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 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.