The year afterwards, 1013, it is clear that the art had regained some of its vigour from the rebuilding of that most beautiful church, S. Miniato in Sul Monte, in the time of Messer Alibrando, citizen and Bishop of Florence; for the reason that, besides the marble ornaments that are seen therein both within and without, it may be seen from the facade that the Tuscan architects strove as much as they could in the doors, the windows, the columns, the arches, and the mouldings, to imitate the good order of the ancients, having in part recovered it from the most ancient temple of S. Giovanni in their city. At the same time painting, which was little less than wholly spent, may be seen to have begun to win back something, as the mosaic shows that was made in the principal chapel[5] of the said Church of S. Miniato. From such beginnings, then, these arts commenced to grow better in design throughout Tuscany, as is seen in the year 1016, from the commencement made by the people of Pisa for the building of their Duomo, seeing that in those times it was a great thing for men to put their hands to the construction of a church made, as this was, with five naves, and almost wholly of marble both within and without. This church, which was built under the direction and design of Buschetto, a Greek of Dulichium, an architect of rarest worth for those times, was erected and adorned by the people of Pisa with innumerable spoils brought by sea (for they were at the height of their greatness) from diverse most distant places, as is well shown by the columns, bases, capitals, cornices, and all the other kinds of stonework that are therein seen. And seeing that these things were some of them small, some large, and some of a middle size, great was the judgment and the talent of Buschetto in accommodating them and in making the distribution of all this building, which is very well arranged both within and without; and besides other work, he contrived the frontal slope of the facade very ingeniously with a great number of columns, adorning it besides with columns carved in diverse and varied ways, and with ancient statues, even as he also made the principal doors in the same facade, between which--that is, beside that of the Carroccio--there was afterwards given an honourable burial-place to Buschetto himself, with three epitaphs, whereof this is one, in Latin verses in no way dissimilar to others of those times: QUOD VIX MILLE BOUM POSSENT JUGA JUNCTA MOVERE, ET QUOD VIX POTUIT PER MARE FERRE RATIS, BUSCHETTI NISU, QUOD ERAT MIRABILE VISU, DENA PUELLARUM TURBA LEVAVIT ONUS. And seeing that there has been made mention above of the Church of S. Apostolo in Florence, I will not forbear to say that on a marble slab therein, on one side of the high-altar, there may be seen these words: