Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that family, the vaulting of which had been already begun by Lorenzo di Bicci. In this work there are Stories of the Cross, from that wherein the sons of Adam are burying him and placing under his tongue the seed of the tree from which there came the wood for the said Cross, down to the Exaltation of the Cross itself performed by the Emperor Heraclius, who, walking barefoot and carrying it on his shoulder, is entering with it into Jerusalem. Here there are many beautiful conceptions and attitudes worthy to be extolled; such as, for example, the garments of the women of the Queen of Sheba, executed in a sweet and novel manner; many most lifelike portraits from nature of ancient persons; a row of Corinthian columns, divinely well proportioned; and a peasant who, leaning with his hands on his spade, stands listening to the words of S. Helena--while the three Crosses are being disinterred--with so great attention, that it would not be possible to improve it. Very well wrought, also, is the dead body that is restored to life at the touch of the Cross, together with the joy of S. Helena and the marvelling of the bystanders, who are kneeling in adoration. But above every other consideration, whether of imagination or of art, is his painting of Night, with an angel in foreshortening who is flying with his head downwards, bringing the sign of victory to Constantine, who is sleeping in a pavilion, guarded by a chamberlain and some men-at-arms who are seen dimly through the darkness of the night; and with his own light the angel illuminates the pavilion, the men-at-arms, and all the surroundings. This is done with very great thought, for Piero gives us to know in this darkness how important it is to copy things as they are and to ever take them from the true model; which he did so well that he enabled the moderns to attain, by following him, to that supreme perfection wherein art is seen in our own time. In this same story he represented most successfully in a battle fear, animosity, dexterity, vehemence, and all the other emotions that can be imagined in men who are fighting, and likewise all the incidents of battle, together with an almost incredible carnage, what with the wounded, the fallen, and the dead. In these Piero counterfeited in fresco the glittering of their arms, for which he deserves no less praise than he does for the flight and submersion of Maxentius painted on the other wall, wherein he made a group of horses in foreshortening, so marvellously executed that they can be truly called too beautiful and too excellent for those times. In the same story he made a man, half nude and half clothed in the dress of a Saracen, riding a lean horse, which reveals a very great mastery of anatomy, a science little known in his age. For this work, therefore, he