Florentine sculpture of the latter part of the thirteenth and the fourteenth centuries followed essentially the bent of Giovanni Pisano, who endeavoured to unite the decided tendencies of his father Nicolò towards the antique with those of the Gothic style, which then began to assert itself; and he thus traced out for his followers the way which they have long pursued. Andrea Pisano, the son of one Ugolino of Pontedera, was the chief representative of Giovanni’s school during the first half of the fourteenth century. If there is any question as to whether the design of the bronze door of the Baptistery, worked by him in 1330, being Giotto’s, the great influence exercised by Giotto on the sculpture of his time is undoubted. Neither Orcagna, whose most important work, the altar to the Virgin in Or San Michele, has already been mentioned, and who displays both in painting and in sculpture the greatest originality in conception and in form of any artist of this epoch, nor Andrea Pisano’s pupil, Alberto di Arnoldo, to whom the grave and noble group of the Virgin with Angels in the Oratorium of Bigallo is owing, was able to escape the influence of Giotto. The decoration of the façade of the cathedral, of the belfry and interior of the baptistery, as also of the side doors of the cathedral, with sculpture, statues, reliefs, and ornaments, gave employment, irrespectively of others, to numerous artists from foreign parts, but much of their work has unfortunately been destroyed or mutilated. Meanwhile the churches were being adorned with numerous frescoes and altar panels, particularly Sta. Croce, so rich in chapels, which was only completed in the following century, Sta. Trinità, which was enlarged in 1383, Sta. Maria Novella, Ognissanti, and others, in which work Agnolo Gaddi, Orcagna, Giovanni da Milano, Jacopo del Casentino, and many others were employed. Before the middle of the century the great chapter hall of Sta. Maria Novella, commonly called Capellone degli Spagnuoli, which contains the mural paintings ascribed, without ground, to the Siennese painter, Simon Martini, and Taddeo Gaddi, had been built by a citizen of Florence, named Buonamico di Lapo Guidalotti. The frescoes from the history of St. Benedict, by Spinello of Aretino, in San Miniato al Monte, date after the year 1380, and those from the New Testament in the Rinuccini chapel, probably by Giovanni da Milano,[32] somewhat earlier. Orcagna, who next to Giotto possessed the most catholic spirit of the century, had breathed a fresher and more original life into the school then dominant. He was followed pre-eminently by the two last-named masters, who, notwithstanding the duration of the Giottoesque traditions, herald in the coming epoch.