to be speaking, for otherwise they are not prized. Antonio demonstrated the same thing on the outer frontal in a little scene of the Manna, wrought with so great diligence, and finished with so fine grace, that it can be truly called excellent. Afterwards, in S. Stefano al Ponte Vecchio, on the predella of the high-altar, he made some stories of S. Stephen, with so great lovingness that it is not possible to see either more gracious or more beautiful figures, even if they were done in miniature. In S. Antonio al Ponte alla Carraja, moreover, he painted the arch over the door, which, with the whole church, was thrown to the ground in our own day by Monsignor Ricasoli, Bishop of Pistoia, because it took away the view from his houses; although, even if he had not done this, we should to-day, in any case, be deprived of that work, the late flood of 1557, as it has been said before, having carried away on that side two arches and the abutment of the bridge on which was built the said little Church of S. Antonio. [Illustration: THE RETURN OF S. RANIERI (_After the fresco by_ Antonio Viniziano. _Pisa: Campo Santo_) _Alinari_] Antonio, being summoned after these works to Pisa by the Warden of Works of the Campo Santo, continued therein the painting of the stories of the Blessed Ranieri, a holy man of that city, formerly begun by Simone Sanese, following his arrangement. In the first part of the work painted by Antonio there is seen, in company with the said Ranieri when he is embarking in order to return to Pisa, a good number of figures wrought with diligence, among which is the portrait of Count Gaddo, who died ten years before, and that of Neri, his uncle, once Lord of Pisa. Among the said figures, also, that of a maniac is very notable, for, with the features of madness, with the person writhing in distorted gestures, the eyes blazing, and the mouth gnashing and showing the teeth, it resembles a real maniac so greatly that it is not possible to imagine either a more lifelike picture or one more true to nature. In the next part, which is beside that named above, three figures (who are marvelling to see the Blessed Ranieri showing the Devil, in the form of a cat on a barrel, to a fat host, who has the air of a gay companion, and who, all fearful, is commending himself to the Saint) can be said to be truly very beautiful, being very well executed in the attitudes, the manner of the draperies, the variety of the heads, and all the other parts. Not far away are the host's womenfolk, and they, too, could not be wrought with more grace, Antonio having made them with certain tucked-up garments and with certain ways so peculiar to women who serve in hostelries, that nothing better can be imagined. Nor could that scene likewise be more pleasing than it is, wherein the Canons of the Duomo of Pisa, in very beautiful vestments of those times, no little different from those that are used to-day and very graceful, are receiving S.