poet and thinker. Although not a pupil of Giotto, he studied that master’s work admiringly, and sought to reproduce its massiveness. Its brusqueness he largely rejected. Instead of sketching the draperies summarily, he drew the folds carefully after the model; he liked to treat the panel and wall as a whole, where Giotto had accepted the tradition of subdivision; he gave to his faces a greater sweetness and he occasionally attempted foreshortenings and impetuosities of gesture that Giotto would have avoided. Unluckily Orcagna’s most important frescoes have perished. We may grasp his nobility in the altar-piece which he finished and dated in 1357, Figure 28, for the chapel of the Strozzi family at Santa Maria Novella. The formality of the composition is noteworthy, as is the stately sweetness of the Madonna. The subject is Christ delegating his Power and Wisdom respectively to St. Peter and to St. Thomas Aquinas.