Painters abounded in the guild at this era. There was Tommaso de Mutina (Modena) whose Madonna painted in 1297 is in the Gallery at Vienna. There was Margaritone of Arezzo (1216-1293), a great tre-cento painter of Madonnas and crucifixes, whose works are yet preserved in Florence, London, Siena, etc. He generally signed them "Margarit . . . de Aretio pingebat." A portrait of St. Francis, however, in the Capuchin Convent at Sinigaglia, is inscribed "Margaritonis devotio me fec. . ." A Madonna enthroned in the church at Monte San Savino is not only signed but dated 1284. Guido of Siena and Margaritone were the leaders of that flourishing school at Siena which culminated in Spinello Aretino and the Lorenzetti, one of whom, Lorenzo Monaco, rivalled our Fra Angelico. Various painters are found in Pisa up to the fourteenth century, artistic descendants from the school of Giunta. Signor Morrona (_Pisa Illustrata nelle Arti del Disegno_, vol. ii. p. 154) gives a list of Giunta's scholars. There are Bonaventura and Apparecchiato da Lucca, Dato Pisano, Vincino da Pistoja, a list which proves the affinity between all the Tuscan schools. A little later in 1321 we find a certain Vicino of Pisa as Gaddo Gaddi's scholar in Florence, where he finished his master's mosaics in the Baptistery. Ciampi has written a long dissertation to prove that Vicino of Pisa ought to be Vincino of Pistoja, because he has found the latter name in some documents. But as his documents refer to paintings done by Vincino of Pistoja in 1290, and the mosaics of Vicino and Gaddi date 1321, it seems more probable they were really two different men--one, the Pistojan, being the scholar of Giunta at Pisa mentioned above; the other, the Pisan, a scholar of Gaddi in Florence somewhat later. In 1302 we find painters from all the lodges assembled in Pisa. Here are Magister Franciscus, painter from S. Simone, named as a _Magister_ of the highest rank. He works with his son Victorius, and his apprentice Sandruccio. Here are Lapo of Florence, Benozzo Gozzoli,[206] and "Michaelis the painter"; Duccio and Tura of Siena, painters; and Datus Pictor, who might be that Dato Pisano mentioned as a scholar of Giunta.[207] The books of the Duomo of Pisa contain among other things an entry which indicates the use of oil-painting long before the time of Antonello de Messina. It is nothing less than the payment by the _Provveditore_ of the _Opera_ for 29 lbs. of turpentine, 104 lbs. of linseed oil at 28 denari per lb., and 43 lbs. of varnish, all of which were for the use of the painters of the _operam Magiestatis_. The entry is dated 1301, and is No. 26 in the books of the _Provveditore_ of the _Opera_ at Pisa in the year MCCCI. "Johannes Orlandi sua sponte dixit se habuisse ad Operario libras duas den. pis. pro pretio libre viginti novem trementine operate adoreram Magiestatis.