other places, have all perished. As far as I know, his country does not possess one of his undoubted pictures; unless we mention as such, that of the Saviour in the Campo Santo of Pisa, which, indeed, is in a greater manner than the works of this master, but it has been retouched. A _Pietà_, by his son and disciple Tommaso, as is believed by some, exists in S. Remigi at Florence, which strongly partakes of the manner of Giotto; like his frescos at Assisi. He deserved the name of Giottino, given him by his fellow citizens, who used to say that the soul of Giotto had transmigrated, and animated him. Baldinucci alleges that there was another of the same name, who should not be confounded with him, and quotes the following inscription from a picture in the Villa Tolomei, "Dipinse Tommaso di Stefano Fortunatino de' Gucci Tolomei." But Cinelli, the strenuous opponent of Baldinucci, attributes it, perhaps justly, to Giottino. This artist left behind him one Lippo, sufficiently commended by Vasari, but who rather seems to have been an imitator than a scholar. Giovanni Tossicani of Arezzo, was a disciple of Giottino, employed in Pisa and over all Tuscany. He painted the St. Philip and St. James, which still remain on the baptismal font in Arezzo, and were repaired by Vasari while a young man, who acknowledges that he learned much from this work, injured as it was. With him perished the best branch of the stock of Giotto. Taddeo Gaddi may be considered as the Giulio Romano of Giotto, his most intimate and highly favoured pupil. Vasari, who saw his frescos and easel pictures at Florence, in good preservation, prefers him to his master, in colouring and in delicacy; but the lapse of time at this day forbids our deciding this point, although several of his pictures remain, especially in the church of Santa Croce, which are scriptural histories, much in the manner of Giotto. He discovered more originality in the chapter house of the Spagnuoli, where he worked in competition with Memmi.[64] He painted some of the acts of the Redeemer on the ceiling, and the descent of the Holy Spirit in the refectory, which is among the finest specimens of art in the fourteenth century. On one of the walls he painted the Sciences, and under each some one of its celebrated professors; and demonstrated his excellence in this species of allegorical painting, which approaches so nearly to poetry. The brilliance and clearness of his tints are chiefly conspicuous in that chapter house. The royal gallery contains the taking down of Christ, the work of his hands, which was formerly at Orsanmichele, and by some ascribed to Buffalmacco, merely because it was unascertained. Taddeo flourished beyond the term assigned him by Vasari, and outlived most of those already named. This may be collected from Franco Sacchetti, a contemporary writer, who relates in his 136th Tale, that Andrea Orcagna proposed as a question, "who was the greatest master, setting Giotto out