“Pisa,” peeˈsā. A city of Italy, west of Florence, on the river Arno. Its cathedral contains much fine art. “Siena,” sĭ-enˈnā. A city of Tuscany, south of Florence. “St. Dominic,” dŏmˈĭ-nik. (1170-1221.) The founder of the order of “preaching friars.” “Bologna,” bo-lonˈyā. An Italian city at the foot of the Appenines, and north of Florence. “Andrea Orcagna,” or-kānˈyä. (1329-1389.) The son of a Florentine sculptor who instructed him in art. His surname, Orcagna, is said to have been a corruption of L’Archagnuolo (the Archangel). His fame as a painter and architect was equal to that as a sculptor. “San Michele,” mĭ-kaˈla. The churches of Italy are almost without exception named after the saint to which they are dedicated, as in this case, San Michele, after St. Michael. “Giotto,” jŏtˈo. (1276-1336.) He was born near Florence, and brought up a shepherd lad. While tending his sheep it is said that a Florentine painter found him drawing on the surface of a rock, and was so convinced of his genius that he took him to Florence to be educated. His talent was so great that he was soon employed in the decoration of the church at Assisi. The details of his life are not known except that he traveled extensively through Italy, being employed in ornamenting many prominent buildings. It is as a painter that Giotto is best known, and as such he did much to awaken art from its unnatural and stiff forms, and to introduce realism. “Campanile,” kăm-pa-nēˈla. “Ghiberti,” gee-bĕrˈtee. (1378-1455.) He learned the trade of a goldsmith, but at that time the goldsmith’s art included others, especially designing and coloring. At first Ghiberti was a fresco painter, but was called to sculpture by his success with the bronze doors over which he spent most of his life. “San Giovanni,” jo-vänˈnee. P. 142, c. 2.—“Donatello” do-nä-tĕlˈo. (1383-1466.) He was a native of Florence. One of the Medici became his patron, and he was enabled to apply himself to art. He was a painter of merit as well as a sculptor, and the only one of the age worthy to be ranked with Ghiberti. “Brunelleschi,” broo-nĕl-lĕsˈkee. (1377-1444.) Better known as an architect than as a sculptor. “Zenobius,” ze-noˈbi-us. “Lucca del Robbia,” del-robˈe-ä. (1400?-1463?) He was trained to the goldsmith’s art, but took up sculpture. To him is attributed the interest in porcelain which started in Europe in the fifteenth century. His process of glazing was probably learned from the Saracens, and consisted essentially in using stanniferous (containing tin) enamel. This rendered the terra-cotta work permanent, and gave a white background.