[Footnote 32: A few pictures by superior Greek artists, remain, which are very good. Of this number is a Madonna, with a Greek inscription, at the church of S. Maria in Cosmedin at Rome. There is also one at Camerino said to have come from Smyrna; and I know of no Greek picture in Italy better executed or better preserved.] [Footnote 33: The lateral gate of bronze is of very rude workmanship, as described by the Canon Martini, in his account of that temple, p. 85; and by Sig. da Morrona, it is with much probability ascribed to the hand of Bonanno Pisano. From Vasari's life of Arnalfo, we learn that the same sculptor also executed the great gate of the Primaziale at Pisa, in bronze, about the year 1180, subsequently destroyed by fire. That of Santa Maria Nuova at Monreale, is likewise his. It is described by P. del Giudice, in his account of that church, and bears the name of Bonanno Pisano, with the date 1186. It is as rudely executed as the preceding one at Pisa, as I am assured by the Cavalier Puccini, accurately versed in every branch of the fine arts. If we wish to estimate the merit of Niccola Pisano, we have only to compare these two gates with the specimens which he gave us only a few years afterwards.] [Footnote 34: Several specimens of similar productions also remain in Sicily, particularly at Mazzerra and Girganti. At Palermo, the tomb of the Empress Constance II. who died in the year 1222, is decorated with an antique sculpture in basso relievo, representing a chase, which is conjectured to represent that of Æneas and Dido, and which is well engraved. See the work entitled, "I Regali Sepolchri del Duomo di Palermo riconosciuti e illustrati. Nap. 1784." Another specimen of this sort is said to be in the collection of Mr. Blundell, at Ince.] [Footnote 35: In the new Guide to Milan, Sig. Abate Bianconi observes, "that these are beautiful works, and that nothing superior is to be seen in any work of that age. Vasari, by omitting this very eminent Pisan, and not mentioning these works, although he was according to his own account at Milan, has given reason to believe, that he was not over anxious in his researches." p. 215. See also Giulini and Verri, as quoted by Sig. da Morrona in tom. i. pp. 199, 200.] [Footnote 36: The mosaic school subsisted at Rome as early as the eleventh and twelfth centuries. (See Musant. Fax Chronol. pp. 319, 338.) In this the family of the Cosmati acquired great excellence. Adeodato di Cosimo Cosmati employed himself in the church of St. Maria Maggiore, in 1290, (Guide to Rome); and several of the same name exercised their talents in the cathedral of Orvieto. (See Valle Catalogo.) The whole of these are preferred to the Greek mosaic workers, who were at the same period engaged in decorating St. Mark's at Venice. (See Valle's Preface to Vasari, p. 61.)] [Footnote 37: _Sancti Francisci Frater fuit hoc operatus Jacobus in tali præ cunctis arte probatus_, is the inscription on the mosaic.]