Giotto died in 1336, but he left behind him to continue his work, Taddeo Gaddi, Giottino, Stefano, Andrea Orcagna, and Simon Memmi, who were each destined to open out some new path in art. In the Campo Santo at Pisa we may see how great was the power of the genius of these masters, especially of Andrea Orcagna (1329-1389), who has there represented, with an equal measure of beauty and of sombre and terrible energy, the “Dream of Life,” facing the “Triumph of Death.” Taddeo Gaddi remained a fervent disciple of his master, and continued his delicate accuracy of design, and the living freshness of his colouring. Stefano succeeded him in the boldness of his compositions, in his studious knowledge of the nude, and of perspective effect which had been hitherto neglected. Giottino inherited his serious inspirations. Memmi endeavoured to recall his mystical and graceful sentiment. Orcagna, who was at once painter, sculptor, architect, and poet, seemed to possess in turn all the qualities which his fellow-disciples had shared among them, and could represent with equal success the terrors of the infernal regions and the visions of heaven. The progress of which these painters had constituted themselves the apostles was not carried out without exciting some opposition. In addition to the Greek masters, who naturally felt compelled to contend with the innovators, certain individuals were found among the Italian artists who energetically embraced the party of the past. We will only mention one, Margaritone of Arezzo, who wore out his long life in a useless devotion to a cause which was already lost; even his name we should not have particularised, if it had not been that the art owed him some gratitude for the service he rendered it, by substituting the use of canvas prepared for painting instead of panels of wood, which had hitherto been exclusively employed.