celerity, and easy self-complacency, shewn in his labours. The first cloister of the church of S. Croce retains several specimens, consisting of the legends of S. Francis; and there is an Assumption on the front, in which he was assisted by Donatello, while still a young man. Perhaps his best work is the fresco, ornamenting the sanctuary of S. Maria Nuova, built by Martin V. about the year 1418. His son Neri is reckoned among the last followers of Giotto. He lived but a short time; he left, in S. Romolo, a picture which would not have disgraced his father, and which is certainly more carefully executed than was usual with the latter. During the fourteenth century, sculpture was cultivated at Pisa by as many artists as painting was at Florence; but Pisa was not on that account destitute of painters worthy of being recorded. Vasari mentions one Vicino, who finished the mosaic begun by Turrita, assisted by Tafi and Gaddi, and adds, that he was also a painter. Sig. da Morrona says, that he retained the old style of his school; which was the case with many others, as appears from several old Madonnas upon panels, both of anonymous and of ascertained painters. Of this sort is that in the old church of Tripalle, and that at S. Matthew's in Pisa. On the first is this inscription, _Nerus Nellus de Pisa me pinxit_, 1299: on the second we read, _Jacopo di Nicola dipintore detto Gera mi dipinse_. The mode of expression is derived from the m'epoiêse of the Greeks; to which the old Pisans closely adhered in their paintings, their sculptures, and their bronzes.[67] Like the other Italians they at length reformed their style, and there, as well as at Florence and Siena, families of painters arose, in which the fathers were excelled by their sons, and they by their children. Thus, from Vanni, who flourished in 1300, sprung Turino di Vanni, who flourished about 1343, and Nello di Vanni, who painted in the Campo Santo, whose son Bernardo was the disciple of Orcagna, and furnished many pictures for the palace of the primate. There was also in that city one Andrea di Lippo, who is noticed in the _Academical Discourse on the literary history of Pisa_, in the year 1336; the same, I believe, with that Andrea da Pisa, mentioned among the artists that ornamented the cathedral of Orvieto in 1346. A work by one Giovanni di Niccolo remains in the monastery of S. Martha, and, perhaps, he painted the fine trittico of the Zelada museum at Rome, which represents our Saviour with S. Stephen, S. Agatha, and other saints, and which has this inscription, _Jo. de Pisis pinxit_. This is a picture of great labour, by some ascribed to Gio. Balducci; which, if it was ascertained, would confer honour on that great man, as a professor of the three sister arts. Towards the end of the century the power of the Pisans declined, rather from civil discord than from other misfortunes; till at length the city fell into the hands of the Florentines in 1406, and lay for a