By the hand of Spinello, also, on a wall of the Hospital of Spirito Santo, is a scene of the Apostles receiving the Holy Spirit, which is very beautiful; and so, too, are the two scenes below, wherein S. Cosimo and S. Damiano are cutting off a sound leg from a dead Moor, in order to attach it to a sick man, from whom they had cut off one that was mortified; and likewise the very beautiful "Noli me tangere," which is between those two works. In the Company of the Puraccioli, on the Piazza di S. Agostino, in a chapel, he made an Annunciation very well coloured, and in the cloister of that convent he wrought in fresco a Madonna, a S. James, and a S. Anthony; and he portrayed there a soldier in armour on his knees, with these words: HOC OPUS FECIT FIERI CLEMENS PUCCI DE MONTE CATINO, CUJUS CORPUS JACET HIC, ETC. ANNO DOMINI 1367, DIE 15 MENSIS MAII. Likewise, with regard to the chapel that is in that church, with paintings of S. Anthony and other Saints, it is known by the manner that they are by the hand of Spinello, who, shortly afterwards, working in the Hospital of S. Marco (which is to-day the Monastery of the Nuns of S. Croce, by reason of their monastery, which was without the city, having been thrown to the ground), painted a whole portico with many figures, and portrayed there Pope Gregory IX from nature, to represent S. Gregory the Pope, who is standing beside a Misericordia. The Chapel of S. Jacopo e S. Filippo, which is in S. Domenico in the same city, just as one enters the church, was wrought in fresco by Spinello with beautiful and resolute handling, as was also the half-length of S. Anthony painted on the facade of his church, so beautiful that he appears alive, in the midst of four scenes of his life; which same scenes, with many more also of the life of S. Anthony, likewise by the hand of Spinello, are in the Church of S. Giustino, in the Chapel of S. Antonio. In the Church of S. Lorenzo, on one side, he made some stories of the Madonna, and without the church he painted her seated, showing great grace in this work in fresco. In a little hospital opposite to the Nunnery of S. Spirito, near the gate that leads to Rome, he painted a portico entirely by his own hand, showing, in a Christ lying dead in the lap of the Maries, so great genius and judgment in painting, that he is recognized to have proved himself the peer of Giotto in design, and to have surpassed him by a long way in colouring. In the same place, also, he represented Christ seated, with a theological significance very ingeniously contrived, having placed the Trinity within a sun in such wise that from each of the three figures there are seen issuing the same rays and the same splendour. But to this work, to the great loss, truly, of the lovers of this art, there has befallen the same thing as to many others, for it was thrown to the ground in fortifying the city. Without the Church of the Company of the